PART TWO
[Illustration:
EXAMPLE 16
Layout sketched with colored crayons for a catalog cover ]
[Illustration:
EXAMPLE 17
The cover printed as indicated by layout sketch ]
[Illustration]
THE “LAYOUT” MAN
How does the work of the typographer of the twentieth century compare with productions of the past? In the belief of some the good typographer, like the good Indian, is dead. The truth is that much of the printing done during the first four hundred years was not well done. While the same proportionate result still prevails, the ancient did not have the excuse of the modern—lack of time; nor has the modern the excuse of the ancient—lack of facilities. However, while poor work in any century or any industry is explainable, it is not excusable.
[Illustration:
EXAMPLE 1
Booklet cover page laid out with pencil and crayon on gray stock ]
Someone said, “The man who attained his ambition did not aim high enough.” Perfection is not attainable, but it should be the goal in our race. Many typographers are doing good work, altho each is doing it differently. No one is producing perfect typography; but when perfection is the pacemaker no result can be commonplace.
The good typographers of the past had the spirit of the master craftsman and their product was inspired. The modern printer to succeed needs only the inspiration that comes of study, hard work and love of his trade.
Inspired work, however, is generally the result of preparation.
Artists and advertising men realize the necessity of careful preparation for the process of printing, but typographers as a class evidently do not. If they did they would do even better work and make bigger profits possible. Every printshop should have a “layout” man.
In spite of the fact that much good printing is done today, fully nine-tenths of the product is partially unsatisfactory because of lack of preparation. When a business man decides to erect an office building he does not immediately go to a building contractor and tell him to build it. He first consults an architectural engineer, examines drawings and exchanges opinions, and when the building contractor starts his work everything has been planned and specified.
Should printing be done in a less thoro manner? Is not the making of a book, catalog or business card each proportionately as important and as well entitled to proper attention as the larger undertaking? Good typography cannot be produced if preparation is slighted.
Quality printing is not accidental. Shops famed for the artistic excellence of their product have maintained their “shop style” despite changes in the force of workmen and executives, and this individuality, or “shop style,” as it is termed, has been obtained and retained only because the copy has been carefully prepared and the work has been intelligently laid out by some qualified person (artist, ad-writer or typographer) who understands shop preferences in the matter of style. It is the “institutional idea.”
In printshops extensive enough to allow of the expense, one or more layout men should be employed, and in the smaller concerns the head job compositor or foreman could do the work. Solicitors, when artistically fitted, could in special cases lay out their own jobs of printing, as personal contact with the customer peculiarly fits them to do it satisfactorily. The important thing, anyway, is to please the customer. While the art side of the practice of typography is important, it is not all important. Typography is also a business.
If the customer’s tastes and prejudices were ascertained beforehand, many of the changes now made after jobs are in type, frequently causing inharmonious arrangements, could be avoided. The average printer rarely parallels the experiences of a few fortunate printing concerns which, when receiving an order for a booklet or catalog, are told the amount of the appropriation and given carte blanche.
[Illustration:
EXAMPLE 3 EXAMPLE 2
Anticipating the appearance of the printed page by utilizing old booklets or preparing specimen sheets of text matter which are cut to proper size and pasted in position. The headings are roughly sketched with pencil ]
Orders for much of the better class of work are obtained thru “dummies” submitted by printers or solicitors. The customer advises a certain number of such persons that he is in the market for a booklet and would like to receive suggestions. Each competitor prepares a “dummy” on the stock and in the binding intended for the completed booklet. The cover design is roughly sketched or otherwise indicated and the inside pages prepared to represent the finished job.
Let us imagine ourselves in a printshop of medium size, which cannot afford the regular services of an artist. From the composing-room force take the most artistic and practical job compositor and install him at a desk. If there is not sufficient desk work to occupy his full time, arrange with him to fill in spare time at the case. In selecting a man for the position it should be remembered that few typographers have qualifications combining artistic perception and thoro workmanship. It is in a great measure true that a nervous, artistic temperament unfits a typographer for thoro, finished work at the case or stone, while on the contrary, a calm, precise, methodical disposition is often accompanied by lack of imagination. Each workman should have opportunity to do that which he can do best. He of the artistic temperament should lay out the jobs, and he of the mechanical turn of mind should construct them.
[Illustration: EXAMPLE 5]
[Illustration:
EXAMPLE 6
Ascertaining color combination by means of crayons. The colder color should predominate ]
[Illustration:
EXAMPLE 4-a
After pasting in illustration and counting the lines for machine composition. Reduced from the original ]
The proprietor or other person in authority should discuss with the layout man the subject of shop style in typographical arrangement. The matter of type equipment should also be gone over, as nothing hinders the layout man so much as to be compelled to use type-faces selected by another having ideas widely different. It is important that the type equipment be appropriate and sufficient for the class of work done. An equipment of a half dozen harmonizing faces of type is far better than one of two dozen ill-assorted faces. Good typography is to a large extent dependent upon the type-faces used.
[Illustration:
EXAMPLE 4-b
Instructions to operator ]
The layout man should make a study of the personality and tastes of a customer. He should meet all such that come into the office, and arrange to call once upon each of the regular customers. He must keep in close touch with conditions in the composing-room, so that in the discharge of his duties he does not call for type-faces already set out of the cases, or not a part of the equipment.
The mechanic and the artist, to do satisfactory work, must have a certain working outfit. The layout man is no exception; while he could perhaps manage with only a lead pencil and foot rule, it would be foolish to do so. His work will be expedited if he has an assortment of good crayons; hard, medium and soft lead pencils; a pair of shears, a T-square, a gelatine triangle, a type-line gage, a table for giving the number of words to an inch in the various size type bodies; and a library of books and periodicals on printing, especially of those showing examples of type designs. To provide him also with a set of water colors, a jar of Chinese white, a bottle of gold paint, a bottle of india ink and several brushes would not be extravagance.
It would be economical and wise if several sample sheets of each kind of stock were kept near his desk in a portfolio or convenient drawer. Book papers could be cut in quarters, cover papers in halves, and cardboard in various convenient sizes, all ready to be used at an instant’s notice. Several each of ruled headings, cut cards and other standard goods should also be included. In laying out jobs, especially large runs, he should make them of such size as will cut from the sheet with little or no waste. If an order is to be rushed, he should ascertain if the stock may be had without delay.
WORDS TO THE SQUARE INCH
┌───────┬───────────────────────────────────────────────────────┐ │ │ SIZES OF TYPE—_SOLID_ │ ├───────┼──────┬──────┬──────┬──────┬──────┬──────┬──────┬──────┤ │SQUARE │ 5 │ 6 │ 7 │ 8 │ 9 │ 10 │ 11 │ 12 │ │INCHES │POINT │POINT │POINT │POINT │POINT │POINT │POINT │POINT │ ├───────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┤ │ 1│ 69│ 47│ 38│ 32│ 28│ 21│ 17│ 14│ │ 2│ 138│ 94│ 76│ 64│ 56│ 42│ 34│ 28│ │ 4│ 276│ 188│ 152│ 128│ 112│ 84│ 68│ 56│ │ 6│ 414│ 282│ 228│ 192│ 168│ 126│ 102│ 84│ │ 8│ 552│ 376│ 304│ 256│ 224│ 168│ 136│ 112│ │ 10│ 690│ 470│ 380│ 320│ 280│ 210│ 170│ 140│ │ 12│ 828│ 564│ 456│ 384│ 336│ 252│ 204│ 168│ │ 14│ 966│ 658│ 532│ 448│ 392│ 294│ 238│ 196│ │ 16│ 1104│ 752│ 608│ 512│ 448│ 336│ 272│ 224│ │ 18│ 1242│ 846│ 684│ 576│ 504│ 378│ 306│ 252│ │ 20│ 1380│ 940│ 760│ 640│ 560│ 420│ 340│ 280│ │ 22│ 1518│ 1034│ 836│ 704│ 616│ 462│ 374│ 308│ │ 24│ 1656│ 1128│ 912│ 768│ 672│ 504│ 408│ 336│ │ 26│ 1794│ 1222│ 988│ 832│ 728│ 546│ 442│ 364│ │ 28│ 1932│ 1346│ 1064│ 896│ 784│ 588│ 476│ 392│ │ 30│ 2070│ 1410│ 1140│ 960│ 840│ 630│ 510│ 420│ │ 32│ 2208│ 1504│ 1216│ 1024│ 896│ 672│ 544│ 448│ │ 34│ 2346│ 1598│ 1292│ 1088│ 952│ 714│ 578│ 476│ │ 36│ 2484│ 1692│ 1368│ 1152│ 1008│ 756│ 612│ 504│ └───────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┘
┌───────┬───────────────────────────────────────────────────────┐ │ │ SIZES OF TYPE—_LEADED_ _with 2-point leas_ │ ├───────┼──────┬──────┬──────┬──────┬──────┬──────┬──────┬──────┤ │SQUARE │ 5 │ 6 │ 7 │ 8 │ 9 │ 10 │ 11 │ 12 │ │INCHES │POINT │POINT │POINT │POINT │POINT │POINT │POINT │POINT │ ├───────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┤ │ 1│ 50│ 34│ 27│ 23│ 21│ 16│ 14│ 11│ │ 2│ 100│ 68│ 54│ 46│ 42│ 32│ 28│ 22│ │ 4│ 200│ 136│ 108│ 92│ 84│ 64│ 56│ 44│ │ 6│ 300│ 204│ 162│ 138│ 126│ 96│ 84│ 66│ │ 8│ 400│ 272│ 216│ 184│ 168│ 128│ 112│ 88│ │ 10│ 500│ 340│ 270│ 230│ 210│ 160│ 140│ 110│ │ 12│ 600│ 408│ 324│ 276│ 252│ 192│ 168│ 132│ │ 14│ 700│ 476│ 378│ 322│ 294│ 224│ 196│ 154│ │ 16│ 800│ 544│ 432│ 368│ 336│ 256│ 224│ 176│ │ 18│ 900│ 612│ 486│ 414│ 378│ 288│ 252│ 198│ │ 20│ 1000│ 680│ 540│ 460│ 420│ 320│ 280│ 220│ │ 22│ 1100│ 748│ 594│ 506│ 462│ 352│ 308│ 242│ │ 24│ 1200│ 816│ 648│ 552│ 504│ 384│ 336│ 264│ │ 26│ 1300│ 884│ 702│ 598│ 546│ 416│ 364│ 286│ │ 28│ 1400│ 952│ 756│ 644│ 588│ 448│ 392│ 308│ │ 30│ 1500│ 1020│ 810│ 690│ 630│ 480│ 420│ 330│ │ 32│ 1600│ 1088│ 864│ 736│ 672│ 512│ 448│ 352│ │ 34│ 1700│ 1156│ 918│ 782│ 714│ 544│ 476│ 374│ │ 36│ 1800│ 1224│ 972│ 828│ 756│ 576│ 504│ 396│ └───────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┘
EXAMPLE 7
Table for ascertaining the number of words to square inches. Use of this table in laying out booklets and catalogs will not only save time but will minimize the chance of a miscalculation
[Illustration:
EXAMPLE 8
Notehead as set without instructions from layout man The three specimens on this page lack relation in design ]
For an example of the workings of the layout system we will suppose that the principal of a local business college has brought in typewritten copy of about a thousand words to be made into a small booklet. A little questioning brings out the information that the customer desires something attractive, refined, and of good quality. He does not want a cheap job, and neither has he money to spend upon expensive de luxe booklets.
The layout man looks over his sample papers and finds that there is on hand a ten-cent white antique paper 25 × 38 inches in size. Taking a quarter sheet he folds it repeatedly until the leaf appears to be about the proper size. Measuring it he finds it to be 4¾ × 6¼ inches. The leaf is then trimmed to 4⅜ × 5⅞ inches (thus allowance should always be made for trimming the edges after binding).
For the cover the layout man selects from his samples a medium gray antique stock of good quality. The cover stock should harmonize in finish with the paper on the inside. In this instance an antique finished stock is selected to cover the antique finished paper on the inside. Many are the booklets that would have been improved by attention to this rule of harmony. However, a rough finished cover stock and a smooth inside paper is not as inartistic a combination as a smooth cover stock and a rough inside paper.
The cover stock selected in this instance is 20 × 25 inches in size, and an eighth of this sheet folded once gives a leaf 5 × 6¼ inches. Deciding to have the cover lap three-sixteenths of an inch over the edges of the inside leaves, it is trimmed to 4–9/16 × 6¼ inches.
[Illustration:
EXAMPLE 10
Label as set without instructions ]
On one of the inside leaves a page is penciled off, the layout man judging how much of the paper should be covered by print. For cheap work it is generally necessary to crowd the matter into the least possible number of pages, and in such case narrow margins are allowed. For the better quality of work, liberal margins are necessary to proper results. A page should set toward the top and binding edges, the margins at these places being each about the same. The margin at the right edge should be a little more than at the top and back, and the margin at the bottom should be a little more than at the right edge. For the booklet now supposed to be in course of preparation, 2¾ × 4 inches has been determined as the proper size of the type-page. Each page thus requires eleven square inches of type-matter. The layout man refers to the table (Example 7) which gives the number of words to a square inch and ascertains that eleven square inches of ten-point type, the lines separated by two-point leads, should accommodate one hundred and seventy-six words. Multiplying this number by six, allowing two pages at the front of the booklet for the title, etc., he finds the booklet will take 1,056 words, about the number of words in the copy supplied.
[Illustration:
EXAMPLE 9
Business card as set without instructions ]
For a booklet of this kind the type should be no smaller than ten-point. Instead of stinting margins and sacrificing legibility, as is often done in endeavoring to force copy into a limited number of pages, additional leaves should be added.
The cover and inside papers having been prepared in the proper size and number of leaves, the dummy is stitched with wire or sewed with silk floss as may be desired. The arrangements of the title-page, the first text-page and a page entirely text matter are indicated in proper position by means of pencil and crayon; or for booklets of a large number of pages it is well to set the first text-page in type and paste a proof of it in the dummy, getting by this means the customer’s approval of both type-face and general effect.
The appearance of the printed page may be anticipated by pasting in position a type-page cut from another booklet already printed. (Examples 2 and 3.) In a shop where much booklet work is done, it would be a convenience to the layout man if a number of specimen pages, set in the available body type (both solid and leaded), were printed for use in preparing dummies. These specimen pages should be about 5½ × 7 inches, a size that would make them usable for most purposes.
The cover arrangement was sketched on the gray stock (Example 1), the border being represented by the gray lines of a hard lead pencil. The type line was indicated by means of a soft black lead pencil and an orange crayon. Ornaments are not specified because they are better omitted on booklets where dignity is the principal feature.
The dummy booklet thus completed is submitted to the customer and when approved goes to the workrooms with the copy. The compositor, make-up man, stockman, pressman and binder have no excuse for any misunderstanding, as, generally speaking, they have merely to duplicate the dummy. The labor of the estimate man, too, is lessened, as the dummy booklet affords a substantial basis upon which to figure the cost.
The plan of making a dummy booklet, just explained, can be adapted to many jobs, but of course it should be varied to suit special requirements.
[Illustration:
EXAMPLE 12
Business card as laid out ]
In cases of periodicals and voluminous catalogs, dummy sheets should be printed with the outlines of the page indicated by light-faced rule. With such sheets the layout man is enabled quickly to paste in position prints of the illustrations and text matter from the galley proofs. Getting his instructions in such methodical manner the make-up man can do his work without confusion of orders, and the proofreader’s task is made easy.
When illustrations are provided to be incorporated in the text matter there is more or less trouble in making up the pages. To center all illustrations so as to avoid changing the width of the type lines is easy but not always artistic. It is economical to have plates made the full width of type matter, but the printer is seldom consulted until after the plates are made. However, various sizes of illustrations may be attractively grouped on facing pages and the type-matter filled in around them. This method may appear difficult because the text matter is often composed on machines; but it is not difficult if prepared in this manner: Take the prepared body-type sheets, cut them to the required page size, paste them to the dummy sheets, and upon the pages of text matter thus presented fasten the prints of the illustrations in proper positions. The body-type sheets need not be used on pages for which there are no illustrations; in such instances merely the number of lines to a page is ascertained. Example 4-a demonstrates how the print of the illustration is placed over the body-type page, and the “step” shape of the pencil lines shows how the boundaries of the type lines are made to fit the outline of the illustration. The length of type lines should always be ascertained with the pica (twelve points) as the unit of measurement.
[Illustration:
EXAMPLE 11
Notehead as laid out for compositor. The three specimens on this page are related in design ]
Supposing Examples 2, 3 and 4 to be dummies of pages, the composition of which is to be done on the linotype or monotype machine, the layout man with his pica measure starts at the initial letter T and measures and counts the lines, noting the results in the margins. (See Example 4-a. The page as shown is slightly reduced, hence the lines do not measure as set forth.) The figures are copied from the margins onto a slip and will then appear as shown in Example 4-b.
This plan emphasizes the necessity of a layout man as a member of the executive staff in the modern printshop. It may be a simple procedure to reset run-around matter at the moment it is needed by the make-up man, but it is an expensive habit.
* * * * *
[Illustration:
EXAMPLE 13
Label as laid out ]
The average stationery job is sometimes given scant attention in the larger printshops where long runs on cylinder presses overshadow it in importance. This condition leads to unsatisfactory results and the customer is the sufferer; his stationery as a whole is likely to be not only inartistic but a patchwork of typographic styles and arrangements. To illustrate this: A dealer in artists’ materials orders at various times letterheads, business cards and package labels, and the copy is sent to the workrooms with no instructions about style. Assuming that a different compositor gets each order, the jobs are composed as shown in Examples 8, 9 and 10. These specimens are above the average in arrangement, but are faulty in that they have no relation to each other in appearance; have nothing distinctive in their typography that identifies the business card with the letterhead or the label.
[Illustration:
EXAMPLE 14
Layout of a cover-page, with instructions in detail as to material to be used. Reduced from original ]
[Illustration:
EXAMPLE 15
Cover-page as set from the instructions. Reduced from original ]
How different the results had an artistic layout man prepared each order before it was given to the compositor. Examples 11, 12 and 13, roughly sketched with pencil and crayon, demonstrate what could have been done. With stationery thus harmoniously treated a business house would be given credit for individuality and progressiveness.
In a printshop doing a good class of work (every printshop should endeavor to do that) the layout man ought to make a study of color harmony. Not that it is necessary for him to attend an art school or devote most of his time and attention to experimenting with prisms and light rays; charts and tables which help to solve the color problem are easily obtainable. After a little study and practice he will learn that while red, yellow and blue (the primary colors) harmonize with each other, mixtures of two or all three give shades that are more pleasing. Olive-green (an art shade) substituted for blue, in combination with orange, produces an artistic blend in place of the gaudiness which otherwise would prevail. This because olive-green is a mixture of blue and orange; a relationship in color composition is established and contrast lessened.
A black page increases in interest with the addition of a touch of red, and for this purpose vermilion is recommended. The vermilion shade of red is approximated by mixing white with orange-red.
The colored crayons with which the layout man should be supplied are exceedingly useful in determining color combinations. The eye is a reliable guide in this matter, if it is carefully trained to recognize color harmonies. It should be easy to distinguish the right from the wrong color treatment in Examples 5 and 6. The colder color should always predominate; backgrounds of bright red and bright yellow are difficult to harmonize with any color of ink excepting black.
From the insert (Examples 16 and 17) will be seen how a color combination may be roughly sketched on the actual stock to be used and the finished result indicated without setting a line of type or inking a roller.
When the page is set in type it is well to have the proofs in the colors and on the stock to be used, but it is unnecessary to separate the design into several forms to do so. For a job such as Example 15, for instance, two proofs may be pulled, one in black and one in orange, and the initial cut out of the sheet printed in orange and pasted in position on the sheet printed in black. Another and a more satisfactory way is to ink the entire page with black, then clean the black from the initials, and ink them with orange by means of a finger. It may be relevant to suggest that the human skin is ideal for inking purposes, and that a printer’s composition roller is an imitation of its qualities.
The layout man, in addition to the study of ink harmony, should learn to blend colors and tints of paper stock. He should know that a buff or cream inside paper reflects the color of a yellow-brown cover stock, and hence makes a prettier combination than white inside paper and brown cover stock. Another important point is the color blending of a tipped-on illustration and the stock acting as a background. The prevailing shade in a color illustration should be matched by the background or by a surrounding border, or by both.
When laying out advertisements or other display pages the size of the type-face should be written in the margin (Example 14). Practice will enable the layout man intuitively to approximate the size needed.
[Illustration:
EXAMPLE 20
An architectural subject appropriately treated ]
[Illustration]
HARMONY AND APPROPRIATENESS
In music there is that which the Germans call “Leit-motif”—the guiding theme in the construction or interpretation of musical compositions. The “Leit-motif” finds a parallel in the central idea or motive governing the composition of a building, a painting, a book or a job of printing. If Gothic is selected as the style of architecture for a building, every detail from the arches to the smallest bit of ornamentation is kept in harmony with the central idea of construction. If the building is to be Colonial, every detail is made appropriate to the Colonial motive.
[Illustration:
EXAMPLE 18
To obtain Harmony it is frequently necessary to use but one series of type, and either all capitals or all lower-case ]
The person is legion who undervalues the importance of harmony and appropriateness. Houses are furnished without regard to a general plan and furniture is added because it strikes the fancy at the moment of purchase. A Morris chair in dull-finished wood, a Louis XV table with dainty curves and gilt luster, and a mahogany or ebony piano case are gathered in motley discord on an oriental rug. And when this same person has printing done, or does it himself, there is again revealed an utter disregard for the things that make for harmony.
What is appropriate? There are times when it is difficult to give an unprejudiced answer, especially when an idealistic art interpretation of the appropriate is combatted by the homely reasoning of a tiller of the soil. As a finishing touch to the classic architecture of the agricultural building at Washington the words Fructus, Cereales, Forestes and Flores were carved in suitable places on the structure. The secretary of agriculture noticed the Latin words and forthwith ordered the architect to have them recarved in the English—Fruits, Grains, Woods and Flowers. Now there are those who say the words as modified suggest a sign on a country store. The architect probably reasons that the words as originally carved were purely decorative, and in their English form are not only unnecessary but are about as poetic as a page of stock quotations in a newspaper or a package of little pig sausages.
It requires a discriminating judgment to distinguish between the appropriate and inappropriate. The plain people of one of the new sections of New York City were astounded recently to find the street signs bearing such names as Socrates, Horatius, Poseidon, Aphrodite, Pericles and Seleucus. Names such as Wall Street, Broadway, Bowery and Fifth Avenue are unobjectionable, but Seleucus Street and Pericles Street—!
Typographers frequently go wrong in the use of the old Roman V. The V as part of the words PVBLIC LIBRARY on a stone building excites no comment; it seems appropriate and in good taste; but as part of the words PVRE MILK on a grocer’s letterhead it tempts the risibility in our natures. After all, good judgment is one of the most valuable assets a man can possess.
* * * * *
Harmonious and appropriate results in printing are brought about by discreet selection and use of these three elements: type, ink, paper. It is one thing to ink the type and pull an impression on paper, and it is another thing to do it properly. It makes a difference what type is used, what ink is used, and what paper is used. There are hundreds of type-faces, many colors and qualities of inks, and a variety of finishes and qualities of papers.
As to type-faces: Printers of law briefs and legal blanks need the formal, legible modern romans. Printers making a specialty of commercial stationery, wedding invitations and calling cards need scripts and engravers’ romans. Printers whose chief product is high-class announcements and booklets cannot do without old-style romans, italics and text faces. When everything in printing from the diminutive calling card to the massive catalog is solicited many styles of type-faces are needed.
[Illustration:
A
Harmony. The heavy line and the light line are found in the construction of both border and type-face. ]
[Illustration:
B
Harmony. The black, pointed characteristic is a peculiarity of both type-face and border. ]
[Illustration:
C
Harmony. Type-face is made of strokes of one width; border is composed of one line of similar width. ]
[Illustration:
D
Harmony. The two type faces are of the same design; one is stronger in tone. ]
[Illustration:
E
Harmony. The two type faces are of similar design; one is slanted and slightly altered to obtain contrast. ]
[Illustration:
F
Near-harmony. Type faces are sufficiently similar in design to blend if contrasting sizes are used. ]
[Illustration:
G
Incongruous. Border has no characteristics that can be found in the italic type-face. ]
[Illustration:
H
Incongruous. There is no relation in the style of these two type-faces; one has serifs, the other none. ]
[Illustration:
I
Incongruous. Letters not related in design: one is condensed, the other extended.
EXAMPLE 19—Harmonious combinations, and combinations that are incongruous ]
[Illustration:
EXAMPLE 21
A booklet cover, the coloring and typography of which is suggestive of the subject ]
As to inks: There are inks ground in strong varnish for bond papers, inks ground in soft varnish for coated papers, and heavy opaque inks for dark cover papers, and it makes a deal of difference if they are not used appropriately. And then, in the matter of harmony of colors there is a subject for much study. The wise printer will use good black inks and enliven his jobs with mere touches of orange or vermilion. Black and orange are always pleasing in combination and look well on most papers. There are pitfalls in the use of numerous colors, and until the subject of color harmony is understood by the printer he will wisely adhere to black and orange.
As to papers: Wove and laid antique papers, white and buff tinted, are appropriate for announcements and booklets in combination with old-style type-faces and black and orange inks. Dainty papers of linen finish in combination with delicate engravers’ type-faces, are appropriate for milliners, florists, jewelers and others catering to the esthetic tastes of women. Dull-finished coated papers are considered more artistic than highly enameled ones, and there are those who prefer it as being more restful to the eyes.
[Illustration:
EXAMPLE 23
An old lock-plate ]
It is a stupendous undertaking, in face of the multitudinous elements that are part of the production of printed work to point out a path that will lead to good typography. There are many printers doing good work and each of them has probably arrived at his point of attainment by a different route. There is no royal road to learning. The student may be assisted, but whether he succeeds depends to a great degree upon himself. He must have an open mind, good judgment, and a liking for simplicity.
Simplicity is synonymous with good typography and its path is a straight and narrow one. He who would do worth-while typography must decide wisely when accepting the good things offered by his friends, the paper man, type man and ink man. They are generous in their offerings and willingly assist the doubting one in deciding; but confidence in his own judgment is a necessary qualification for the typographer who would attain success.
[Illustration:
EXAMPLE 24
Inscription on a Roman arch ]
The ideal printshop is that one which contains only harmonious type-faces, ink colors and paper stock. This ideal condition being impossible except in a small shop, the best alternative is to have all type-faces as nearly harmonious as possible. It would be wise to build upon the body type as a foundation. Choose a body face that will be suitable for most purposes, and then select a series or family of display types that harmonize with it. If Caslon Old Style is chosen as the body letter, Caslon bold, Caslon italic and Caslon text will afford variety in display while retaining harmony. (Of course the large display sizes of the Caslon Old Style should be included.) The Cheltenham family probably provides the greatest variety of harmonizing faces. Scotch Roman is a dignified and legible letter, and supplemented by its italic and the larger display sizes is a satisfactory face for many purposes. Old Style Antique is a useful letter where a black tone is desired and is pleasing in its original form. There are many artistic letters now to be had that give the effect of hand-lettering, which are admirable for distinctive advertising literature.
[Illustration:
EXAMPLE 22
Type-design for catalog cover suggested by the old lock-plate ]
While harmony of type-faces is essential, yet a certain amount of contrast is desirable. At one time it was customary to alternate a line of capitals with one of lower-case. This arrangement gave contrast, but not harmony. The best results are obtained by the use of either all capitals or all lower-case. As explained in the chapter “When Books Were Written,” our alphabet in its original Roman form consisted of capital letters only. Lower-case letters, also known as minuscules, are the result of evolution, and in form differ materially from the capitals. Custom decrees that a capital letter be used to begin an important word otherwise in lower-case, but with this exception either kind is better used alone.
* * * * *
Example 19 illustrates harmonious combinations of type-faces and borders and also presents several incongruous features.
Section A is an all-capital scheme enclosed in a border of heavy and light rule. A border such as this owes its origin to the panels used by the Romans to surround inscriptions on stone, and as these inscriptions were in capital letters only, the appropriateness of the treatment is manifest. As the letter is also formed of heavy and light strokes the harmony is enhanced.
In section B there is harmony from both the historic and artistic viewpoints. The black text face, representing as it does the direct result of the evolution from capital letters, is appropriately used only in its lower-case form. The use together of text capitals is objected to on the ground of illegibility. This black text face (correctly called Gothic) is historically associated with ecclesiastical printing, and the border, consisting of pointed crosses of black tone, blends with the pointed black letters of the type-face.
[Illustration:
EXAMPLE 25
Cover-page for a catalog of books, using type imitations of woodcut initials and borders ]
Section C shows a plain letter of modern cut known erroneously as gothic. Containing no serifs, it lacks a feature which has always been considered necessary to beauty in type-faces. As a harmonious border for this face there is nothing better than a plain rule of the width of the type strokes.
The next three panels demonstrate such harmony as may exist between type-faces of different series:
D.—This panel shows Caslon bold in combination with Caslon roman, and demonstrates the close harmony existing between type-faces of the same family.
E.—Another demonstration of the harmony of the family types.
F.—Harmonious, to a certain extent.
The type and rule in the next panel do not harmonize for these reasons:
G.—The border is too black and square in form. Italic, because of the slant of its letters, looks better not surrounded by a border, but when one is used it should be light and contain some of the characteristics of the italic.
In all cases where ornamental borders are used more finished results are obtained if a rule separates the border from the type, as in Section B.
The next two panels present the “horrible examples,” which are defective for these reasons:
H.—The type-face of the upper group has nothing in common with that of the lower group. That of the upper group is a distinctive old-style roman, with serifs, and is set in lower-case, while that of the lower group is a plain black modern letter, without serifs, and is set in capitals. The main display should never be lighter in tone than the less important type matter.
[Illustration:
EXAMPLE 26
A plain page without ornament or decorative types, for a plain purpose ]
I fails to harmonize because the type-face of the lower group is slightly extended and the one of the upper group is condensed. The shape of the letters of a type-face should conform to the shape of the page, and so far as possible to the shape of the companion letter, when one is used. Condensed letters should be avoided except for pages that are long and narrow, and an extended letter should not be used except on a wide page.
* * * * *
There are more typographic sins committed thru violation of the laws of appropriateness than in any other way. In this regard it would not be difficult to make out cases against the best of typographers, whose sins are washed away by good work in other respects. As in architecture, where one part of a building bears relation to all other parts, so in typography there should be a motive that blends all elements in serving one well-defined purpose. The phrase “Is it appropriate?” prominently displayed above the type cabinets, over the presses, in the stock-room, and over the layout man’s desk, would help to keep in mind this important requirement.
An architectural motive was suggested by the copy for Example 20, and type-face and decorative border were selected that the motive should be emphasized. The architecture of the Romans was frequently embellished with inscriptions (see Example 24), and in modern architecture the panel of Roman lettering is a feature; the lettering is generally all capitals of the same size, of a style near that of the ancient lettering; and the panel is outlined with molding, plain or decorative. Serving a purpose equivalent to the architect’s panel molding, the type or rule border is a valuable addition to a page of type. A page of display type or a halftone not surrounded by a border is like an oil painting without a frame. The egg-and-dart border around Example 20 is historically associated with architecture. The type-face is a Roman capital letter designed by Fred. W. Goudy from an inscription found in the ancient Forum at Rome.
[Illustration:
EXAMPLE 27-a
Treatment appropriate for a church program, in style based upon old ecclesiastical manuscript books. (See specimen below.) ]
[Illustration:
EXAMPLE 27-b
Portion of a page of an old manuscript missal ]
Bismarck was called the “Iron Chancellor” because of his great strength of character and unbending will. Strength instantly associates itself with the mention of iron or steel, hence the motive for the construction of Example 22. It may be interesting to know that the design of this page was further suggested by the old lock-plate (Example 23). A printer with imagination can absorb ideas from many sources. The lock-plate is not literally reproduced in type, but a few of its features, including the key-hole, were borrowed and conventionalized. An artist-designer does not copy his models closely; they serve the purpose of suggesting shape and treatment and his imagination does the rest.
[Illustration:
EXAMPLE 28
Cover-page for a catalog of decorative materials, suggesting festive gatherings, music and waving flags ]
For the cover of a small catalog listing rare books, a typographic motive is found in the woodcut borders and initials of the early printers. Example 25 shows what may be done with type-foundry material on such a cover. The border is of black tone and the type and initials are given the strength that harmonizes with it.
Old books suggest discolored leather, dusty shelves and plain men, and it is an abrupt change to the subject of millinery, with its bright colored feathers, ribbons and delicate finery. The milliner ornaments his salesroom with vines and flowers and dainty colors, and the printer gets his typographic motive from such sources. Example 21 illustrates a booklet cover treated thus appropriately. The page size is unconventional, the coloring is dainty, and the type lines are neatly diminutive.
As a millinery store is unlike an office in which are maps and blue prints and legal documents, so typography for these two purposes should be unlike. Example 26 is a page severely plain and non-sentimental. The types are merely to tell something in a blunt manner. There is needed no touch of decoration or color to interest the reader, because those who read it would do so whatever the treatment. This is the only example in the present chapter in which the advertising element is unimportant. The page may be commonplace because it need not be anything else, altho it is well to do good work even here.
From the surveyor’s office our journey of instruction takes us into a church during an elaborate Easter service. Light filtered of its brightness by stained glass windows; high-placed Gothic arches pointing toward the sky; soft organ-music—all these create an atmosphere of solemnity and harmony. A program or pamphlet for use during a church service should be as appropriate to the environment as a Book of Common Prayer or Bible. Typographic treatment good as shown in Examples 22, 26 or 28 would be ridiculous for a church program. Example 27-a shows a page historically appropriate. The type-face is peculiarly fitting because of its pointed form, and also for the reason that a letter of similar design was used by medieval scribes on ecclesiastical books (see Example 27-b). The crossed rules, which should be printed in orange-red, are adapted from the guide lines as made by the scribes for marking the position of a page on the sheet.
[Illustration:
EXAMPLE 30
Title-page in semi-Colonial style, appropriate for use with a cover design such as Example 29 ]
When a holiday crowd is gathered, dignity is put aside and all enter into the festive spirit of the occasion. Here is the motive for the typographic treatment of a booklet or catalog of decorative materials as presented by Example 28. It would be excessive emphasis of appropriateness to print such a page in a combination of bright red and blue. The colors should be softened. The page would look well printed in a deep blue with a flat blue tint overprinting the star border.
There is room for improvement in the support typographers give artists in the production of booklets and catalogs. In many cases title-pages are constructed with no regard to the motive suggested by the design on the cover. Bibliophiles judge a book not only by the excellence of its execution, but by the harmonious unity that may be expressed in every detail, from the literary contents to the last bit of tooling worked on the cover. The type, ornamentation, paper, ink, margins, leather, the arrangement of the title-page and the cover treatment, all must be selected and utilized in expression of a dominant central motive. The same rule presents the key to good typography in job work. Example 29 shows the Colonial arch adapted as the border of a booklet cover. The artist gives this treatment to the cover because of the motive suggested by the name “Colonial Trust Company,” and when the title-page is set it would be a mistake not to use some Colonial arrangement. Example 30 blends with Example 29 and is modified from the old Colonial title-page treatment just enough to give it a modern appearance without sacrificing the old-time atmosphere. The border suggests both the widely-spaced rules of the Colonial printers and the architectural pillars of Example 29. No letter spacing is used, despite the temptation offered.
[Illustration:
EXAMPLE 29
The Colonial arch ]
* * * * *
Discussion of the subject of harmony and appropriateness could be extended much further than is allowed by these limits. Pages could be filled with descriptions of instances in which the compositor had erred in treating typography and ornamentation inharmoniously or with an unimaginative appropriateness. The use of angelic ornaments on Y. M. C. A. printing, where something more substantial is desirable; the double-meaning that may be read into the use of a horseshoe ornament on a printer’s letterhead; the placing of illustrations of live fish, lobsters and animal food on banquet programs—these are a few of the things that might be mentioned.
High-class catalogs have been marred by the use of stock decorative initials which were at variance with the other decoration. In order to save a few cents both printer and customer are inclined to use stock decoration that happens to be on hand at the moment. Hundreds of dollars are spent on the work and then for the sake of saving thirty cents (the cost of a harmonious initial or ornament) many dollars in effectiveness are sacrificed. Another way of injuring the appearance of a book is to use a type-face on the title-page that does not harmonize with that used for the body matter and the sub-headings. In order to secure complete harmony even the lettering on the cover should blend in style with that used for the title-page, sub-headings and text pages.
Altho strict adherence to the laws of harmony and appropriateness is necessary in the production of good work in any field of endeavor, Americans seem to be really proud when they violate such laws. We all know the person who dresses in a slouchy manner because he read somewhere that Horace Greeley dressed that way. And there is the modern politician who wears a slouch hat and constantly carries a quid of tobacco in his mouth because Henry Clay did so. There are also house-organ publishers who use inharmonious and inappropriate type-faces and decoration because Elbert Hubbard thus treats the cover of the Philistine.
It is not a question of the sort of clothes a person actually needs to go from one end of a street to another—Lady Godiva reached her destination with no clothes at all—yet we often admire a person dressed harmoniously and in good taste without knowing the reasons for our admiration. As there is art in tailoring and in the selection of clothes, there is also art in printing, and he who investigates will find that the great natural laws of beauty apply even to typography, which some by their work seem to think requires no more thought than ditch-digging.
[Illustration:
EXAMPLE 43
Uniform tone in classic typography. Page by Bruce Rogers ]
[Illustration]
TONE AND CONTRAST
This chapter is a story of the alpha and omega of color—white and black. Since the creation of the world, when light first illumined the darkness, these two colors (if I may call them colors) have been emblematic of extremes—white, the symbol of purity and goodness, black of impurity and evil. White and black represent extremes in color. Mixing of all the color rays of the solar spectrum produces white, and mixing of all the colors in the solid form of printing ink produces black. From this contrast of white and black maybe drawn a lesson in color. (Example 31.) Light represents warmth, darkness cold. As the colors are toward light they are warm; as they are toward darkness they are cold. Red becomes warmer as it takes on an orange hue, and colder as it takes on a purple hue. A warm color should be contrasted with a cold color—as orange with black. The further in tone the color is from black the more it contrasts with the black. As an illustration: Orange is more pleasing than a deeper shade of red as a companion color for black. Blue, purple or green, selected to be used with black, must be lightened with white ink to get the desired contrast.
[Illustration:
EXAMPLE 31
Contrast in color and tone ]
White and black as a combination are and ever have been popular with writers, printers and readers. Fully nine-tenths of the newspapers, books, catalogs and other forms of reading matter are printed with black ink on white stock. It is coincident that optical necessities require for best results in reading a black-and-white combination, and black ink and white paper are more cheaply and easily produced than other colors of ink and paper.
[Illustration:
EXAMPLE 32
An example of uniform tone and contrast of black and white. Page by F. W. Kleukens, Darmstadt ]
This chapter is also an illustrated sermon on uniformity of tone or depth of color, in which is pointed out the necessity of bringing many spots of black or gray into harmonious relation. The esthetic importance of uniformity of tone is universally recognized. Choirs are robed in white and black; fashion has its uniform clothing for the hours and functions of the day and night; theater choruses and the soldiery are living masses of uniform tone and color. As uniformity is important in these things, so is uniformity important in the tone of a page of printing. A type-page exhibiting a variegated mass of black and gray tones is not unlike a squad of recruits in different styles of clothing marching irregularly; while on the contrary a type-page of uniform tone and arrangement maybe likened to a uniformly equipped regiment of soldiers marching with rhythmic tread.
A page of display typography composed of a mixture of irregular gray and black tones is inexcusable in the sight of the art-loving reader. As combinations of inharmonious type-faces are wrong, equally so are combinations of incongruous tones. For the sake of contrast and variety in typography, art principles are too often ignored, the printer confessing to ignorance or lack of ingenuity. Contrast is necessary, but it may be had without sacrificing uniformity. Again making use of a military simile: soldiers are marched in platoons, companies, battalions and regiments that the monotony of solid formation may be broken; type is arranged in groups and paragraphs for similar reasons. While an absolutely solid page of type may present a pleasing tone, a slight break in the regularity is desirable for reading purposes. Thus art makes concession to utility, but such concession should always be granted reluctantly. There is classic authority for the arrangement of the type lines in Example 20 of the preceding chapter, but on the majority of printing jobs it is necessary to compromise with utility and emphasize important words, as in Example 19-a of the same chapter. The secret of producing artistic typography in these practical times is to pilot the ideas of the customer into artistic channels; emphasize the words he wants emphasized, but do it in a way that will result in creditable typography. There is a right way and there is a wrong way of arranging type, and too many typographers arrange type the wrong way and unjustly blame the customer for the result.
[Illustration:
EXAMPLE 34 ]
* * * * *
The effectiveness of uniformly black tone on a background of white is well illustrated on the beautiful book title shown as Example 32, in which even depth of color is consistently maintained. There is not a weak spot on the page; border, ornament and lettering are of equal tone, and the white background is reflected thru the black print in agreeable contrast. The Germans are masters in their treatment of contrast and uniform tone, and he who bewails the limitations of black and white printing should ponder over the results shown by this specimen from over the sea.
Here is a practical demonstration of the workings of the theory of uniform tone in typography. Example 33 displays four ornaments, each of a different tone or depth of color. One of the customs when constructing a booklet cover-page to be ornamented, is first to select an ornament that is appropriate in design and of proper proportions. Upon this ornament the page is constructed, and it dictates the characteristics of the border and of the type-face; its tone determines the tone of the entire page. This is also true of a trademark furnished by the customer, altho such plates are frequently so inartistic that a compromise is necessary.
[Illustration:
EXAMPLE 35 ]
Assuming that a cover-page is to be designed and that ornament A has been selected for use on the page, a rule border is chosen with triple lines approximating the strength of those in the ornament. (Example 34.) The lines are very thin, and white space is a large factor in producing a tone that is light and dainty, in keeping with the subject of the illustration. A perfect result would be obtained with a type-face of very thin strokes, yet Caslon capitals, slightly separated to let in white space, give good results.
[Illustration:
EXAMPLE 33
Four ornaments, each of a different depth of tone, used in the construction of the four pages shown as examples 34, 35, 36 and 37 ]
[Illustration:
EXAMPLE 36 ]
The ornament shown as B has been formed of lines darker than those used in the first ornament, and a mass of white forms a spot of contrast. Rules of the proper tone are selected and a border unit adopted that reflects the spot of white in the ornament. (Example 35.) Cheltenham capitals maintain the tone scheme. In this case, as in others, the type-face is a trifle stronger in tone than ornament and border. This is well. Type-lines on a cover are usually of more importance than the decoration.
[Illustration:
EXAMPLE 37 ]
[Illustration:
EXAMPLE 38. Dark tone—solid ]
[Illustration:
EXAMPLE 39. Light tone—spaced
Two extremes of tone on book pages. The same type-face is used on both pages; the spacing between words and lines alters the tone ]
[Illustration:
EXAMPLE 40
A page by J. H. Kehler, in which illustration and text are blended in uniform tone ]
Ornament C differs from ornament A in that it is composed of light lines contrasted with solid blacks. A border is made of a light line and a dark one, and the Bodoni type-face, containing light and heavy strokes in contrast with a white background, assists in producing a decidedly pleasing medium black tone (Example 36).
This combination of ornament, type and rule demonstrates there is considerable tone beauty in a well-selected contrast of light and dark lines when set off by liberal white space between lines and in the background.
The dense black tone of ornament D is duplicated in the dark-line border filled with black decorative units (Example 37). The black-printing Chaucer Text reflects not only the tone but the decorative characteristics of ornament and border. The tone of this example approximates that of the German page (Example 32).
These four examples afford an interesting study in uniform tone.
As the tone or depth of color increases from the light gray of Example 34 to the dense black of Example 37, it will be observed that the contrast between the print and the paper background also increases. This leads to the subject of contrast. What amount of contrast is needed on the ideal job of printing? There is conflict between art and utility on this question, but there need be none. Art demands that the print be a part of the paper upon which it is impressed, much as the plant is a part of the earth in which its roots are buried, and utility demands that the print shall be strong and clear that reading may be made easy. The artist-printer lessens the contrast between print and paper by printing with gray ink on gray stock, brown ink on light brown stock, and so forth. The utility printer gets the maximum of contrast by printing with black ink on white stock. As printing is both art and business some compromise must be made, and it is this: On two-color printing have all reading matter in the stronger color and subdue the color of the decoration so that the contrast between the paper and the print of the reading portion of the page is softened by this intermediate tone. Black print on white paper is made artistic by impressing the print firmly on antique paper. This roots the print to the paper, and the result is more idealistic than that presented by the print daintily set upon the surface of glossy, enameled papers.
[Illustration:
EXAMPLE 41
The spotted black tone of the border is reflected in the treatment of the text. The tone is made uniform by printing the border in a light color. Page by University Press, Cambridge ]
Lack of artistic feeling among typographers and customers is responsible for unpleasant contrasts in tone. A dense black illustration or initial will be set in a page of light gray reading matter, or type of black tone will be used on a page with an illustration of light lines. Great contrast in any detail of typography is not art but eccentricity; this statement may be made plain by a comparison. One winter’s day when the conventional folk of New York were wearing clothing of a somber hue, they were startled by the appearance among them of Mark Twain in a suit of white. Six months later the humorist’s garb would have excited no comment, but the black clothed mass of humanity around him emphasized the whiteness of his attire, and the conspicuousness thus produced separated him from his surroundings and made him an object of curiosity. Such things are done by great men to show their disregard for custom and by others because they are foolish or are advertising something; but it is common-sense right from Cervantes to do when in Rome as the Romans do (meaning that printed work which both attracts and repels by its gaudy, unconventional appearance is not nearly so good or desirable as the more conventional printed work which tastefully and quietly presents its message in subdued tones). One man will become widely known because he has dived from a big bridge or gone over Niagara Falls; another because he has painted a great picture or modeled a great statue. The one thrills, the other impresses. It may be easier to produce typography which attracts attention by contrast, but such results do not bring the lasting satisfaction that comes from typography thoughtfully and artistically designed.
[Illustration:
EXAMPLE 44
A study in uniformity of tone as found in combinations of type and decoration ]
[Illustration:
EXAMPLE 42
The tone of the illustration and type-face is here blended. Card by School of Printing, Boston, Mass. ]
Several other points are suggested by Examples 34 to 37. A page for a cover should be of darker tone than a page to be used as a title inside the book; this where the body-type of the inside pages is of the customary gray tone. A cover placed upon a book to protect it suggests strength, and the typography of the cover should conform to this suggestion. The reason for the uniform tone presented by each of the four examples above mentioned is another important point. Were the border darker than the ornament and type lines, the ornament darker than the border and type lines, or the type lines darker than the ornament and border, there would not be uniformity of tone, and a consequent loss in the effectiveness that comes from tone harmony.
* * * * *
The tone of a massed page is of vital importance in the typography of a book, and a happy medium is somewhere between the under-spaced black type-page of Morris and the over-spaced hair-line type-page against which the Morris page was a protest. Examples 38 and 39 show the manner in which the tone of a page may be controlled by spacing. In Example 38 the page is moderately spaced between words and lines and in Example 39 the page is liberally spaced, presenting two extremes and vividly picturing the manner in which spacing influences the page tone.
The tone of the pen-and-ink outline illustration in Example 40 is admirably duplicated in the typographical treatment accorded the page. The result would not have been so satisfactory if there had been no quad lines to break the solidity of the page.
The spotted black tone of the decorative border in Example 41 is reflected in the typography of the page, a result obtained by using a bold-faced body-type and separating the words with a liberal amount of space. However, the tone would not be equal printed in one color, but by printing the border in a lighter color the tones are equalized. Here is a suggestion for obtaining even tones. Where one portion of the page is bolder than the other, print it in a lighter shade of ink, or if any part of a type-page must be printed in a lighter color, set that part in a type-face of darker tone (Example 47).
Job printers should be interested in Example 42, as it is a good presentation of the theory of uniform tone. The effect of the open-line illustration is duplicated in the spaced Jenson capitals and cross lines. The result would have been even better had the small groups on both sides of the illustration been slightly letterspaced and the line at the bottom spaced less.
Example 43, on the insert, is a classic interpretation of uniform tone. The architectural design is formed of lines about the same strength as the strokes of the type-face and the massed capital letters admit sufficient light to give them a tone near to that of the open-spaced border.
Example 44 (insert) is a pleasing blend of tone and characteristics. The delicate light-gray tone of the Camelot type-face is closely matched in the decoration and border, and altogether this is an almost perfect exemplification of the subject of this chapter. It is seldom that an artist so carefully considers the characteristics of a type-face and reproduces these characteristics in so admirable a manner as was done in this instance.
[Illustration:
EXAMPLE 45
In which the tone of the initial and headpiece is lightened to near that of the text portion. Page by Heintzemann Press, Boston ]
Initials and headpieces should approach closely the tone of the type-page of which they are parts. Example 45 shows such a combination, with the tone of the decoration just a trifle darker than that of the text portion. An initial has other duties to perform than merely to look pretty; it must direct the eye to the beginning of the reading matter. In the manuscript books of the Middle Ages, written without paragraphs, the starting point of a new thought was denoted by an initial more or less elaborate. The utilitarian purpose thus served by the initial is reason for making it a trifle darker than the remainder of the page. However, if there is great contrast in tone, the page will be difficult to read because of the initial claiming too much attention. The effect would be much like attempting to listen to one speaker while another is calling and beckoning.
[Illustration:
EXAMPLE 46 ]
[Illustration:
EXAMPLE 48
Display lines in tone should match the border ]
Every rule has its exception and I wish to record one in the matter of uniform tone. On a page composed of display lines and a large amount of reading matter it is an offense against legibility to set the reading matter in a type-face of black tone to correspond with the display lines, considerable contrast being necessary in such cases to make reading easy. (Example 48.) Notwithstanding this exception in the case of reading matter, uniform tone should be retained between display lines and border.
[Illustration:
EXAMPLE 47 ]
If a catalog is illustrated (and the majority are) it is important to have the illustrations prominent on the page, sacrificing tone to utility if necessary. Sometimes the illustrations are printed in dense black and the remainder of the page in gray or brown. While this causes the illustrations to stand out in relief—an important point when machinery is depicted—it should not be forgotten that the type matter must be read.
In advertising composition it is seldom possible to have an even tone on the entire page. The New York _Herald_ advertising pages are unique in this respect. Outline type-faces are used, and all illustrations are redrawn in outline before they are published. This serves to give a uniformly gray tone to the pages, but the advertisers are not enthusiastic over the effects. While other newspapers may not be able to maintain uniform page tone, it is possible at least to have each advertisement present a tone uniform in its displayed parts and border, and the good typographer will secure such effects. The gray shaded type-faces now available should enable printers and publishers to obtain tone uniformity where gray effects are desired and large type sizes used.
[Illustration:
EXAMPLE 49
Equal spacing is necessary to obtain uniform tone ]
Irregular letterspacing has been the cause of many pages of unsatisfactory tone. In a displayed page where one line is spaced between letters, all lines should be similarly spaced. Example 49 presents a decidedly unconventional letterhead by reason of the letterspacing, and it illustrates the point that all lines should be spaced equally. It may be well to warn job compositors inclined to imitate the style of this heading that there are few customers who would concede any merit to such an arrangement, and it should be used sparingly. Unconventional treatment, even tho good along the lines of the style chosen, is not always appreciated.
[Illustration:
EXAMPLE 58
In which the ornament, the border and the type-face are in proportion ]
[Illustration]
PROPORTION, BALANCE AND SPACING
Symmetry is necessary to beauty. This law of esthetics is as applicable to typography as to sculpture and architecture. Proportion and balance— the things that make for symmetry in typography—are obtained only by giving the work more attention than seems necessary to the average producer and buyer of printing.
Why should the printer worry about esthetics—about symmetry? What has art to do with printing, anyway? Questions such as these find too frequent voice in the printing trade, coming from the employee whose interest and ambitions end when he “gets the scale,” and the employer who is satisfied merely to deliver so many pounds of paper and ounces of ink for so much money. Pity the man whose work is drudgery and who denies that art and beauty are meant for him. He has his antithesis in the man who, appreciating the higher blessings, neglects to give value to the more common and practical things.
[Illustration:
EXAMPLE 50
One method of determining the page length. The page should measure diagonally twice its width ]
There have always been two opposing classes—in religion, politics, art, music, business. On all questions one portion of humanity is “for” and the other “against,” mostly because of the influence of environment upon tastes and interests. Mozart’s and Beethoven’s music charms and enthuses and also lulls to sleep. One class should try to understand the other. Each has good reasons for its preferences, but none at all for its prejudices. The painter Rubens, gathering inspiration in the courts of royalty, portrayed luxury and magnificence. Millet, painting in a barn, pictured poverty, sorrow and dulled minds. What pleased one found little sympathy in the other. During the Middle Ages learned men talked, wrote and thought in Latin, and when it was proposed to translate the Scriptures into the language of the masses these men held up their hands in horror.
Not so many years ago the book printer looked upon the job printer as the Roman patrician looked upon the plebeian, but the job printer has absorbed dignity and typographic taste from the book printer. While the book printer’s highest ideal is a volume with uncut leaves ornamenting the book shelves of the collector, the job printer’s mission is to be all things to all men. He prints the refined announcements of art schools one day and another day finds him placing wood type to tell the story of a rural sale of articles “too numerous to mention.”
There should be more sympathy between the book printer and the job printer, and also between the printer who regards his calling as a business and the printer who regards it as an art. The employer and employee who consider printing only a means to an end and that end money, are as near right and as near wrong as they who produce art printing for art’s sake and forget the pay envelop and the customer’s check. The first starve their souls, the last their bodies.
[Illustration:
EXAMPLE 51
Another method of determining the page length. The length of the page should measure fifty per cent more than its width. These examples also present proportionate margins, the foot margin in each instance being the largest ]
The printer who does things artistically in an economical manner “strikes twelve” (in the slang of Elbert Hubbard). Printing need not be shorn of beauty to be profitable to both printer and customer, tho beauty too conspicuous turns attention from the real purpose of the printed job—which, in the case of a booklet, is the message the words convey. An equestrian statue of Napoleon should feature the great conqueror, not the horse, but would be impossible with the horse left out.
Art is essential to printing; so are Uncle Sam’s specimens of steel engraving. The more art the printer absorbs the larger should grow his collection of these engravings. Study of art arouses ambition; ambition brings better and harder work. It reveals in the typographer the difference between mere lead-lifting and the artistic selection and arrangement of types. The boy who sweeps the floor and does his best is nearer art-heaven than he who sets type and cares not how he does it.
The printer who determines to learn about art—who makes continued effort to find the reason why one man’s work is good and another’s is not, will be surprised and gratified at the new world that unfolds itself as he studies. He will find that altho having eyes, he has really seen only as he has appreciated. There is no easy road to the appreciation of the beautiful. Art does not consist merely of a set of rules to be observed; there are few beacon lights placed by those who have trod the road. Beyond a certain point the novice must depend upon intuition or “feeling.” Great painters have been asked their method of producing masterpieces, and have been unable to explain.
* * * * *
[Illustration:
EXAMPLE 53
In which vertical lines predominate ]
In introducing the subject of “Proportion” it is well first to dispose of book pages. In olden times the sizes of books were known by the number of folds to a sheet of paper about 18 × 24 inches. A book made from such sheets, folded once into two leaves, was known as a folio volume and measured about 12 × 18 inches. Folded twice into four leaves, a quarto, measuring 9 × 12 inches. Folded three times into eight leaves, an octavo, measuring 6 × 9 inches. Paper is now made in a variety of sizes, which allow of individual preferences being satisfied. For the sizes of catalogs 9 × 12 and 6 × 9 are becoming standard. The sizes do not depart far from the rule of proportion which holds that the width of the page should be two-thirds its length.
Examples 50 and 51 illustrate two widely-used methods of determining page lengths. By the first method (Example 50) the page should measure diagonally twice its width. In this instance the width being eight picas, the diagonal measurement is sixteen picas. By the second method the length of the page should measure fifty per cent more than its width. Here the width being eight picas, the length is twelve picas. These measurements may or may not include the running titles or folios.
[Illustration:
EXAMPLE 54
Compare with Example 53 ]
If only small margins are possible, the page (exclusive of running title) should be about centered, with a slight inclination toward the head and back. But when margins are reasonably ample the page should set liberally toward the head and back; the margins of the head and back (exclusive of the running title) should be about the same, the outer side margin should be fifty per cent more than the back margin, and the foot margin one hundred per cent more than the back margin. Various explanations of this rule have been put forward, a few of which are: The old book-owner making marginal notations as he read, needed wide margins for the purpose. Early manuscript books were bound on wood, and this wood was extended at the foot and used to hold the book when reading. Two pages being exposed to view were treated as one page, much as double columns are now treated. As book illuminators required room for their handiwork the margins may have thus originated. The principal reason why we should observe such margins is that the arrangement has the sanction of long usage and the approval of the best bookmakers since books were written.
* * * * *
The job printer, it is reasonable to suppose, is more interested in proportion as it refers to display typography. He asks: What relation has type, in the shape of its face, to the page of which it is a part? And the answer is: A type-face should conform in the proportion of its letters to the proportion of the page. Let us thoroly understand this. In Example 52 there are shown three widths of type—condensed, medium and extended. The type of medium width is more used than the condensed or extended kind, and most pages have a proportion such as Example 55. From viewpoints of both economy and art, the type-face of medium width should be given preference when selecting type equipment. Condensed types are properly proportioned for use as headings in the narrow columns of newspapers and for narrow folders and booklets.
[Illustration:
EXAMPLE 55
The conventional page shape, with type and ornament in proportion ]
[Illustration:
EXAMPLE 52
Three widths of type-faces ]
[Illustration:
EXAMPLE 57
Compare with Example 56 ]
Many of the laws that are necessary to good typography also govern the other arts. As an instance, in architecture it is requisite that a tall and narrow building contain a preponderance of vertical lines, a feature most noticeable in church buildings of Gothic style (Example 54). Because the extent of vertical lines is greater than that of horizontal ones in a condensed type-face, such a face is proper for a long and narrow page (Example 53). The proportion of page shown by Example 55 is about that met with most frequently in printing production. Here the vertical lines are in a slight majority, but it is interesting to observe that in Example 56 where the page is more wide than long, horizontal lines are more numerous than vertical ones.
[Illustration:
EXAMPLE 56
In which horizontal lines predominate ]
It is not always possible to follow out in every detail the requirements of proportion. Architects must sacrifice much in the interests of utility and in deference to the wishes of their clients. Printers must do likewise, but as a rule they travel farther from true art principles than do architects. Consider the contrasting proportions of the structures in Examples 54 and 57. In Example 54 notice that the openings have been made to conform to the general proportions, and that vertical lines have been multiplied to emphasize narrowness and hight. As a contrast, in Example 57 observe the width of the openings; how it blends with the general proportion of this structure. Now to ascertain that typography parallels architecture compare Example 53 with 54, and 56 with 57.
[Illustration:
EXAMPLE 59 ]
[Illustration:
EXAMPLE 60
The type-faces of these two examples are not in proportion with the pages ]
An exaggerated idea of the relation of lines to proportion is furnished by Examples 62 (see insert) and 63. The vertical lines of Example 62 run with the length of the page as smoothly as a canoe floating down stream. The horizontal lines of Example 63 are irritating in their disregard of proportion. For the eye to take in at a glance both the page lines running vertically and the rules running horizontally is as difficult as watching a three-ring circus. Examples 59 and 60 also illustrate this point.
I have prepared in Example 58 (see insert) a page in which not only are ornament, type-face and page-design in proportion, but the characteristics of the ornament are reflected in the border, and the tone is uniform.
Irregularity of form is valuable in breaking monotony, and in some forms of art may be essential, but as contained in Example 61 this feature is inharmonious. Before experimenting with variety or becoming agitated about monotony the typographer should perfect himself in the things that make for regularity. When he learns to set a page that is harmonious and in proportion then it may be well to introduce irregularity—in homeopathic doses.
* * * * *
There is much uncertainty manifested among typographers as to the proportionate strength of display lines on a page. A type line is proportionately large or small as it contrasts with its environment. Gulliver was a giant when among pigmies. The foremost citizen of a country town is considerably reduced in importance when he rubs elbows with the big men of the cities. The homely adage that “a big frog in a small puddle is a small frog in a big puddle,” is applicable to typography. A display line surrounded by other type lines (Example 64) must be made larger or by strengthened strokes made bolder than when alone on the page (Example 65). The old City Hall in New York is claimed to be the most beautiful work of architecture in the city, but is ridiculously out of proportion with the towering office buildings surrounding it.
[Illustration:
EXAMPLE 63
Horizontal lines are not suitable for a vertically narrow page (See Example 62, insert) ]
[Illustration:
EXAMPLE 61
Type-faces and borders are mismated ]
Examples 66, 67 and 68 are studies in the proportion of a type-face to the page of which it is a part. In Example 66 the page is largely covered with type, treatment that is necessary on poster, dodger and other printed matter that must force its presence upon the public. In Example 67 the page consists mostly of blank space, the type standing modestly and apologetically in the midst of that space. This treatment is proper on dainty works of poetry or when the demands of extreme refinement are to be satisfied. Example 68 is the “happy medium,” the compromise—a strength of display that will be satisfactory in almost every case. This method of arriving at correct treatment emphasizes the need in the typographer of a judicial as well as an artistic temperament. The wise judge knows that truth is about midway between the claims of opposing counsel.
[Illustration:
EXAMPLE 64 ]
[Illustration:
EXAMPLE 65
A display line surrounded by other type lines must be made larger than when alone on the page, to obtain proportionate emphasis ]
* * * * *
Balance is another important subject, as it has a big share in making typography good or bad. The builder works with plumb-line and spirit-level that his walls may be in perfect balance, tho sometimes he is tempted, as the printer is tempted, to work away from the center of gravity. In Italy there is a building, an architectural curiosity—the leaning tower of Pisa (Example 73) in the construction of which gravity has been defied to the limit, and in Canada only recently a bridge in course of construction on this gravity-defying principle, fell in a mass into the river. In typography, safety from blunder lies in type lines horizontally centered. Typographic experts experimenting with out-of-the-center balance, both succeed and fail. Compositors imitating them generally fail. Example 76 is an out-of-the-center arrangement that is fairly successful. Balance is saved by the type-lines in the upper left corner and by the border surrounding the page. Examples 69 and 75 show out-of-center balance adapted to a business card and a booklet cover.
[Illustration:
EXAMPLE 69
Out-of-center balance, adapted to a business card ]
While horizontally the center is the point of perfect balance, vertically it is not. Stick a pin thru the very center of an oblong piece of cardboard and twirl the card; when movement ceases the card may not hang uprightly. Mark off the card in three equal sections and stick the pin thru the horizontal center of the line separating the upper two thirds. After being twirled the card will cease to move in a perfectly upright position. Example 71 shows a word placed in exact center, yet it appears to be low. Example 72 shows a line above center at the point of vertical balance. On a title-page, business card, and on most jobs of printing the weight should come at this point. The principal line, or group, should provide strength necessary to give balance. Example 70 presents a page with type group and ornament placed unusually high. The typographer responsible was undoubtedly testing balance to the limit.
[Illustration:
EXAMPLE 66
Type proportionately too large for the average page ]
[Illustration:
EXAMPLE 67
Type proportionately too small for the average page ]
[Illustration:
EXAMPLE 68
This proportion is about right for the average page ]
[Illustration:
EXAMPLE 62
In which the lines of the design run in the proper direction. Arranged by Will Bradley ]
[Illustration:
EXAMPLE 70
In which the upper type group is unusually high. Page by D. B. Updike ]
Sometimes the customer gets a notion he wants a type-line placed diagonally across the page in a manner like Example 74. Such arrangements generally show lack of imagination and are crudely freakish. There are so many orderly ways of arranging type that such poorly balanced specimens are deplorable.
[Illustration:
EXAMPLE 74
A disorderly arrangement ]
Spacing is seemingly one of the little things—merely incidental to the mechanical practice of typography. When the apprentice compositor is told to divide his spaces evenly among all the words in a line; not to thin space one line and double-thick space another; to transpose a two-point lead, or make some other what to him may appear to be trivial alteration in spacing, he judges his instructor to be over-particular. Yet the proper apportionment of space on a page determines the tone and the balance and aids in giving proportion and emphasis.
In type-making, when a font of type is designed, not only is each letter considered separately, but in combination with every other letter of the alphabet, that when the letters are assembled into words space may be evenly distributed. The designers of the best type-faces have given attention to this feature and have demonstrated that legibility is increased with proper space distribution. Because of the excessive open space it contains, the capital L gives the most trouble of any letter used as an initial. As part of the word “Millinery” the irregularity of spacing is particularly prominent (Example 79-a). Partly to overcome this irregularity the companion letters should be spaced as shown in 79-b. When the letters A T occur together, and the space between them should be decreased, it is necessary to file the metal in the upper right of the type A and the metal in the lower left of the type T.
[Illustration:
EXAMPLE 71
A word placed in exact center appears to be low ]
[Illustration:
EXAMPLE 72
Showing the point of vertical balance ]
With roman type-faces, important words are usually emphasized by italics or small capitals. The Germans, using for body purposes a text letter which has no italic or small capitals, space the letters to get emphasis (Example 80-a). Letter-spaced words thus used are perhaps as neat as italic, and the idea may well be adapted to roman types (Example 80-b).
[Illustration:
EXAMPLE 73
Balance out of center ]
[Illustration:
EXAMPLE 75
The ornament balances the design. Page by School of Printing, Boston ]
[Illustration:
EXAMPLE 76
Out-of-center balance. Page by Will Bradley ]
The relation of lines to proportion, as illustrated by Examples 62 and 63, is also to be considered in the composition of plain reading pages. Example 77 shows how the effect of horizontal lines is given by narrow spacing between the words and wide spacing between the lines. This gives a result, like that of Example 63, contrary to the principles of proportion. How this may be overcome is illustrated in Example 78, which contains the same amount of space between the words as is between the lines. This treatment not only gives better proportion, but improves the tone of the page.
[Illustration:
EXAMPLE 77
The effect of horizontal lines is given by narrow spacing between the words and wide spacing between the lines ]
[Illustration:
EXAMPLE 79
Other letters must be spaced because of the open appearance of the letter “L” ]
[Illustration:
EXAMPLE 81
The erroneous and obsolete practice of spreading the lines over the page ]
Adapting this principle to display composition, Examples 81 and 82 are enlightening. Example 81 shows the manner in which some years ago display lines were erroneously distributed over the entire page, presenting in effect the faults of Example 77. The manner of rectifying these faults is demonstrated in Example 82, where main lines are grouped at the point of balance in the upper part of the page.
The narrow measure to which these words are set necessitates letterspacing. The resulting appearance is far from satisfactory yet it enables illustrations to be grouped pleasingly and makes possible a squaring of the pages which could not be done otherwise.
[Illustration:
EXAMPLE 78
The effect of horizontal lines is avoided by having the space between the words approximate that between the lines ]
[Illustration:
EXAMPLE 80
Emphasis obtained by letterspacing, in lieu of italics and small capitals ]
[Illustration:
EXAMPLE 82
The correct modern practice of grouping the lines at the point of balance ]
It is not always that results are as perfect as we desire them. In New England there is a printer who, in the opinion of those fortunate to have viewed his work, is producing typography classically perfect; yet this man goes from his work at the close of the day almost discouraged because of the faults that are evident to his trained eye. The artist’s ideal always eludes him and the chase seems a hopeless one, yet he continues on lest he lose sight of it altogether. It is a good sign when one recognizes imperfections; it means that he is gaining ground on success.
[Illustration:
EXAMPLE 125
Illustrating the significance of ornamentation, as applied to a booklet. Design by the Matthews-Northrup Works, Buffalo, N. Y. ]
[Illustration]
ORNAMENTATION
Offer a child the choice of two toys, alike excepting that one has a flower painted upon it, and he will doubtlessly select the ornamented one; proving that the human race has a natural liking for ornamentation. When the old-time trader visited savage countries, he took with him colored glass and brought back gold. The glass soon after ornamented the somber bodies of the savages, and the gold became rings and bracelets worn by the whites. There are those in this day who love the trees and the flowers and hear music in the brooks, but more find pleasure in artificially ornamented ball-rooms with music blown and sawn and hammered from brass and catgut and sheepskin.
[Illustration:
EXAMPLE 83
The egg-and-dart ornament ]
[Illustration:
EXAMPLE 84
The bead ornament ]
Man was created in a garden of flowers and trees pleasant to the sight, yet he has ever been yearning for a new Eden of pure gold, garnished with precious stones, forgetting that Solomon in all his glory was not arrayed like the lily of the field. Nature is the great artist, and man’s ornamentation at best is a poor imitation of natural things. The trees of the forest gave the motive for the stone columns and ornamental capitals of architecture, and the plant and animal world furnished themes for talented calligraphers in the days when books were literally written. The blue vault of the skies inspired Michelangelo to plan the great dome of St. Peter’s at Rome, as the sun furnished a model for the Indian while decorating his tepee, and the flowers of the field have provided inexhaustible color harmonies.
[Illustration:
EXAMPLE 85
The egg-and-dart ornament as a typographic border ]
In the early days of this country most of the inhabitants devoted their working hours to the struggle for existence, and it has been only within recent years that the average man has given thought to art. Many a one has thrown off his lethargy to discover beautiful things all about which he had never before noticed.
Art galleries and libraries all over the United States are aiding greatly in the cultivation of taste for art, and the printer to whom these privileges are accessible, yet who does not avail himself of their advantages, is much like the man who was lost in the Adirondacks, not knowing he was but a half-mile from a railroad. China, who could conquer the world if she only knew her power, has been sleeping for centuries, while a little handful of intelligent people on a small island of Europe wields an influence that is felt wherever the sun shines.
[Illustration:
EXAMPLE 86
The bead ornament as a typographic border ]
The printer and he of an allied vocation should take less thought of food and raiment and devote more thought to learning the things of today and yesterday with which he may be but little acquainted. If one knows just enough to “make a living” he will never make more than a living. A study of art, of history, of the larger things in the printing business, will result in the good things of the earth being added.
* * * * *
Is ornamentation necessary to art-typography? Ask one good printer and he will answer, yes. Ask another and he will answer, no. One of the meanings of ornament as given by the Standard dictionary is: “A part or an addition that contributes to the beauty or elegance of a thing.” A paper may be so pleasing in texture as to give beauty or elegance to an otherwise plain page of printing; in fact, it is sometimes a mistake to use type ornaments or other embellishment on a richly finished hand-made paper. On the contrary, a stock poor in quality or color had better be covered with decoration to divert attention from the paper.
[Illustration:
EXAMPLE 87
Conventionalized papyrus plant (Egyptian) ]
[Illustration:
EXAMPLE 88
The winged ball, an ornament much used by the Egyptians ]
[Illustration:
EXAMPLE 89
The acanthus leaf, much used by the Greeks and Romans in ornamentation ]
[Illustration:
EXAMPLE 90
Palm-like ornament, used by Greeks and Romans ]
[Illustration:
EXAMPLE 91
Plain and dignified. The Doric pillar ]
[Illustration:
EXAMPLE 92
Slightly ornamental. The Ionic pillar ]
[Illustration:
EXAMPLE 93
Elaborately ornamental. The Corinthian pillar ]
There are printshops in which all ornaments are kept under lock and key; a compositor wishing to use decoration must present good reasons before he gets it. Customers have become suspicious of type ornamentation because of the peculiar use to which printers sometimes put it. A young man some years ago became possessed of a desire to do artistic printing and had a number of type ornaments purchased with which to express his ideas. When one proof after another came from the customer with ominous blue marks upon the cherished ornaments, he realized the necessity of revising his ideas of art. For fully a year after that he worked without voluntarily using an ornament, meanwhile developing all the possibilities of good type-faces and appropriate paper stocks and color combinations. It has been claimed that fasting has a beneficial effect on the body; be that as it may, our friend certainly improved his artistic taste by his abstinence. When he again began using ornaments it was with discrimination and after study of their significance and appropriateness.
* * * * *
This leads to the subject of motive or reason in ornamentation. The styles of typography may be generally divided into two classes, one dominated by Roman or Italian influence and the other by Gothic or German influence. During the Middle Ages the Gothic influence was felt chiefly because the pointed style of architecture and embellishment was sanctioned by the Christian church. As art was practically dead outside the church, the art-workers absorbed the Gothic style.
[Illustration:
EXAMPLE 94
Ornamentation as used by the Romans on an entablature and a Corinthian pillar, showing egg-and-dart, bead, and acanthus ornaments ]
When typography was invented Gutenberg’s first book was based upon the Gothic style—the type-face a pointed black letter, such as was then used on manuscript books, and the ornamentation pointed foliage (done by hand). It was some years after this that typography came under the influence of the Italian Renaissance, and both type-faces and decoration assumed the Roman style. In the old days there was sympathy between the various arts and crafts, and it worked for harmony in effects. Building-decoration, metal-carving and wood-engraving were governed by the same artistic motive, and were often done by the same man, much as the printer at one time was compositor, pressman, binder, typefounder, ink-maker and paper-maker, all in one. Now, many a piece of printing goes wrong because the ideas of several people, inharmonious from lack of relation, are injected into the work during the several stages necessary for its production.
The relation of typography to architecture is plainly shown in the formation of the Roman and Gothic alphabets. The letters of the Roman alphabet, dignified in their straight strokes and symmetrical in their rounded lines, suggest features of Roman architecture (Example 106; also see Example 43 of a previous article). In the interesting picturesqueness of the pointed black Gothic letter may be seen reflections of the graceful arches of the cathedral pointing upward like hands in prayer—and of the pointed leaf ornamentation of the Gothic period. (Example 107.)
[Illustration:
EXAMPLE 98
Dainty, elaborate rococo ornament, as applied to a program title-page. Compare with the chair, Example 97 ]
Ornamentation is both inventive and imitative. An ornament purely inventive or one purely imitative is seldom artistic. A child may make a jumble of lines that altho original means nothing; when it is older it may draw a flower so realistic and imitative that little is left to the imagination. When a flower or plant is used as a model in designing an ornament it is “conventionalized,” that is, it is blended with its environment. A flower in a garden surrounded by other vegetation should be as the other flowers, but as an ornament on the flat surface of paper it should be without perspective. Example 108-a shows how commonplace an ornament looks when its details are carefully shaded in perspective. Examples 108-b and 108-c show how more decorative an ornament is when either outlined or filled in. Sometimes shadows are merely suggested, as on the fruit basket and book ornaments in Example 113.
[Illustration:
EXAMPLE 95
Square-lined, ornamentless furniture ]
[Illustration:
EXAMPLE 97
Dainty and elaborate rococo ornament, as applied to furniture. Compare Example 98 ]
[Illustration:
EXAMPLE 100
Slightly ornamental typography. Compare with chair opposite. Design by Will Bradley ]
In the conventionalized decorative art of all ages may be found traces of the things which have inspired the decorator. The lotus leaf, and the papyrus plant (which once gave writing material to the world) thousands of years ago influenced Egyptian design (Example 87). Religion dictated many of the decorative forms in ancient art. The winged-ball-and-asps (Example 88) was a favorite device in Egyptian decoration and has come to us by way of Roman mythology as the winged staff of the herald Mercury, the ribbons on the staff supplanting the Egyptian asps, but later evolving into serpents as in the decorative border of Example 125. The work of the best artists is full of meaning. The Egyptians considered certain animals sacred, and they were reproduced numerously in the picture-writing and ornamentation of the time. The sacred beetle as conventionalized was much used. In Example 125 the cog-wheel of commerce is conventionalized as the rim of the ball, which also contains a seal. The anchor and rope, hour glass, wreath, torch, acanthus leaves, all are conventionalized and blended pleasingly in outline drawing. The tone of the border approximates that of the type matter it surrounds.
[Illustration:
EXAMPLE 96
Square-lined, ornamentless typography. Compare with chair opposite. Design by Fleming & Carnrick, New York ]
[Illustration:
EXAMPLE 99
Slightly ornamental furniture ]
The acanthus leaf (Example 89) is the model for much of the elaborate leaf decoration found on the capitals of Corinthian columns and wherever rich imposing leaf ornament is desired. The anthemion (Example 90) is a palm-like ornament used by the Greeks and Romans, now frequently found in decorative work of an architectural nature.
* * * * *
It may not occur to the average printer that architecture is in any way allied with typography—that there is any connection between the ornamentation of a building and a job of printing. Fred W. Goudy, Bruce Rogers and D. B. Updike employ conventionalized architectural columns and arches to ornament title-pages of classic motives. The average typographer, tho, finds more inspiration in the ornamentation that is only an embellishment to architecture. There are several ornamental units that are used more frequently than others, and these are the egg-and-dart (Example 83) and the bead (Example 84). You, who are reading this, are invited to verify by observation this last statement. A printer who did so was astonished at the eggs, darts, and beads that were to be seen wherever he looked. Cut into the stone of buildings, carved into the wood of furniture, used on molding about doors and windows, on office partitions, on library lamps, in the ceiling panels of restaurants, about the prosceniums in theaters, around the mirror in the barber shop—wherever he looked there were the ornaments. It is remarkable how non-observant the average printer is. The hands of artists—Greeks and Romans—who lived thousands of years ago made similar designs, and yet a knowledge of history is counted non-essential by printers and others!
[Illustration:
EXAMPLE 101
Regularity of repeat ]
[Illustration:
EXAMPLE 102
Variety of repeat ]
[Illustration:
EXAMPLE 103
Monotony ]
[Illustration:
EXAMPLE 104
Less monotony ]
[Illustration:
EXAMPLE 105
Contrasted shapes prevent monotony ]
[Illustration:
EXAMPLE 106
Type border of Roman architectural ornament. Compare the straight and curved lines with the Roman type-face ]
Let us apply the egg-and-dart and bead ornaments as borders in typography, and notice how admirably they serve the purpose. Example 85 shows the egg-and-dart ornament perhaps too carefully drawn as to detail; and Example 86 demonstrates how the bead ornament may be adapted to panel work.
From early times there seems to have been a triple division of taste regarding ornament. In the days of Rome these divisions were given expression in the treatment of supporting columns, the three styles being known respectively as Doric, Ionic and Corinthian. The Doric column is severely plain, the Ionic slightly ornamental, and the Corinthian elaborately ornamental.
The Doric style (Example 91) is emblematic of dignity, simplicity and strength, and appeals to the man preferring these qualities in printing.
The Ionic style (Example 92) represents refinement in ornament, and pleases the man able to discriminate between the severely plain and the over-ornamented—a quality of judgment worth cultivating by every typographer.
[Illustration:
Outlined Filled in Illustration, not ornament Ornaments without perspective
EXAMPLE 108 ]
The Corinthian style (Example 93) expresses the preference of many who delight in ostentation and elaboration in ornament. The elaborate, showy acanthus leaf usually forms the chief decoration for the capital surmounting the column, and the entablature (Example 94) is particularly rich in ornamentation.
The Doric pillar has been called masculine and the Ionic feminine, the sturdiness of the one and the grace of the other also being likened to the warlike Spartans who emphasized the development of the body and the artistic Athenians who especially developed the intellect.
This difference in ideals and preferences has come down the centuries to our time. A few years after Cromwell, plain, blunt, and even disapproving of sculpture and painting, was ruling England, across the channel Louis XIV. strutted in corsets and on high red heels amid gilt and glamour in the courts of France.
[Illustration:
EXAMPLE 107
Type-border of English-Gothic pointed ornament.
Compare the black pointed effects with the Gothic type-face ]
Monks and nuns lived plainly in the company of bare walls and squarely cut chairs, and dressed in subdued browns and blacks, while at Rome surrounded by the art works of Michelangelo and Raphael the higher dignitaries were clothed in brilliant reds, and gold and white.
[Illustration:
EXAMPLE 109
Extravagant wall border ornamentation, designed during the Renaissance in Italy ]
Morris loved an old worn-out house, squarely-cut furniture, burlap, and subdued colors; while the Newly-riches boast of the magnificence of their mansions, Louis Quinze ball-rooms and imported tapestry.
Only recently two church buildings were remodeled. In one were placed ornamental brass railings, lectern, pulpit and candelabra, and stained-glass pictorial windows; the walls were covered with gilt fleurs-de-lis on maroon backgrounds, and the entire effect was one of cheap magnificence. The other church had been an old Colonial structure of square proportions. Dignified mahogany furnishings were selected, the walls were ornamented in pure geometric designs, pale gold on tinted backgrounds, and the windows were made of small panes of glass subdued in color, in harmony with the architecture of the building, with a result that spoke good taste and refinement.
Examples 95, 96, 97, 98, 99, 100, present the three divisions of taste— the plain, ornamentless; the slightly ornamental, and the elaborately ornamental—applied to typography and reflected in furniture. The typographer should learn that the arts are related, that the styles of home-furnishings and architecture influence the styles of typography. A few years ago mission furniture was introduced and along with it came architecture that called for exposed roof supports, squarely-cut moldings, coarse fabric wall coverings, subdued green and brown tapestries. And before they knew the reason, printers were using heavy brass rules, rugged type-faces and printing on dark-hued antique papers. Example 96 is a program page produced under these influences. Compare it with the so-called “mission” chair (Example 95) and note the resemblance of motive. Both are rugged, angular and plain.
[Illustration:
EXAMPLE 110
Roman scroll ornament cut in stone ]
[Illustration:
EXAMPLE 111
Type ornament based upon geometric lines ]
[Illustration:
EXAMPLE 112
Type ornament based upon foliage ]
[Illustration:
EXAMPLE 113
Type ornament based upon the inanimate ]
[Illustration:
EXAMPLE 114
Type ornament based upon the animate ]
[Illustration:
EXAMPLE 115. Ornamental hand-lettered effect; obtained by initials, text letter and rule ]
Now for contrast, compare them with the dainty, elaborately ornamental chair (Example 97) and the title-page (Example 98). Both chair and title-page designs are based upon the frivolous rococo style of the period known as Louis XV. (or Louis Quinze). In that period, shells and leaves conventionalized into graceful, golden curves were blended with a profusion of roses and other flowers. Straight lines were avoided, and furniture and architecture took on curves even to the extent of causing structural weakness.
[Illustration:
EXAMPLE 116
Corner ornaments may have been suggested by the bolts on inscription plates or by the cross lines on books ]
[Illustration:
EXAMPLE 117
Ivy-leaf ornamentation, and spaces filled in by decoration. From an old manuscript book ]
Because a majority of type-faces are built upon horizontal and vertical lines, rococo type ornamentation is seldom successful in typography. The pen-and-ink border design (Example 98) is a clever adaptation of the Louis XV. rococo style. There is not an absolutely straight vertical or horizontal line in the border, and with the curves and flowers, ribbons, lattice-work and cupids it makes an appeal to women. The type-face combined with the border has similar characteristics—a freedom of line and an abundance of curves.
Examples 99 and 100 show a chair and an announcement page, both slightly ornamented to please those folks who like neither the severely plain nor the elaborately ornamental.
* * * * *
Ornament is secondary to the real purpose of the thing it embellishes; it should not be so lavish as to distract attention from the more important object. A booklet is issued to convey a message, and should the reading matter be overshadowed by ornamentation, this purpose may not be accomplished. A “flowery” oration may entertain and please an audience, but it may not convince. In 1896 Bryan stampeded a convention by his extemporaneous eloquence and metaphor, but when he came to the “enemy’s country” and faced an audience which wanted facts, he read his address from carefully prepared manuscript.
[Illustration:
EXAMPLE 118
Filling blank spaces with ornamentation, as was done on manuscript books. Page by Government Printshop, Berlin, Germany ]
During the Middle Ages, when nations were fighting for existence and necessities of life were barely obtainable, there was little ornamentation except in isolated instances, but when, about the fifteenth century, the Renaissance came, art received an enthusiastic reception. Ornamentation was indulged in to excess, the artists using all the classic forms and inventing new ones. Example 109, showing wall border decoration, looks to the printer like a specimen sheet of type borders. This brings to mind that there is always the temptation to over-ornament when an artistic job is desired, and the necessity of advising printers to restrain themselves and save a few ornaments for other work. Our brethren of the cloth like to repeat the story of the theological student preaching his first sermon before the Seminary authorities. He began at Genesis and took his hearers thru the entire Bible to Revelation. When he had finished an old professor gravely asked what he would preach about the next Sunday.
The famous designer Chippendale, first made his furniture serviceable and then added ornament, from which fact the printer should profit. Have a printed job serve its purpose, and ornament it only so far as is consistent to this end. It is frequently advisable to omit decoration and let the type talk without interruption.
* * * * *
Ornamentation when used for border purposes has two features which may not be apparent to the superficial glance—regularity in repetition and variety in repetition. Example 101 shows repeated strokes of the same length. In Example 102 by alternating the length of the strokes the design is made more interesting. Examples 103, 104 and 105 illustrate this principle in rounded forms. In the first there is monotonous repetition, in the second there is less monotony because the oval form is less regular than the circle, and in Example 105, by contrasting the forms in both size and shape the design acquires new decorative interest. This principle of contrast and variety is exemplified in most border designs. In Example 107 the light scroll lines contrast with the black leaves, and in Example 106 curves are contrasted with angles. Contrast is sometimes obtained with color, as shown in Example 123.
* * * * *
[Illustration:
EXAMPLE 119
Semi-ornamental ecclesiastic style ]
Ornament as used by the printer may be divided into four classes: Ornament based upon geometric lines (Example 111), ornament based upon foliage (Example 112), ornament based upon the inanimate (Example 113) and ornament based upon the animate (Example 114). The center ornament in Example 111 contains the cross and circle, ecclesiastic devices, and its conventionalized pointed leaves would also admit it to the group shown as Example 112—ornament based upon foliage. Leaves and flowers from the beginning have been a prolific source of inspiration to artists. Before the invention of typography the decorator of manuscript books reveled in foliage, as will be seen by Example 117, and today when decoration is added by the process of printing the same liberal use of foliage is evidenced (Example 118). In both examples should be noticed the custom of filling blank spaces with decoration.
[Illustration:
EXAMPLE 120. INITIALS
a—Foliage decoration based on the acanthus leaf b—Imitation of mortised woodcut initials c—Simple geometric treatment d—Rugged Colonial style e—Suggesting literary use f—Italian ornamentation g—Plain black and white effect h—Modern adaptation of Roman torch i—German scroll decoration j—Based upon the uncial character k—Woodcut effect as used by Morris ]
The inanimate (Example 113) lends itself better for ornamental purposes than does the animate (Example 114), and the less familiar the subject the better ornament it makes. An ornament based upon the animate is shown in Example 124, and as will be seen it is not as pleasing as the one in Example 121, which is based upon the inanimate.
[Illustration:
EXAMPLE 121
Simple ornamentation applied to letterhead. Design by Harry A. Anger, Seattle, Wash. ]
Initials afford a convenient means of ornamentation (Example 120). An initial well chosen as to tone and appropriateness often satisfies all demands in this line. The mortised Colonial initial indicated by _b_ looks well with Caslon roman and printed on antique paper. The acanthus design _a_ looks well with Washington Text; the Italian design _f_, with a letter such as Bodoni. Initials are used in a highly decorative manner in Example 115, after the style found in ecclesiastical manuscripts. The possibilities of type and rule are here well set forth.
[Illustration:
EXAMPLE 122
Appropriate ornamentation applied to the modern booklet. Page by the Munder-Thomsen Company, Baltimore, Md. ]
Sometimes ornaments in the corners of a plain rule border (Example 116) are sufficient decoration. These effects may have been suggested by the corner bolts with which brass plates are fastened to walls.
In the booklet decoration (Example 122) the artist has taken his motive from the word “Washington” making the capitol dome and its supports the central figure in the design, which is Colonial in character. Drawing a line down thru the center of the design it will be found that with a few minor exceptions the right half is a duplicate in reverse of the left half. The effect is frequently found in decorative work, as it gives balance and differentiates between illustration and decoration. An illustrative design, showing an actual scene, would not be effective.
[Illustration:
EXAMPLE 123
Effect of alternating colors, for covers and end-leaves of booklets and catalogs ]
Wall paper and linoleum designs are made in patterns that repeat at intervals and for this reason answer the purpose of decoration.
Example 119 presents a program page, which, while attractive, has but one ornament, an ecclesiastic design. The arrangement of bands above and below the main display assists in forming a decorative effect.
Type decoration in use today shows a preference for forms from Italian sources. Several years ago the Colonial spirit had influenced a preference for Gothic-English forms. The work of Goudy, Cleland and others has had a part in developing taste for the Italian.
In closing this chapter it may be well again to warn the printer not to over-ornament. The relation of ornament to typography is well covered in the caution of an experienced architect to a novice: “Ornament construction, but do not construct ornament.”
The best art is that which is concealed, and which unobtrusively adds effectiveness to a piece of printing.
[Illustration:
EXAMPLE 124
This ornament, based upon the animate, not well suited for business purposes ]
[Illustration:
EXAMPLE 126 ]
[Illustration:
EXAMPLE 127
These pages are model specimens of book typography. Shown here in the actual size of the originals, from zinc etchings ]
[Illustration]
THE TYPOGRAPHY OF BOOKS
Good taste, a quality essential to the successful production of all kinds of printing, is of great importance in the typography of books. In the matter of good taste most of us are specialists—we perfect our judgment in some one respect and let it remain erratic in others. A musician or other artist may stand high in his class and yet, perhaps, show poor taste in dress and manners.
[Illustration:
EXAMPLE 128
Appropriate title-page of a book of classic poems. By Bruce Rogers ]
A person of good taste is usually conservative. He weighs all new things in the balance of judgment, and allows enthusiastic faddists to push him off the sidewalk rather than join the crowd and shout with it. He knows the fickleness of mobs and remembers that in a week hosannas have been changed to shouts of bitter invective. The merchant catering to the whims of fashion ever has unsalable stock on his shelves. In the days of militant Rome the crowd which one day cheered Sulla, the next day crowned Marius with laurel.
[Illustration:
EXAMPLE 129
Title-page with a nineteenth century motive. By Bruce Rogers ]
The natural tendency of humanity is radical. The conservatives are in the minority, yet their influence is great because their opinions are generally based upon sure foundations. Of course a person can be progressive and possess a present-day mind without being either radical or conservative. The natural tendency of job printers is radical. Left much to their own whims and fancies they produce printed things which may please only for the moment. The test of gold is not in its appearance when purchased, but in years of wear. Because a job of printing is made for short service is no reason why it should not be as well done as book composition is required to be. All the art-reasons in book typography are equally applicable to job typography. The two methods should not be judged by separate standards—a thing is good, or it is not. At the present time educational work is elevating the standard of job typography, and the designer of job composition, drawing closer to his book brother, is beginning to notice the faults and flaws in the latter’s work.
[Illustration:
EXAMPLE 130 ]
[Illustration:
EXAMPLE 131
Poor examples of book typography. Two pages which set forth the common practice of inharmonious type treatment, the title-page containing old-style type-faces and the text-page modern type-faces. The type-face should be of the same design ]
* * * * *
The book typographer, like the lawyer, is governed by precedent. When the legal man presents an argument he cites Doe v. Doe, and Smith v. Jones, and with each new discovery of precedent is increasingly happy. The common law under which we in America are governed originated in England centuries ago, and the radicals who would dispense with this law catalog themselves as anarchists. The right-thinking man is constructive. When a new thing has been proved good he believes in adding it to what has already been constructed. The radical is destructive in that he would destroy what has been constructed and without always setting some new thing in its place. Attics have been known to hold masterpieces which have been discarded for new, frivolous things that from an art viewpoint are worthless.
William Morris set out to change book typography, and in contrast to the typography of the day his ideas may have seemed radical. What he really offered was the good things found in the works of the old masters of Venice and Nuremberg—typography and decoration that had well stood the test of centuries. Book pages produced fifty years ago by Pickering and Whittingham look well today; not because they are old, but because they were in good taste then, and are in good taste now. Pages set by their contemporaries in condensed roman look abominable now, because they were contrary to true art principles then.
* * * * *
The book industry in America is tremendous—so much so that because of its magnitude quality in typography is likely to be lost sight of. In New York City in one year eight million books are read or consulted thru its public library system! Could the monk, with his mere score of books chained to shelves, have had a vision of this, what would have been his thoughts? Or, Benjamin Franklin, as he founded the first circulating library? Andrew Carnegie, ridiculed when announcing his intention to use his wealth in providing buildings for public libraries, lived to see himself acknowledged a benefactor of mankind.
Next to providing books is the necessity of providing good books and of printing them according to the laws of art and good taste. Continual association develops a taste for the things associated with. If the majority of books are poorly composed or poorly printed, they will unconsciously be taken as standards of book style by the reading public. The style of book typography, averaged in this way, is today far from flattering. It is rarely that the reading pages, title-page and cover harmonize in style and motive. On the average volume the text-pages seem to have been set in any face that chanced to be on the composing machine at the time; the title-page is in some type foreign in style and design to the face used on the body of the book, and the cover (usually the only part of the work given artistic attention) is designed without regard to what is on the inside. The whole effect reminds one of a box of berries with only the healthy members of the family in view. Many a time I have picked up a book in artistic binding, only to lay it down disappointed at the typographical treatment of the inside pages. Even a book should be honestly what it seems, and not a wooden nutmeg.
[Illustration:
EXAMPLE 132 ]
[Illustration:
EXAMPLE 133
Two pages of composite Colonial and modern typography. Relation is established between the title-page and text-page thru use of the same kind of decoration ]
* * * * *
The book-page reproductions used in connection with this chapter may prove more valuable if each is considered separately in the order of its appearance.
EXAMPLES 126 AND 127 (Insert).—The title-page and an inside page of a book which in its way is a model. From the viewpoints of art, legibility, good taste, typography, printing, and binding, the book is very satisfactory. The classic restraint of the Italian school and the human interest of the Gothic are here blended harmoniously. These pages will please the lover of lower-case letters, as from the label-title on the cover to the last paragraph of this volume not a line has been set in capitals. The type-face is a handsome old-style roman based upon the Caslon model, and in the book itself is printed upon a hard hand-made paper in a dense and clear black ink. The only decoration used in the book is found in the chapter initials, altho decoration is suggested in the use of brackets on each side of the page numbers. Only two sizes of type are on the title-page, and the chapter headings cling to the type-page in a manner that helps the tone effect of the whole. The reproduced pages are shown in the actual positions of the originals. The margins of a full reading page measure five picas at the fold, six picas at the head, seven-and-a-half picas at the outer edge, and eleven picas at the foot. The type-page covers slightly more than one-third of the surface of the leaf upon which it is printed. The type-page in proportion measures diagonally twice its width, a point illustrated in Example 50 of a previous article.
EXAMPLE 128.—A reduced facsimile of the title-page of a limited edition of classic poems, produced at the Riverside Press under the supervision of Bruce Rogers. This typographer stands among those in America who are giving themselves to the work of steering the printing craft back to the waters in which it sailed in the days of Aldus Manutius. Bruce Rogers came from Indiana with no technical knowledge of typography, but artistic talent soon enabled him to gather the details, and for a number of years he designed books for the Riverside Press that brought him fame and helped to raise the standard of printing in America.
EXAMPLE 129.—There is one feature of Bruce Rogers’ work which stands out prominently, and that is his regard for the appropriate. The literary motive of a book gives the cue for its typographic treatment, and he prints as if he were living in the period so presented, and influenced by its tastes. The “John Greenleaf Whittier” title-page suggests a product of the middle nineteenth century, when Whittier lived, and Example 128 is imbued with the spirit of the Greek Theocritus. But two sizes of type are used in the Whittier page, and these are apportioned according to the importance of the wording.
[Illustration:
EXAMPLE 134 ]
[Illustration:
EXAMPLE 135
Two pages, the typography of which shows unusual care and consideration for detail. Typography by J. H. Nash ]
[Illustration:
EXAMPLE 136
A text-page in modern roman. By Colonial Press ]
[Illustration:
EXAMPLE 137
A text-page in old-style type-faces. By Colonial Press ]
EXAMPLES 130 AND 131.—Two pages from a book issued by a prominent publishing house and printed by a prominent press. They are reproduced for the purpose of pointing out a fault common to a majority of books of the present day—inharmonious typography. While the text pages are consistent in the use of plain modern roman, the title-page with no regard for the face used on the text pages is composed in Caslon roman and modernized old-style. It would seem that, true to the title, the printer had aimed to present three representative type-faces used during a hundred years. And, to make matters worse, the cover contains an elaborate twentieth century design. Why do not publishers realize that these things are wrong? Why do not printers realize it? After the six hundred pages of this book had been set in modern roman, the cost of setting a title-page also in modern roman would have been ridiculously small. Printers doing work for publishers should provide display faces to match their machine letters, or else when buying matrices of a body face, assure themselves that display faces may also be had. Artists, too, should be cautioned to make their design not only after the motive suggested by the literary contents of the book, but also after the typography (which should of course be based upon the literary motive).
[Illustration:
EXAMPLE 138
Title-page with an Italian motive. By Oswald Press, New York ]
EXAMPLES 132 AND 133.—Two pages in style composite Colonial and modern. Relation between the reading pages and the title-page is established thru use of type of the same series and also by adapting the flower decoration to the running head. Certain books lend themselves to decoration; this is one of them, because it is of the entertaining sort. Serious books, such as those on the subjects of law, medicine and science, should have no decoration. The wise book typographer will not use decoration unless he comprehends just what he is doing.
[Illustration:
EXAMPLE 139
Page from a children’s book, designed and written by Will Bradley ]
EXAMPLES 134 AND 135.—J. H. Nash, who designed the typography of the book of which these two pages are a part, produced results that are exceptionally good from a typographic point of view. The border as seen in Example 134 was used on the title, introduction and contents pages, and the border in Example 135 was used thruout the text pages. The crossed-line border effect was even adapted to the frontispiece. The title-page is an excellent example of consistent typography; not a line of lower-case is to be found on the page, and prominence is proportionately given the title of the book and the names of author and publishers. The reading matter is set within six points of the rule border, that the page should have but one margin. If the space between type and border were larger it would give the appearance of another margin. The initial letters assist the reader in locating the beginning of each story.
EXAMPLE 136.—This page is in a style associated with the modern novel and was set on the linotype in eleven-point Scotch Roman; the lines twenty picas wide, leaded with two-point leads. The running head is in capitals of the body letter, separated from the reading page by a half-point rule, and the page number is centered at the foot.
EXAMPLE 137.—A good example of modern book composition, set on the linotype in twelve-point Caslon Old Style, the lines twenty picas wide, separated by four points. The running head is in a black text letter suited to a book of this kind. An amount of space equal to a line of type and the leading following it, has been placed between the running head and the reading page.
EXAMPLE 138.—No style of typography is in such good taste as that which is based on the old Italian, in which but one style of type-face, usually the Caslon, is used, and the capitals letterspaced a trifle. This style has been worked into a symmetrical page and an ornament included that because of its Italian treatment blends neatly with the typography. It might be interesting to note that the illustrations in this book were in line, and where emphasis was needed in side headings small capitals were used and the letters separated by slight spacing.
EXAMPLE 139.—A page from a book for children, written and illustrated by Will Bradley. The type-face is a wide, legible letter and was specially designed by Mr. Bradley. Each chapter is begun with a line of old English black letter, followed by several lines of highly decorative italic. The illustrations are interpreted in the grotesque decorative style that Bradley does so well. The running heads and page numbers are in the italic.
[Illustration:
EXAMPLE 140
Harmony in tone of type-face and decoration. Typography by the Trow Press, New York ]
EXAMPLE 140.—A page notable for the harmony between the tone of the type-face and decoration. The illustration has been treated by Beatrice Stevens in a decorative spirit, and is very effective. The capitals of the body matter are used for the “Chapter III” line, and smaller capitals for the descriptive line under it. The plain initial is more effective than an ornamental one would have been.
EXAMPLE 141.—A title-page of classic design in Scotch Roman type. The anchor and dolphin, originally the device of Aldus, as enlarged in outline has much to do with the effectiveness of the page. The dignified beauty of this page makes it worthy of close study.
EXAMPLE 142.—A further demonstration of the beauty of classic typography. Fred. W. Goudy has done many things worth while, but none better than this. He not only designed the smaller type-faces and lettered the large lines in harmony, but arranged the page and, in its original form, printed it. American typography owes much to Mr. Goudy and it is a pleasure to include this page here.
[Illustration:
EXAMPLE 141
A title-page of classic design, with an Aldine anchor device. By William Aspenwall Bradley ]
EXAMPLE 143.—This is a page from one of the Roycrofters’ serious efforts in bookmaking. It was printed in dense black ink on white stock, the large text initials standing forth in pleasing contrast.
EXAMPLE 144.—This is a page from a book by Theodore L. De Vinne, and probably presented his personal ideas in book typography. Notice the spacing around the subheading, and the treatment of footnotes. The first line under the subheading is not indented.
EXAMPLES 145 AND 146.—D. B. Updike, of the Merrymount Press, is responsible for the typography of these pages, which are a portion of a book containing the ceremony of marriage as performed in the Protestant Episcopal Church. The type is a special letter based upon early forms. The book was printed in black and vermilion. Mr. Updike, with Rogers, Goudy and others, believes that the way to improve typography in America is to do typography as well as it can be done. He established the Merrymount Press in 1898, and has arranged and printed many fine volumes, in addition to much high-grade small work.
[Illustration:
EXAMPLE 142
Classic feeling expressed in a modern title-page. Designed by Fred. W. Goudy ]
EXAMPLE 147.—Books of poetry are usually treated in a typographic style that is light and dainty. The typographer who has the spirit of the artist in him puts more into a book than is required by the traditions of the craft and endeavors to express with type and decoration the spirit of the poet’s message. The verses of Edgar Allan Poe, with their suggestion of dark shadows and pathos, make the book designer’s task difficult, but in this example Mr. Nash has given the work a decorative treatment that in its dark tone helps to beautify the sad spirit of the great American poet. Washington Text shows forth admirably as a type for these pages and the decorative panel harmonizes with it in both tone and design. In its original form the book was printed in dull black and dull red inks on a toned hand-made paper. The liberal margins assisted in giving that touch of exclusiveness and taste that is essential in good book-printing.
[Illustration:
EXAMPLE 143
Text-page of a de luxe volume. By the Roycrofters, East Aurora, N. Y. ]
[Illustration:
EXAMPLE 144
Text-page from a book by De Vinne. Note treatment of running titles, sub-headings and footnotes ]
[Illustration:
EXAMPLE 145 ]
[Illustration:
EXAMPLE 146
Two pages from a small ecclesiastical book. By D. B. Updike ]
EXAMPLE 148.—French title-pages of the eighteenth century are furnishing motives for the designing of cover and title-pages for the uses of publishing and advertising, and to many this page by Bruce Rogers will have considerable interest. The design carries the spirit of an age when decoration was rampant and when architecture and books were festooned and adorned with cupids. The decorative lettering used in the main title shows such influence. This book in its first edition was printed in 1789, and when recently reprinted the typographic spirit of the old volume was incorporated in it. It does not measure up to the recently accepted ideas of tone-harmony and shape-harmony, yet the element of appropriateness is so strong that those shortcomings are not to be held against it.
[Illustration:
EXAMPLE 147
Gothic treatment of a book of poetry. Typography designed by J. H. Nash for Paul Elder & Company ]
Custom has developed a law for the arrangement of the several parts of a book. There is first a blank leaf known as the fly-leaf, followed by a leaf with the title of the volume in small type slightly above center or placed toward the upper right corner. The frontispiece, if one is used, is then inserted. The next leaf contains the title-page, which usually gives the title of the work, name of author or editor, place of origin, name of publisher and date of issue. On the back of this leaf, slightly above center, is the copyright notice, and in the lower center or right corner the imprint of the printer. The table of contents and the table of illustrations follow, taking as many pages as are necessary. The preface, or author’s introduction, is next, after which another half-title may be inserted ahead of the first chapter. The dedication, at one time occupying a page in the fore part of the book, is occasionally used. The index is inserted in the rear of the book. This rear-index is not found in novels, but in books on technical subjects and those used for reference purposes.
It is customary to number book pages with Arabic numerals beginning with the first chapter, all pages in advance of the first chapter being numbered with lower-case Roman numerals. The page numbers, when at the foot, should be separated from the type-page by the same amount of space used between the lines. There is tendency among inexperienced printers to place the numbers too far from the type-page.
[Illustration:
EXAMPLE 148
Where a French style of treatment is appropriate. Designed by Bruce Rogers ]
There is a rule that the running title should be separated from the type-page by space equivalent to a quad line of the size of body-type used, altho the best typographers prefer only about half that amount of space.
Pages containing chapter headings are lowered at the head below the regular page hight. Example 127 shows a lowering of five picas space. Other books show more or less than this amount of space, but the space allowed in this example is pleasing.
When an initial is used the space between it and the type should be the same, both at the right side and foot of the initial.
The position of a book page should be toward the binding and the head. In elaborate books of wide margins this inclination should be great, but in the conventional book of narrower margins it should be less noticeable—say six points toward the binding and eighteen points toward the head.
The use of an em-quad between sentences on a book page is encouraged by many printers, but the new-thought compositor uses two three-to-em spaces or less. By referring to example 127 it will be found that the same amount of space separates all words in one line. The capital letter seems sufficient indication of the beginning of a sentence. In the first book printed from separate types (see reproduction of page from Gutenberg’s Bible in the chapter on “The Origin of Typography”) there was no space used between sentences, the period in the judgment of the printer separating the words sufficiently.
[Illustration:
EXAMPLE 149
Title-page lettering and decoration by F. W. Goudy, for the Caxton Co., Cleveland, O. ]
[Illustration]
BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS
Did I wish to be flippant I would open this chapter by asking, “When is a booklet not a booklet?” and might even be pardoned for doing so, for no other word has been so misused as has “booklet.”
A booklet, the dictionaries tell us, is just a little book, as is indicated by the suffix “-let,” which termination forms diminutives from French and English nouns. Yet “booklet” has been used to designate not only little books, but big books, and has led to the rather tautological description, “a little booklet.” When does a booklet cease to be little, and is its littleness in its dimensions, in the number of printed sheets, or in some other feature not recognized in a hurried consideration of the subject?
Going back to the lexicons—
A booklet, as has been said, is a little book.
A leaflet, according to the Standard Dictionary, is “a little leaf; also a tract.” Webster says it is “a sheet of small pages which are folded, but not stitched; a folder.”
A pamphlet, we understand from the Standard, is “a printed work stitched or pasted, but not permanently bound; a brief treatise or essay.” Webster says it is “A book of a few sheets of printed matter, or formerly of manuscript, commonly with a paper cover; specifically, sometimes, any such work not in excess of eighty pages, and not bound.” The word “pamphlet” was derived from a popular Latin poem, “Pamphilus,” of the twelfth century.
“Brochure” is a French word often used for “pamphlet.” Webster gives its meaning as “a printed and stitched book containing only a few leaves; a pamphlet; a treatise or article published in such form.”
A circular is a letter or a note, usually printed.
However, for the purposes of this chapter, while I shall endeavor so far as possible to use one of the above approved terms in designating the various examples of printing, the word “booklet” in some instances may have a wider application than “a little book.”
* * * * *
[Illustration:
EXAMPLE 150 ]
[Illustration:
EXAMPLE 151
Two pages from a leaflet designed without decoration or color, a noteworthy exponent of simplicity in typography. By the Marchbanks Press, New York ]
The chap-books sold in the seventeenth century, containing abbreviated stories, were, perhaps, prototypes of the booklet; but as now used the booklet is a modern conception. It is a result of development in æsthetical knowledge among advertisers and the buying public, who have learned to discriminate and to demand artistic, tasteful workmanship. When the “dodger” or handbill ceased to be effective as a publicity auxiliary to the newspaper, the booklet was born. State laws consider a few placards or publication in one or two obscure newspapers sufficient notification to the public, but the advertiser knows the futility of such obsolete methods and gets his message to the public in numerous ways—traveling salesmen, newspapers and magazines, trade, technical and class publications, house-organs, catalogs, booklets, circulars, posters, novelties, car cards, electric signs, etc. To an extent the booklet’s mission is educational; it introduces the business house, gives authoritative answers to questions that the prospective buyer would naturally ask, explains advantages and gives reasons for superiority. The booklet is best if written in a style that is non-technical, and should be treated by the artist and printer in a manner that will interest the recipient.
[Illustration:
EXAMPLE 152 ]
[Illustration:
EXAMPLE 153 ]
[Illustration:
EXAMPLE 154
Three pages from an easily read booklet in Scotch Roman, showing the typographic style of Benjamin Sherbow, New York ]
[Illustration:
EXAMPLE 155 ]
[Illustration:
EXAMPLE 156
Two pages from an eight-page leaflet, in which the typography was relied upon for results. The rule borders were printed close to the edges of the paper. By William Henry Baker, Cleveland, O. ]
Among the users of the booklet as a publicity medium are railroads, cities, hotels, real-estate companies, banks, clothiers, educational institutions, printers, and manufacturers of automobiles, musical instruments, cameras, and tools and equipment of many kinds. If one wishes to purchase intelligently a piano or other expensive article he obtains a booklet on the subject, and whether he buys or not depends largely upon the impression obtained from the booklet; if it is well written, informative, carefully illustrated and handsomely printed, it will be likely to exert an influence in favor of a sale. The printer’s share in producing such a booklet is large, altho he is called upon to work in conjunction with the writer, the artist and the engraver.
Much of the booklet printing is planned by advertising writers and commercial artists. The best results are obtained when artist and writer blend their ideas harmoniously; this is possible only when the writer has artistic tastes and a definite understanding of typography. In many booklets the text matter does not fit the decoration. I have in mind an instance in which the artist laid out sixteen pages of marginal illustrative decoration, and the writer supplied only about half the copy necessary to fill the sixteen pages. To overcome the deficiency the printer set the text matter in an excessively large size of type, but even then the space left for the reading matter was only partly filled. If the writer was unable to fill the space, the artist should have decreased the number of decorative pages or else planned his decoration to cover more surface.
[Illustration:
EXAMPLE 157 ]
[Illustration:
EXAMPLE 158 ]
[Illustration:
EXAMPLE 159
Three pages that demonstrate the possibilities of type and rule in obtaining effective results. By Barnard J. Lewis, Boston, Mass. ]
Those houses that have made a success of booklet printing produce a job that is harmonious and complete. Reading matter, illustrations, decoration, paper, ink and color treatment, all blend on their booklets. There is a central motive around which all concerned in the make-up of the booklet weave their ideas.
Altho such a condition is ideal, it is not absolutely necessary, and it is not always profitable, for a printshop to have under its roof a complete equipment for producing every detail of a booklet. One of the successful producers of booklets—an artist with associates able to interpret his ideas—had in his artistic suite of offices a palm which he enjoyed showing to visitors who asked to see the “plant.” On the other hand, there is the head of a large printing concern producing high-class booklets who has artistic ideas but who depends upon the open field of artists and engravers to develop and perfect his plans. He manages to meet a prospective customer and from conversation with him learns something of his tastes and preferences. This printer then selects an artist whose style of work will most likely appeal to the customer and be best for the purposes of the booklet. He assumes that the most successful artists are those who have specialized on some one kind of work—classic Roman lettering and decoration; seventeenth-century French decoration; Old English or American colonial effects; modern German coloring and decoration; art-nouveau creations, the serious and the humorous; illustrations of child life, or of the Civil War period. While there are versatile artists like Will Bradley who can do good work in many styles, they are not numerous.
Some printers retain typographic artists who serve clients by the hour. These artists sometimes are advertising writers who have studied the art side of printing and know that much depends upon the type-face used.
To plan a booklet properly the commercial printer must know something of the principles of art and advertising and of good book typography. Booklet printing is really the connecting link between job printing and book printing. The unconventionality of job typography and the dignity and conservatism of book typography can successfully be blended in the booklet.
* * * * *
EXAMPLE 149 (Insert).—This style of title-page is appropriate for a booklet or brochure in which the typography plays an important part in the production. The printer having plates of this kind delivered to him should for the remaining pages endeavor to use a type-face which has some relation in style to the lettering found in this example. The page having been drawn by Frederick W. Goudy, one of his type-faces would, of course, be most harmonious, but other old-style letters such as Cloister Oldstyle, Caslon Oldstyle and Old-Style Antique would also be suitable. Some of the pages would possibly include initial letters drawn in the same style as the decoration, and thruout the work the motif established by the title-page should be maintained. An antique-finished paper blends best with the general decorative plan, but if coated stock must be used it should be of a dull finish. Art work of the quality of this example cannot be procured from every artist. This example is expressive of the personal taste and talent of Goudy.
[Illustration:
EXAMPLE 160
A label pasted on a brilliant cover stock is striking. Designed by Thomas Maitland Cleland for the Oswald Press, New York ]
EXAMPLES 150 AND 151.—The printer in the main must be his own artist, and he can best serve himself and his customers on such occasions by providing pure typographical effects. This is difficult. The printer must have studied good typography—he must know typography not only as a worker at the trade but as a student of the art. He must be thoroly acquainted with type-faces. His type equipment usually shows his knowledge in this regard; if it consists of odds and ends of type-faces aimlessly selected, he is not in a position to give his customer the proper service, but if his equipment mainly consists of those type-faces that have been approved by the leading typographers and type designers of the country, he will not only render good service to his customer but will confer a benefit on every one who receives a copy of the printed matter. The public learns to like whatever is served to it most frequently, and if it is provided with good printing and especially good typography, the tone of printing generally will be elevated and further dignity given to the business. The examples under consideration are from a nationally known printing office which confines its type equipment to three series and at one time practically used but one series on all its work. The leaflet was made to fit a business envelop. The stock was Japan vellum and there was no decoration—only a standard approved type-face of a readable size (fourteen-point). Such a leaflet attracts attention above most advertising matter because of its simplicity. It is good more because of what is left off than for what is put on.
[Illustration:
EXAMPLE 161
Admirable treatment for a small amount of reading matter. Both pages by Edward Everett Winchell, New York ]
EXAMPLES 152, 153 AND 154.—These are the cover-page and first and second text pages of a booklet which is purely a typographical product. There was also a title-page similarly treated. The first two words of the title, “Getting into Print,” were on each of the four pages set in italic lower-case, and the word “Print” was in roman capitals. Scotch Roman was used, and Mr. Sherbow has produced other effective booklets with this type-face. He has a preference for the eleven- and twelve-point sizes and frequently separates his lines with a two-point lead. The result, especially in the narrow measure made necessary by the smallness of the booklet, is a page that one likes to read. There is a freshness, an individuality, about his type arrangement, which quality is probably due to the fact that he never was a practical printer. He began as an advertising writer and studied typography and its use for advertising purposes unrestrained by the traditions of the craft as handed down from compositor to apprentice. His work, however, is influenced by the study he has made of the work of typographers and calligraphers of the past five or six centuries. By this study he has obtained a knowledge that most printers lack because of their reluctance to explore the past. The borders surrounding these pages are made from typefounders’ brass rule, and otherwise the only ornamentation is a floret on the cover and a smaller one on the first text page. Perhaps no new note is struck in the arrangement of the cover-page, but the treatment of the upper part of the first text page is different from that which would be given by the average good compositor.
[Illustration:
EXAMPLE 162
A good way to arrange a page when the photograph is of proportions different from those of the booklet page. Note treatment of caption ]
[Illustration:
EXAMPLE 163 ]
[Illustration:
EXAMPLE 164
Two booklet pages in which typography was the chief dependence in securing artistic results. The borders were made with brass rule and the illustration was tipped on. By Taylor & Taylor, San Francisco, Cal. ]
EXAMPLES 155 AND 156.—These are from an eight-page leaflet, and, like the previous examples, they give evidence of an understanding of typography that comes from study of the subject. Mr. Baker in these pages provides practically no margins outside or inside the rule border. This border is merely a one-point rule which serves a good purpose without forcing itself upon the attention. The type-face is Old-Style Antique, which as the years go by does not seem to lose its “flavor.” It is a readable type-face and one that is at its best when used on antique-finished paper, as in this case. The leaflet was printed in black ink on a greenish cream-tinted paper. Mr. Baker’s personal device adds decorative value to the title-page. It will be noticed that the headings are set in a larger size of the body type and lined at the left. There is no indention excepting for the reprinted letters, which are set in a small size of the same type. These letters treated in this manner are only incidentally made a part of the advertising argument.
EXAMPLES 157, 158 AND 159.—Caslon Oldstyle and Caslon Text are factors in the effectiveness of the booklet of which these three pages are representative. These three examples are additional evidence that type alone when properly used is almost as effective from an advertising point of view as if supported by the best decoration and illustration. It might be said that good typography is to be preferred at all times to poor art work, altho really good art work properly subordinated will undoubtedly add attractiveness and interest to a booklet otherwise well treated typographically. The border of contrasted heavy and light rule adds typographic value to the booklet under consideration, and the use of the light rule in other ways on the title-page and under the headings in Examples 158 and 159 also has an influence for good. A two-line initial in color at the beginning of each paragraph and the setting off of one paragraph from another by blank space are distinctive features in the make-up of the pages. Ornaments are used in the running headings, and they are the same design as that used on the title-page. The size of this booklet was 3½ × 5½ inches. It should be noticed that Mr. Lewis in these pages places no more space between sentences than between the various words of the line, altho Mr. Sherbow and Mr. Baker on the preceding examples use more. There is difference of opinion among good printers as to the amount of space between sentences. Some of them prefer the em-quad, which has been used by the average printer for a great many years. Others believe with the ancient printers that the period and the capital are sufficient indication of the beginning of a new sentence without the insertion of a square of white space that affects the tone of the page. It should be noted in Mr. Lewis’s pages that while he has allowed fair margins around the outside of the rule border, he has arranged for very little margin inside, and to this is due a certain compactness that is agreeable.
EXAMPLE 160.—This is the cover of a small book of information. The cover stock was deep red in color and the title was printed on Japan vellum stock and pasted as a label on the cover. The label design is by Thomas Maitland Cleland, whose carefully formed lettering offers suggestions to good printers who know the value of dignity in lettering and decoration. A title label, especially when dark cover stock is used, makes it possible to include a typographic effect on the cover, thus insuring harmony consistent with the type-face that may be used on the inside of a booklet. The title-page that was a part of this small book was shown as Example 138 of the chapter on books.
[Illustration:
EXAMPLE 165 ]
[Illustration:
EXAMPLE 166
Attractive rear and front cover designs of an unconventional booklet. The arrowheads in the original were in emerald-green ink. By E. G. Jacobson, New York ]
[Illustration:
EXAMPLE 167
One of the eight pages of a prospectus for “The American Printer.” The initial “A” was in color. By Will Bradley ]
EXAMPLES 161 AND 162.—Two facing pages from a booklet designed by Edward Everett Winchell and presenting the attractive features of a large New York hotel. There is but a small amount of descriptive matter, confined mostly to two pages in the front of the book, yet the treatment is such that more words would have spoiled it. The plain rule border gives uniform shape to the pages and pleasingly contrasts with the liberal white space inside. In Example 161 the descriptive matter is grouped at the head of the page in Avil, an interesting old-style roman type-face. The fading of the vignetted edges of the halftone into the surrounding white space is effective. Example 162 demonstrates how an illustration which is out of proportion to the page may be placed to get good results. The caption, set in capital letters slightly spaced, is in keeping with the squared style of the page. Compositors should study the position of this caption. Many would be inclined to center it directly under the illustration; this would cause the lower part of the page to seem empty and unfinished. By moving the caption down, so as to break into the white space and divide it, the sense of vacancy is not experienced.
EXAMPLES 163 AND 164.—These are two pages from a booklet in which typography was the chief dependence of the printer in securing artistic effects. The border is made of brass rules and four small ornaments; a decorative initial is introduced at frequent intervals thruout the booklet; otherwise, the effect is due to care in the details of typesetting. The space between sentences is the same as that between the words of a line, and widely spaced lines are not to be found. It should be kept in mind that the best typography is that in which the spacing between words is not excessive. Carelessness in typesetting and in the operation of composing machines is responsible for unpleasant effects produced by wide spacing and by “rivers” running thru the page. In Example 164 the illustration was tipped on. The paper used in this book was a buff antique, the tipped-on prints being on dull-coated stock. The dark-brown ink used for the text pages was also used for the prints, making a pleasing color harmony.
[Illustration:
EXAMPLE 168 ]
[Illustration:
EXAMPLE 169
Two pages from a booklet in which no decoration was used, the decorative quality of the type-face impressed on hand-made paper having been depended on to provide a dignified beauty. By the Oswald Press, New York ]
EXAMPLES 165 AND 166.—These are rear and front booklet covers, the design of which is striking because of the disregard for conventionality. No capital letters are used, an idea that should be adopted with reluctance by printers unless their customers approve of the innovation. Most buyers of printing are slaves to conventionality and hesitate to accept typography or especially drawn work which is bizarre or in any way a departure from the usual methods of treating printed work. The activity of German, Austrian and French artists in this country, however, has caused some business and advertising men to be more tolerant in these things, as the bright coloring, dashing decoration and the newness of it all seem to get attention where conventional effects fail. It might be said in reference to the lettering on these examples that the designer has not produced anything really new so far as the use of the so-called lower-case letters instead of capitals is concerned. There was a period in the development of the modern alphabet when its characters were neither “capitals” nor “lower-case” as we know them—a period in which the minuscules were being evolved from the ancient Roman capitals or majuscules. Altho modernized, the lettering here used can be traced historically to the uncial lettering of the days of manuscript books. The arrowheads were in emerald green.
[Illustration:
EXAMPLE 170
A hand-lettered cover-page. By the Blanchard Press, New York ]
EXAMPLE 167.—This page, designed for the prospectus of the twenty-fifth anniversary number of _The American Printer_, in my opinion is among the best things that Will Bradley has done. There were eight pages and on all the decorative headings were similar, altho each had sufficient change in the treatment to give special interest to the page. The fine line decorative borders were in pleasing contrast to the dark-toned illustrations and the liberal apportionment of blank space. Fourteen-point Caslon Oldstyle, the kind with the long descenders, was used for the text matter. The large Caslon initial added another interesting spot of black. The decoration and type matter were printed in black ink on buff-tinted dull-coated paper, and the large drawn initial on each page was in sepia brown. The original size of this pamphlet was 6¾ × 9½ inches.
EXAMPLES 168 AND 169.—No decoration of any kind was used in this booklet, unless the period groups may be counted as such. The purpose was to produce artistic printing in good taste by depending upon the type-face and the paper for results. Decorative interest (usually welcome in a mild way) was supplied by the swash capitals of the italic and by letterspacing capitals and small capitals wherever they appeared. The chapter headings of all the pages in this book were aligned with one another and not “sunk” as is sometimes done. The pages are made interesting by the varied use of italic lower-case and roman capitals. The size of this booklet in the original was five by eight inches, and the margins were made to conform to those used on good book composition, each margin increasing in this order: Head, inner side, outer side, foot.
[Illustration:
EXAMPLE 171
Page from a typographically treated commemoration book ]
[Illustration:
EXAMPLE 172
Unconventional arrangement of a booklet page. By Corday & Gross, Cleveland, O. ]
EXAMPLE 170.—Lettering, as has been pointed out, has an important place in booklet designing along with decoration, illustration and typography, and from well-lettered designs the printer can obtain valuable suggestions. This example was printed on hand-made paper, and the deckle edges and rough surface of the paper blended with the freehand drawing of letters and border. There was a further blend of the hand-lettering and the Caslon type-face used on the inside pages. The lettering was based upon the same model as the Caslon, which is standard for old-style effects. Here is a hint for printers: Distinction will be added to booklets otherwise printed from Caslon or similar type-faces if the cover and the display headings are hand-lettered. This may be done with fair results by setting them first in Caslon type. After the type has been arranged satisfactorily, take a print in blue tint on paper suitable for drawing with ink. The letters may then be traced freehand with black india ink over the blue print and any desired ruggedness or variation introduced. As light-blue ink will not reproduce when a zinc etching is made, the blue proof need not be carefully adhered to. Italic and small capitals should be introduced in such lettered designs.
EXAMPLE 171.—This is a page from a souvenir booklet containing an account of the exercises held in commemoration of the fiftieth anniversary of the New York Typothetæ. Almost the entire book was set in fourteen-point Cloister Oldstyle and Italic and printed in black and orange ink on a white antique-finished paper of good quality. The cover was a domestic vellum-like paper which contained the words, “Golden Anniversary of the Typothetæ,” set in Cloister Italic with swash initials, the two lines being deeply stamped into the paper on gold leaf. In this manner strict typographic harmony was maintained thruout the booklet. Large decorative initials were introduced in several instances and two-line initials of Cloister capitals were used in a minor way. This page should offer suggestions to printers who are called upon to print souvenir volumes; in fact, much work of this kind can be created by the printer suggesting the publishing of such volumes after historic or memorial meetings are held in his city.
EXAMPLE 172.—This is the first inside page of a booklet, the stock of which consisted of a thin straw-colored Japanese paper, printed on one side only. The cover, a heavy, rough dark-green paper, contained only the wastebasket illustration printed on both front and rear in gold ink set into the stock by a heavy impression. The simplicity of the typography accords with the treatment as a whole.
* * * * *
Printers will accomplish the most in booklet printing, as in other branches of the craft, if they live in an artistic atmosphere. Sir Joshua Reynolds, the great English painter, said: “The more extensive your acquaintance is with the works of those who have excelled, the more extensive will be your powers of invention.” That is the reason painters haunt Italy and other art centers where the works of the old masters are accessible. The printer should take journals such as _The American Printer_, devoted to the art of typography; for these journals bring to the great army of craftsmen specimens of the work of famous printers and of those who are contributing their mite to the cause of good typography.
The helpful atmosphere of the trade papers can be supplemented by specimen booklets for study purposes. These booklets can be obtained by writing to the printers producing them, or to the advertiser; and many can be had from retail houses selling the articles advertised in the booklets.
The printer must learn more than he now knows about art or he will become only a caddie in the game of booklet printing, with the artist and ad.-writer making all the puts. The printer is depending too much upon the artist and too little upon himself. The possibilities of type arrangement have not been exhausted and never will be, yet many workers at the printing trade act upon the assumption that good printing is impossible without the artist’s initiative and co-operation. Many a good job of printing has been spoiled by inferior lettering or decoration, the work of a poor artist.
Withal, there is nothing more ideal than a good printer and a good artist working together to produce perfect printing.
[Illustration:
EXAMPLE 175
Page from an automobile catalog designed by Thomas Maitland Cleland. The caption is grouped in spaced capitals of Bodoni Book. The illustration is from a pen-and-ink drawing ]
[Illustration:
EXAMPLE 176
Unusual treatment of a specifications page. Words in capitals are letterspaced. Rules are used to add character to the page. These reproductions are one-half the size of the originals ]
[Illustration]
CATALOGS
Ruskin, enumerating three branches of architectural virtue, requires of a building (1) that it act well, and do the things it was intended to do, in the best way; (2) that it speak well, and say the things it was intended to say, in the best words; (3) that it look well, and please us by its presence, whatever it has to do or say.
These three requirements, like many others that are important in the eyes of the architect, can be applied to the illustrated catalog, which most printers at one time or another are called upon to produce:
(1) The catalog should act well; it should be constructed in a manner fitting the purpose for which it is issued. If, say, it contains a list of plumbers’ supplies, it should be bound in strong stock of a color that will not easily soil. If it contains a list of jewelry and is for retail purposes, it could be bound delicately in light stock.
(2) The catalog should speak well; the illustrations should be faithful presentations of the articles to be sold, and the descriptive matter should be well written, accurate and informative.
(3) The catalog should look well; the type-faces, paper, ink, binding and other elements should be harmonious; the illustrations and descriptive matter should be arranged with regard to balance and proportion, and the treatment as a whole should be pleasing and interesting.
There was a time when catalogs were printed without attention to these things, or if the first two requirements were complied with the third was ignored. It will necessitate no effort for the reader to recall the days when merchants had no orderly plans for displaying their wares—when the average storeroom and window looked like a curiosity shop. Those were the days when the catalog was a heterogeneous collection of woodcuts and type-faces, packed on the pages to the very edge of the paper.
Now many show windows and salesrooms are delights to the eye, and similar care and taste are shown in the printing of the catalog.
[Illustration:
EXAMPLE 177
Architectural title treatment by Will Dwiggins. The lettering contains typographical suggestions ]
The catalog is a portable showcase and from it the customer makes selection, often without seeing the article itself. These facts make it essential that goods be displayed invitingly and in good taste. An article well displayed requires few words to sell it.
Place a girl of plain features, but handsomely dressed, in the midst of beautiful colors and lights, and a dozen millionaires will want to marry her—an extreme illustration of the power of attractive display, emphasizing the necessity of “playing up” the ordinary to create the desire of possession. It is possible, also, to accomplish this purpose by different methods. It is told of Josephine that, wishing to gain the admiration of Napoleon, she appeared at a reception in a gown of pure white, without ornament. The contrast of her simple dress with the elaborate costumes of the other women and with the elegant furnishings of the room was such as to draw compliments from the emperor. It should be remembered, however, especially by the typographer, that mere plainness of dress did not win Josephine her triumph, but that artistic simplicity did. A block of marble rough-hewn from the quarry is plain, but, carved into statuary by a Rodin, is far more than that.
This point is worthy of meditation by all who wish to produce the effective and attractive catalog.
Efforts have been made to standardize the dimensions of catalogs; it would be well for printers and others to assist in accomplishing this purpose. A committee of the American Society of Mechanical Engineers, after investigating the sizes of catalogs in common use, recommended that the standard size of catalogs be six by nine inches. The recommendation was also made that the size of bulletins and large catalogs be eight and a half by eleven inches.
Other suggestions by the committee were: Paper-covered catalogs intended to be permanently filed should be trimmed to exact size, cover and all, barring deckle edges. Overlapping covers are favored only when the covers are stiff enough to support the catalog’s weight when standing on edge. Titles should be printed on the exposed backs of the catalogs, reading from top downward. The date of publication should appear on the title-page. An index card of standard size (three by five inches), containing the title and character of the contents, should be inclosed in every catalog.
[Illustration:
EXAMPLE 178 ]
[Illustration:
EXAMPLE 179
Facing pages that show effective results obtained in a simple way. The plain, legible typography ably supports the strong illustration and attractive border treatment. By the Matthews-Northrup Works, Buffalo, N. Y. ]
Before proceeding with the composition of a catalog the printer should insist that the copy be legible, orderly prepared, and all points settled as to type-face, headings and position of illustrations. A dummy page should be planned and set up, and it should be studied and discussed by customer and printer before work is begun on the catalog as a whole.
If the catalog is to be elaborately treated, all drawings should be approved and plates made before the type work is commenced. If the printer is assisting in the general preparation of the catalog, he should keep before the customer the fact that decoration is merely supplemental, and should urge first attention to the type matter and illustrations.
EXAMPLE 175.—This catalog is one of those productions which in style so closely express the personality of an individual that they are not a direct help in teaching typography or catalog planning to others. Most typographers must proceed according to defined requirements and plan their work with regard to set styles. Mr. Cleland and a few other typographic artists in this country carry out their ideas without the assistance of an advisory board. The average typographer or artist, on the other hand, must not only incorporate the suggestions of half a dozen persons, but must submit to the deletion of most of the little things that to his way of thinking give his work character and make it worth while—the penalty of being merely an average typographer. Mr. Cleland is a student of the best printing of past centuries, and his refined taste and wonderful skill with the pen enable him to produce effects that would be envied by the master printers of old.
On this page he has used Bodoni Book, slightly spacing the capital letters and grouping the matter so that it dominates the blank space in the lower portion of the page.
The cartouche, or panel, as here used for the car name was in favor in Bodoni’s day, a hundred or more years ago. The horizontal position of the illustration adds to the pleasure in examining the catalog, for when an illustration runs the long way of such a page the necessary turning of the book is an annoyance.
EXAMPLE 176.—Brass rules are seldom well applied in typographic work, but when they are, as in this instance, the results are pleasing. This page, because of its tabular nature, was doubtlessly difficult to arrange, and every compositor, appreciating that fact, will admire what Mr. Cleland has accomplished. It should be noticed that words of roman capitals have in every instance been letterspaced, while those in lower-case have not. This treatment gives effects that are unusual and well liked by persons of good taste.
EXAMPLE 177.—This shows the cover of a catalog of plays. Will Dwiggins in his usual clever manner has made a design full of character, human in the absence of the mechanical. The lettering contains suggestions for effects that could be approximated with some well-designed type-face. It will probably be well to warn against the careless use of typographic ornaments in any attempts that may be made to imitate the effect of this decorative border. Architectural designs formed with the average printshop material seldom look well. Simple rule effects would be better.
[Illustration:
EXAMPLE 180 ]
[Illustration:
EXAMPLE 181
Inside page and cover of a publication catalog designed by D. B. Updike. The typographic treatment of these two pages is suitable and pleasing. The cover stock was green-gray of a rough antique finish ]
EXAMPLES 178 AND 179.—In many catalogs a page illustration is faced with a page of reading matter describing it. In this instance the descriptive matter is small in amount and for that reason presented a problem in typography. The printer, however, solved the difficulty by using a type-face fairly large in size, but of good design, and placing the group in the upper part of the page aligned with the top of the illustration. It is well to keep in mind that in booklets, catalogs and similar work good results are frequently obtained by aligning all pages at the head. The effectiveness of these two pages is helped also by the fact that a red border surrounds each page and the halftone has a dark background.
EXAMPLE 180.—There is evidence in this specimen that it is possible to obtain variety and interest by simple means. The italic, especially with the decorative quality found in swash letters, is a factor, and the rule at the head, with bits of decoration at the ends, also helps. It will be noticed that no leaders have been used; their omission is sometimes advisable, at other times not. An antique-finished white paper is best for old-style effects such as this.
EXAMPLE 181.—This cover-page has been built on the small illustration. From the old fireplace the view of the room fades into the paper stock. After the border line is extended from the drawing, there remains a large amount of blank space, on which the title, in a well-balanced position, is arranged in type. The address neatly fitted in the space at the foot finishes the design at that point.
[Illustration:
EXAMPLE 182
German poster type on a grocery catalog with characteristic block grouping ]
[Illustration:
EXAMPLE 183 ]
[Illustration:
EXAMPLE 184
Typographic arrangement of the title-page and one of the inside pages of a museum catalog. The proportions of this type-face blend harmoniously with the dimensions of the page. Example 184 shows some details of catalog composition ]
[Illustration:
EXAMPLE 185
Rules add a decorative quality to this book catalog. By J. H. Nash ]
EXAMPLE 182.—Modern German typographical ideas have found expression in this grocery-catalog page. The lettering is type, the black tone and decorative form of which were probably inspired by strong lettering designed for poster purposes. Rules seem to have a place in the building of modern German art effects, as will be seen by this design. Bold type as used here is possibly unnecessarily forceful, but when color is to be shown in its true values it is desirable. Color never shows to advantage in thin lines, while broad lines bring out the color qualities of the ink. This is why colored inks printed from light-faced types seem to lack the brilliancy of the prints from flat-surfaced plates in ink-makers’ sample books.
EXAMPLES 183 AND 184.—Every printer at some time is called on to produce catalogs in which books or other published articles are listed and priced, and on such occasions wishes to see what “the other fellow” has done in this line. For this reason the two pages are of interest. They show a title-page and a representative inside page from a catalog issued by the Metropolitan Museum of Art, New York. The type-face is of the class usually designated as French Oldstyle, and its proportions blend harmoniously with the dimensions of the page. The distribution of blank space on the title is pleasing; the type lines are so grouped as to secure value from the background of white. In Example 184 the heads and subheads are pleasingly contrasted by the use of capitals in some cases and small capitals in others. Each item is grouped, and the technical details are kept orderly by being placed in a line with the price. No period is used after the item number.
[Illustration:
EXAMPLE 186
An automobile catalog page in which the type matter was prominently treated. The original page (about twice this size) was printed in dark-gray and orange inks on white antique paper. By the Robert L. Stillson Company, New York ]
[Illustration:
EXAMPLE 187
Unusual treatment of an automobile catalog page. The original was more than twice this size. The matter is liberally supplied with headings, the arrangement in the panel at the left taking care of most of them. By the Cadillac Printing Company, Detroit, Mich. ]
[Illustration:
EXAMPLE 188
Page in reduced size from a wine list designed by T. M. Cleland for the Oswald Press. Interesting use of rules in tabular style ]
EXAMPLE 185.—Scotch Roman type is used to excellent advantage in this book-catalog page. The title in each case is in large capitals, the sub-title and the name of the author are in smaller capitals, the explanatory matter in roman lower-case and the technical details in small italic. It will be seen that the advertising points have been carefully considered. A rule border and two ornaments add decorative quality. The closeness of the border to the type matter merges it with the page in an attractive manner. As in this case, decorative treatment should be a part of the general design and not something separate.
EXAMPLE 186.—On automobile catalogs typography seldom receives the attention it deserves. Illustration and decoration are given great attention, and what type matter is used seems to be like a guest invited at the eleventh hour. However, this example is from a catalog in which type acts an important part. In its original form this page was about twice the size of the reproduction and was printed in dark gray and orange on white antique paper. It will be seen that beginning with a colored initial the reader can without effort or eyestrain read the descriptive matter, which is followed by technical details in smaller type and a line illustration of the car. Scotch Roman was used, and it was not found necessary to introduce italic.
EXAMPLE 187.—The treatment of this page is uncommon for catalog purposes. A Goudy type-face was printed in dark brown (border rules in light brown) on an Italian hand-made paper. The size was more than twice that shown here. Sub-headings have all been grouped in the panel at the left, each so placed as to be opposite the paragraph to which it belongs. The effect was one of richness and suggestive of quality. Illustrations of the cars were of page size printed by the gravure process.
EXAMPLE 188.—Few printers would use rules in tabular form for a high-class wine list; tabular work is supposed to offer no opportunity for art expression. We know of the stone rejected by the builder which became the headstone of the corner. We have also heard of Michelangelo carving a masterpiece from an ill-shaped block of stone that had been discarded by other sculptors. Mr. Cleland did an equally interesting thing when he selected rules to give decorative quality to this wine list, supplementing characteristically drawn head- and tail-pieces. Caslon Oldstyle was used and the paper was hand-made. A pleasing effect was obtained by letterspacing the capitals in the headings.
[Illustration:
EXAMPLE 189
German treatment of a wine list, showing neat typography and attractive decoration ]
EXAMPLE 189.—We usually expect strong, masculine effects from German typographers and decorators, and when we come across a wine list as dainty as this one we are surprised and pleased. There is remarkable harmony of type-face, decoration and illustration. The type-face is uncommonly legible for so ornamental a letter, and the light decorative lines of the illustration and border reflect the qualities of the type-face. In the original there was an additional border around the one here shown, and it was printed in a very light gray-brown tint. The tint also appeared in parts of the illustration.
[Illustration:
EXAMPLE 190 ]
[Illustration:
EXAMPLE 191
Title-page of a catalog of exhibits, and a page showing the use of capitals and italic for the descriptions. By D. B. Updike ]
EXAMPLES 190 AND 191.—These pages are from an exhibition catalog. D. B. Updike is responsible for the typography, hence the pages afford an interesting study. The catalog is printed in four sizes of type, altho a cursory view of the pages would lead to the impression that a less number is used. There are three sizes of capitals and one size of italic. A fact that makes the catalog unique is the absence of roman lower-case. It is difficult to visualize an eighty-two-page book without roman lower-case, but here is one. The title-page (Example 190) is composed in three closely related sizes of capitals, corresponding to the sizes used on the inner pages. The important words, “Catalogue,” “Memorial Exhibition” and “Augustus Saint-Gaudens,” are set a size larger than the minor words “of a” and “of the works of,” altho the difference is but a point. The small woodcut is an appropriate accompaniment of the classic style of the type composition, and the harmony is further enhanced by printing in a clear black ink on thin white antique paper. Example 191 shows a page from the body of the catalog, the features of which are worth noting. All lines excepting the exhibit number are set flush at the left, and the paragraphs or groups are separated by space. The title of the exhibit is set in the larger capitals, the descriptive matter in italic lower-case, and quoted words in the smaller capitals. Punctuation at the ends of lines is sometimes omitted and sometimes used. The rule adopted by modern typographers—to omit punctuation points at the ends of display lines—leads to nice distinctions when a page such as this one is to be treated. As a help in deciding on proper marginal distribution on work of this sort, it is well to mention that the size of the leaf of this catalog was 4¾ × 7¾ inches, the type pages measuring 2⅝ × 5½ inches or less, the type pages not being of regular length. The margin at the head was ⅝ inch; at the binding edge, ⅞ inch; at the outer edge, 1¼ inches; at the foot, 1⅝ inches or more.
[Illustration:
EXAMPLE 192
Interesting page from a sewing-machine catalog. By Matthews-Northrup Works, Buffalo, N. Y. ]
EXAMPLE 192.—This shows a page from a catalog of sewing machines and sewing-machine parts. The workings of the machine were pictured in such a realistic manner that the effect was almost equivalent to a demonstration on the machine itself. The border did not force itself on the attention, yet furnished the decorative element to the page. The type matter, in Caslon roman, was stylishly arranged in harmony with illustration and border, and was notable because it was probably given as much consideration as the designing and plate-making.
[Illustration:
EXAMPLE 193
Neat typography on an attractive background. Glove catalog by the Hall-Taylor Company, Milwaukee, Wis. ]
[Illustration:
EXAMPLE 195
Clever treatment of tabular matter in a catalog page. By the Chasmar-Winchell Press ]
[Illustration:
EXAMPLE 194
An artistic treatment of a commercial catalog showing what is possible in typography. By Taylor & Taylor, San Francisco, Cal. ]
EXAMPLE 193.—This firm has gloves to sell and in a particularly pleasing and artistic manner catalogs them for the information of the buying public. By means of the four-color process the gloves are shown in their natural colors, and placed in the “spotlight,” as it were, by the gradual fading away of the dark background about them. A general talk on the subject of gloves is carried from page to page, while the number and description are placed in smaller type directly beneath the articles.
EXAMPLE 194.—In commercial catalog work the illustration of the article to be sold is of the same importance as the article on the counter in the salesroom. The usual method of selling is to show the customer the article and then by giving information about it and telling of its good qualities to persuade the customer to buy. The illustration, then, is important, and by looking on Example 194, we can see how one printer recognized this fact. The roll of yarn is prominent in the page and the name of the yarn is second in seeking attention. The goods are displayed attractively in surroundings that are interesting. The decorative border (made of rule) has merged with it the name of the manufacturer.
EXAMPLE 195.—It requires the skill of a typographer and the talent of an artist to make a good-looking page from tabular matter. Where this combination is lacking the result is commonplace and unsatisfactory. It was not lacking on this example, for one seldom sees a tabular page so attractively arranged.
[Illustration:
EXAMPLE 200
Program cover page in ecclesiastical style ]
[Illustration]
PROGRAMS
“Let all things be done decently and in order.” These words of Paul, while possible of wide application, have peculiar significance applied to the program. The program exists because of recognition of the necessity of orderly procedure “where two or three are gathered together.” Historically, the program has come to us from the early times, when all knowledge was transmitted by word of mouth. Church services are the result of evolution from ancient ceremonies, and other exercises for which programs are used originated in the far past.
Programs familiar to printers could be divided into four classes: Programs of sacred services, dance programs, banquet programs, and programs for various entertainments. In this order they will be considered.
[Illustration:
EXAMPLE 201
Excellent arrangement for economizing space on a program containing numerous small titles ]
The historical side of the program of sacred services should not be overlooked. It is a mistake for printers to produce church programs in the same style of typography employed on secular forms. Church programs, more than any other line of printing, offer opportunity for artistic treatment, and their production is pleasure to the artist-printer who believes significance is an important element in good typography.
[Illustration:
EXAMPLE 202
An almost perfect specimen of church-program printing, showing the missal style ]
The key to the proper treatment of ecclesiastical printing lies in the old manuscript books written in the monasteries. Black ink was commonly used for the main portion of books, and vermilion, a red earth (_rubrica_), for titles and important parts of the text. In the writing of Missals (containing services of the celebration of mass), of Psalters (containing the psalms), and of Books of Hours (containing prayers and offices for the several hours of the day), maltese crosses and uncial capitals were written in vermilion. Uncial capitals are now made by several type foundries as Missal initials, Caxton initials, Sylph initials, etc., and maltese crosses are easily procured. As black text letters were also used on these missals and psalters, the type-faces now known as Caslon Text, Cloister Black, Flemish Black, etc., being copies of these early text letters, are appropriate faces for display portions of church programs. Text letters were long ago discontinued for body purposes in English printing, hence they have become unfamiliar to the general reader and it is not desirable to use them for such purposes. A roman letter such as Caslon is the best companion for these black text letters.
[Illustration:
EXAMPLE 203
Classic treatment of church-program page. By D. B. Updike, Boston, Mass. ]
The Church of England, the American branch of which is known as the Protestant Episcopal Church, deserves much credit for the modern development of an ecclesiastical style of printing. Because of the custom of using red ink in forms of service, for the parts giving direction as to the conduct of the services, these parts have become known as “rubrics.” It is necessary to mention to printers generally that when colors are used on programs or books of service the “rubrics” should be in red. This treatment is illustrated in the page from the marriage service shown as Example 146 in the chapter on “Books” which also shows an uncial initial. When only black is used it is customary to set the rubrics in italic.
[Illustration:
EXAMPLE 205
Generous margins on a church program are pleasing ]
EXAMPLE 200 (Insert).—This title-page presents a modern interpretation of the historic ecclesiastical treatment. The black type-face is Caslon Text, and is a copy of one of the early manuscript letters, as before mentioned. As pointed Gothic is usually accepted as the style of church architecture, so pointed Gothic type-faces have been adopted for church printing by typographers who know. Uncial rubricated initials as used on this title-page are known commercially as Caxton initials. The red lines which are a prominent part of the page have historic significance. Now grown to possess decorative value, they originated thru the necessities of writers of manuscript books, and were originally guide lines for writing. They designated the position of the page and the lines of letters. With the ancient churchmen the maltese cross was the symbol of Christ, and today also these crosses have that significance, altho to a great extent they are now considered merely as ecclesiastical decoration. The square device in the center is in the Celtic style of ornament. The significance of the design lies in the decorative cross and the letters I. H. S. (_Iesus Hominum Salvator_, Latin, meaning “Jesus Saviour of Men”). It may be well to suggest that treatment of church printing should be varied sometimes with the denomination for which the work is done. The majority of clergymen will be pleased with printing treated in the accepted ecclesiastical style, yet there are some, prejudiced against “high church” liturgies and emblems, and others with individual ideas of what is appropriate, who must be considered. The writer recalls an instance in which the customer, an Episcopal clergyman, objected to what he called a “Latin” cross, used as an ornament on a title-page, and was satisfied when a maltese cross was substituted for the purpose. Many church programs which now appear commonplace would take on a churchly aspect if rubricated, even tho that be possible only on the title-page.
The example under consideration (No. 200), it will be noticed, is constructed on squared lines, a shape dictated by the large decorative device. While the page as arranged is interesting and fairly harmonious, the pointed letters in the type lines would blend better with a device of the pointed Gothic kind; or, again, the squared device would be in closer harmony with a squared type effect such as could be obtained with roman capitals.
[Illustration:
EXAMPLE 204
Program cover-page in semi-missal style. By Lee Crittenden, New York ]
EXAMPLE 201.—This page presents an excellent suggestion for the arrangement of a program in which numerous small titles appear. If each title were set in a measure the full width of the type page, as is frequently done, the matter would not come into one page. The arrangement as shown not only economizes space but gives symmetry and tone, which otherwise would not be had. The portions in red are well selected for printing in that color. There is artistic value in the shape formed by the vertical dividing rule and the page heading.
[Illustration:
EXAMPLE 206
A dance card by Edward W. Stutes, Spokane, Wash. ]
[Illustration:
EXAMPLE 208
Unconventional treatment of a dance program ]
EXAMPLE 202.—This page has not the compactness of the preceding one, yet esthetically it is more pleasing. It is an almost perfect specimen of church-program printing. As already mentioned, the horizontal red lines and the black text letter used for titles have an ecclesiastical motive. Careful disposition of blank space has given a pleasing tone to the page, which is also helped by the position of the second stanza of the hymn at the foot. The type-faces are harmonious, the use of black text, old-style roman and italic affording a pleasing variety. By including in the color the initial letters and the title “Holy Communion,” all parts of the page are blended and related.
EXAMPLE 203.—The printer may be naturally curious to know how a typographer such as D. B. Updike, who is known to specialize on ecclesiastical typography, treats church programs. Here is an Updike page, from a program of Lenten services, arranged in the simple, classic style of typographic treatment that he always renders so well. As will be noticed, the main portion of the type page is aligned at the left. The manner of using capitals, small capitals, lower-case and italic is an interesting study. While examining the page it is enlightening to note that A.M. and P.M. are in small capitals, and that no space other than furnished by the period is placed between these abbreviations or the degrees D.D., Ph.D., etc.
[Illustration:
EXAMPLE 207
Page from a booklet program. By C. R. Beran, Denver, Colo. ]
EXAMPLE 204.—This is the title-page of a small program which was in booklet form, a page being devoted to each event on the program. The title-page is in missal style, with cross rules and uncial initials. The spaced Pabst capitals at the foot are not sufficiently strong in tone to balance the upper part of the page. Perhaps the effect would be better had the missal style of treatment been extended to the lower portion of the page.
EXAMPLE 205.—This is the second page of a small program used at the laying of the corner-stone of a new church building. It would have been possible to get all the type matter on one page, but crowding into small space is often done at the sacrifice of beauty, and this program profits by the liberal margins. The rule lines at the head were used to obtain uniformity of page width and hight. The outline type ornament gives ecclesiastic dignity to the program. The two-line initial at the beginning of each hymn adds style and finish to the typography.
* * * * *
The dance program is a far step from the church program. The contrast between the subdued and reverent atmosphere of the house of worship and the gayety and frivolity of the brilliantly lighted ball-room emphasizes the necessity of printers using their best powers of discrimination in treating the various programs that come to their shops.
The dance program should be dainty. White seems to be more acceptable than colored stock on which to print the order of dancing. The type and ink treatment should be neat and delicate. If a bold type-face be used, it should be printed in a light tint of ink, such as gray, pale blue, pale green, and the like. It is possible for printers to produce attractive dance programs with the material generally found in the shop, yet stock folders may save wear of the thought machinery and probably be more satisfactory to the customer. Young people are imitative and may be suspicious of a dance program which does not resemble those they have seen before; it has got to “look like a dance program.” For fifty years or more dance programs have consisted of folded cardboard with tassel and pencil dangling therefrom. The stock folder is to be had in a variety of designs printed or embossed on the first page, appropriate for many occasions. However, there are shown three typographic dance programs.
[Illustration:
EXAMPLE 209
The decorative border on a banquet program. By Edward Everett Winchell, New York ]
[Illustration:
EXAMPLE 211
Page from a booklet program. By Will Bradley ]
[Illustration:
EXAMPLE 212
The banquet program in the form of a checkbook ]
EXAMPLE 206.—An Indian border was used around this dance card, but its strong lines were softened by printing in gray and red. White stock was used. In the headline, instead of the customary periods, dots are centered decoratively. Artists often place a dot or small ornament between words of a lettered design for the purpose of benefiting the tone. More often practically no space at all is placed between words if in lower-case beginning with capital letters.
EXAMPLE 207.—A part of an outing program, this page carries the style of all the other pages as regards border and head panel. It illustrates the effectiveness and economy of uniform border treatment on a program. There are very few programs that would not be benefited by decorative borders in color. But one border need be set in type, duplicates being obtained by electrotyping. If there are to be only a few hundred programs, two borders may be set in type and printed on all the sheets, running only two pages on. If desired, a hand-drawn decorative border could be engraved and afterward duplicated by electrotyping.
EXAMPLE 208.—There is nothing conventional in the design of this dance program. It is different from most others. The rule lines extend to the border, and the heading “Dances” sets slightly to the right of center, supported underneath by the graceful flower ornament. Punctuation is omitted. This page is recommended for dance cards, when the printer desires to have the job exclusively typographic.
* * * * *
[Illustration:
EXAMPLE 210
A halftone decorative background on a program. Design by Griffith-Stillings Press, Boston, Mass. ]
[Illustration:
EXAMPLE 213
Humorous treatment of titles and odd menu arrangement. Design by the Griffith-Stillings Press, Boston, Mass. ]
The banquet program not so many years ago here in America and in England was commonly called a bill of fare. Now only the cross-roads hotel and the cheap city eating house have bills of fare. The polite title is now “menu,” pronounced men-yu or meh-noo. Some writers claim the word came to us from “Manu,” a mythical sage said to have sprung from the god Brahma. Yet the dictionary would seem to indicate that the word is French, meaning small, and was derived from the Latin _minutus_, little. It is possible that the small portions now served in many restaurants suggested the use of “menu” because of the contrast with the generous “helpings” of the old-fashioned meal. In 1512 a “shore dinner” for an individual consisted of “a quart of beer, a quart of wine, salt fish, red herring, white herrings and a dish of sprats.”
[Illustration:
EXAMPLE 214
Suggestion for a menu page, introducing a bit of fun ]
[Illustration:
EXAMPLE 215
A classic menu page. Designed by D. B. Updike, Boston, Mass. ]
In the banquet program the printer has great opportunity to make use of his inventive faculties. No other kind of program allows of such varied treatment. There is no limit to the shapes, the type arrangements and the color treatments that are suitable for banquet programs. An association of leather merchants holds a dinner and the members may find beside their plates a program bound in a miniature hide, the sheets of the program attached by a leather thong.
Bankers meet and the program may be in the form of a checkbook.
For an athletic association an oval-shaped program suggesting a football will “score.”
Newspaper publishers will appreciate the menu list presented as a papier-mache matrix of the type form.
Commercial travelers would be pleased were their banquet programs designed in imitation of a mileage book.
A literary society dinner would be appropriately graced were the program printed on parchment and wound around a wooden or ivory rod, as “books” were bound in ancient times.
[Illustration:
EXAMPLE 217
Dignified style for menu page. By the De Vinne Press, New York ]
Pyrography could be blended with typography in producing odd effects in banquet programs. One way of getting results by this method is to print the menu page on a piece of soft wood, say a quarter of an inch thick, and then, by means of the pyrographic writing tool, burn a decorative border around it. Type ornaments and borders could be printed on the wood as a guide for burning the designs.
Many effective menu forms could also be evolved with the assistance of the bookbinder. Pulp board covered with an artistic cover paper makes a handsome background for mounting the menu page, which should be printed on a harmonizing stock. Italian and Japanese hand-made papers are particularly suitable for such work, and when the style of typography is made to blend with the stock the effect is rich. Domestic manufacturers, too, make a large line of artistic papers applicable to the purpose.
EXAMPLE 209.—This page is from a booklet program, and is companion to Example 125 inserted in a preceding chapter. It sets forth the value of the decorative border on programs. The arrangement of the type matter is the customary one. The minor dishes are set in small type, while the damp stuff from the wine cellar is represented at the left in rubricated text letters.
EXAMPLE 210.—A halftoned decorative background in olive was a feature that lent value to this page, which is one of a number of similarly treated pages in a booklet program. The classic panel design makes a good background for a menu page. The idea is applicable in many other ways.
[Illustration:
EXAMPLE 216
A menu program used by master printers. By Charles Edward Peabody, Toronto, Ont. ]
[Illustration:
EXAMPLE 218
Treatment simulating woodcut decoration ]
EXAMPLE 211.—This chapter would be incomplete without one or two Bradley specimens. Here is an idea in menu printing born while he was with the American Type Founders Company in 1905. It took the form of a small booklet 2¾ by 4¾ inches, eight pages and cover, and each page was devoted to one of the dishes on the menu. Below the name of the dish was a chap-book ornament. Altho the small booklet has been little used as a form for menu purposes, it has possibilities for development that should not be overlooked by the printer.
[Illustration:
EXAMPLE 219
The missal style adapted to a menu program. By Will Bradley ]
EXAMPLE 212.—Here is a novel banquet program. Each dish on the menu was presented in the form of a check on the “Printers’ Bank of Dyspepsia,” and the “bank” was ordered to pay to the order of the guest a portion of food or drink, in this instance oysters on the half-shell. The checks were signed by appropriate names, “A. Shellgame” in this instance. The entire lot of checks was bound in the customary checkbook style.
EXAMPLE 213.—In this program the menu is termed “Hash” and the toasts “Rehash.” The treatment is unique, especially in the arrangement of the list of palate ticklers.
[Illustration:
EXAMPLE 220
Unique treatment of a menu page in which the minor dishes are arranged at the right ]
EXAMPLE 214 (Insert).—Suggested for a menu page in two colors. Banquets are occasions of gayety and enjoyment, and humor is appreciated. Displaying choice drinks prominently, and then in a note at the foot calling attention to the fact that they can be had at the bar at regular rates, is a bit of fun that has not been widely perpetrated. Typographically the page is refined, yet is sufficiently decorative to appeal to a large class of customers.
EXAMPLE 215.—A classic menu page by Updike. Roman capitals and italic lower-case only are used. Perhaps this is the way Aldus would set the page were he alive today. The page as a mass is symmetrical.
EXAMPLE 216.—This page is from a program used at a master printers’ banquet, all pages being treated in a style appropriately humorous. The word “Stock” tops the page instead of the usual “Menu.” “Make-up” heads the list of officers, and in this manner were the guests’ funny-bones agitated.
EXAMPLE 217.—Here is a program for those accustomed to eat in a foreign language. The typographic treatment is refined and dignified, the roman capitals and the italic blending classically. Little side hits such as those to the right are always appreciated, especially when carefully selected.
[Illustration:
EXAMPLE 222
Refined entertainment program page. Design by D. B. Updike, Boston, Mass. ]
[Illustration:
EXAMPLE 221
Excellent typographic treatment. By Harry Haime, Boston, Mass. ]
EXAMPLE 218.—An artistic treatment simulating woodcut decoration suitable for many occasions is presented by this page. The four initial letters give the appearance of a decorative heading and blend well with the border. It is appropriate that capitals should be used thruout the page and that the type-face should be Old-Style Antique. The florets dividing the dishes distribute the color pleasingly. The fact that this program was used by an organization of mechanical engineers explains the queer wording of the list of good things to be eaten.
[Illustration:
EXAMPLE 223 ]
[Illustration:
EXAMPLE 224
These two pages are from an entertainment program by Bruce Rogers, Cambridge, Mass., and furnish interesting material for study ]
EXAMPLE 219.—Bradley suggests another good arrangement in this page. It is simply constructed, yet possesses interest and style. The original was in black and light-brown inks on buff antique stock.
[Illustration:
EXAMPLE 225
A program page in lower-case. By Stetson Press, Boston, Mass. ]
EXAMPLE 220.—This page has the merit of being unique while containing elements of the artistic. The important dishes are set forth prominently, the minor dishes appearing in small type grouped at the right. Uncial initials blend with the Old-Style Antique type. The horizontal rule and the large flower ornament play necessary parts in obtaining a balance.
[Illustration:
EXAMPLE 226
The decoration was in color. By Fred S. Lang, Los Angeles, Cal. ]
EXAMPLE 221.—The treatment of the titles at the left side and the symmetrical arrangement at the foot of this example are highly commendable. The details of the entire page denote the finished typographer. The combination of capitals and small capitals is pleasing, and the manner in which variety has been secured in a design of orderly arrangement is commendable.
[Illustration:
EXAMPLE 227
Program in the Gothic style. Designed by Merrymount Press, Boston, Mass. ]
* * * * *
Programs for entertainments and exercises, while not allowing the unrestrained workings of the fancy that those for banquets do, are yet proper vehicles for carrying artistic ideas. The program should be artistic. The commonplace program is a disappointment to the intelligent auditor and an evil in that it influences the public taste towards mediocrity. The printer who cannot produce a good entertainment program has need to study art principles and observe the artistic programs being produced by others.
EXAMPLE 222.—A refined program page by Updike. In the original the border was printed from a copper intaglio plate on smooth-surfaced hand-made paper, the reading portion being printed clearly and sharply from type. Updike’s work is noted for the clearness of the print. Just enough ink is carried to prevent the print being called gray. Of course the type must be clean and unaffected by wear, the ink well ground and the impression firm. This specimen is almost entirely in italic, with “swash” or decorative capitals that add interest to a page of dignified typography. Swash italic capitals properly used are valuable aids in securing attractive yet refined typographic effects.
EXAMPLES 223 AND 224.—These two pages by Bruce Rogers should have interest for every printer who loves good typography. The zinc reproductions of these pages, also that of the preceding example, fail to present the sharp print of the originals. Roman lower-case is absent from this program. Rogers and Updike, with Aldus, have demonstrated that roman lower-case is not essential to typography. Perhaps that is why their work has distinction—other printers set most of their type from the roman lower case.
On the title-page the features of particular interest are the long s in the word “music,” the swash italic capitals and the woodcut ornament.
The program page is interesting in its construction and its details should be studied closely. Unless suitable ornamentation is available, program pages had better be treated plainly as here, with such attention to the details of the type arrangement as will obtain finished results. It is a test of typographic ability in the production of a program page to compose work that, without the friendly aid of decoration, is pleasing to look upon.
EXAMPLE 225.—This page shows admirable treatment of a brief program. The various sizes of type are well distributed, and the consistent use of roman lower-case is pleasing.
EXAMPLE 226.—The type in this page overprinted the decoration which was in pale orange and pale green. The decoration was appropriate in that the program was for a meeting held on the fruit-growing Pacific Coast.
EXAMPLE 227.—The Gothic style dominates this page. Excepting the two uncial initials, only one size of type has been used. That fact alone is interesting, as the result is remarkably finished. Decoration of quality for similar effects can be obtained by having historic decorative borders from old books photographed and redrawn upon the photograph with such alterations as are desired. The face of the photograph can then be washed away, leaving only the drawing, from which the plate is made.
[Illustration:
EXAMPLE 228
A well-arranged page. By Stetson Press, Boston, Mass. ]
EXAMPLE 228.—The list of characters in a dramatic entertainment is here displayed in an unusual manner. It is so easy for compositors to set copy such as this in the conventional type-leader-type method, but this compositor has arranged it to conform to the proportion of the page.
The program containing small advertisements, especially the theater program, is possible of much improvement. Such typography should be given better attention, as theater programs exert large influence in forming public taste.
[Illustration:
EXAMPLE 229
Classic capitals combined with rules. Suitable for announcements having to do with art, architecture, literature and music ]
[Illustration]
ANNOUNCEMENTS
Publicity is doubtlessly essential to success in every business and profession. The public is interested in the man who does things, but this interest is obviously confined to the man who it knows does things. The great men are advertised men. The great deeds of history are those advertised by poets and historians. Shakespeare made famous many ancient characters, as did Plutarch before him, and the most famous acts of the American Revolution are those performed near the homes of poets and writers. We would not be familiar with the rides of Paul Revere and “Phil” Sheridan had they not been advertised by means of printers’ ink.
Several years ago in New York an influential art society recognized the work of a mural painter by awarding him a medal. In accepting it the artist sadly remarked that the recognition came too late in life for him to “use it as a help to live with,” which proves that in the heart of the most proud and sensitive artist or professional man there is a feeling that he needs publicity—recognition, if that word is less offensive—in order that his life work may be successful.
It is fashionable for prominent persons to employ press agents, and goings and comings and doings are told to the public at every opportunity. In the days before the development of newspapers and other typographical mediums for advertising, the people depended upon the public crier to make all sorts of announcements. He would attract a crowd by sounding blasts with a horn or by ringing a bell, and then make known his message.
The modern representative of the crier is the printed announcement. It is not confined to any definite size or shape, often consisting of one page only, printed on card or paper stock.
[Illustration:
EXAMPLE 230 ]
[Illustration:
EXAMPLE 231
Two pages from a dignified, refined and artistic announcement folder, printed in black ink on brown-tinted hand-made paper ]
The announcement form may be considered the most personal of the printed mediums of publicity. It presents a direct, individual appeal or invitation, and the recipient, influenced by this fact, is likely to give it more consideration than some other form of advertising. Recognition is flattering to all of us, and upon receipt of an announcement we are apt to feel pleased that our patronage or personality is thus recognized.
[Illustration:
EXAMPLE 232
Announcement in Colonial style. By A. F. Mackay ]
The printer is depended upon by most customers to furnish suggestions for the physical make-up of the announcement, and he is also frequently asked for advice in regard to the phraseology. This places a responsibility upon him that he cannot well ignore, and he should be able to respond with proper suggestions. Being thus qualified to assist the customer has many times led to further and profitable business. The printer possessing the confidence of his customers has an asset of great value.
The most common form of typographic announcement is that printed from roman, text, gothic or script type-faces in imitation of engraved intaglio printing. The styles of this form of announcement change slightly with the fashions in copperplate effects. Printers desiring to do such work would do well to obtain samples from one of the leading society stationers and follow them closely in arrangement, spacing of words and lines, and size and kind of stock. This class of work allows of little original or decorative treatment. If other forms or treatments are desired a standard type-face, such as Caslon or Cloister, should be used. Many compositors err in combining copperplate-engravers’ faces with rules and borders, or in other ways misusing them; for such results are “neither flesh, fish nor fowl,” as the saying goes.
If the customer requests an imitation copperplate effect, give it to him as closely as you can; that is good business policy, and is in accordance with the sound advice to “Do your best, no matter what the circumstances,” reminding one of the old rhyme:
If I were a cobbler, it would be my pride The best of all cobblers to be; If I were a tinker, no tinker beside Should mend an old kettle like me.
But, whenever possible, get on higher ground. If you must be a tinker, be a good one, but rather be a producer of new things than a builder of patches and something that is “as good as new.” Printers should test their earnestness with tasks that develop their art instincts and, accompanied by proper financial return, bring that satisfaction which comes from work well done.
* * * * *
[Illustration:
EXAMPLE 233
Odd treatment of an announcement. By T. M. Cleland ]
EXAMPLE 229 (Insert).—Usually the printer should not set an advertising page all in capitals, nor should he use many rules in its composition; but when the typographic designer has skill and artistic taste in addition to a developed sense of fitness and refinement, the warnings and “thou-shalt-nots” that apply to most printers are not for him. Mr. Nash, with the use of Fred W. Goudy’s Forum type-face and rules that suggest the guide lines of old manuscript books, has produced an announcement that is classic in composition, pleasant to look upon, and a page that carries the message in an especially effective and appropriate manner. The original was printed on hand-made paper. This type-face has been modeled on ancient Roman lettering and for that reason has a classic character that makes it suitable for announcements and other printing having to do with art, architecture, literature and music.
EXAMPLES 230 AND 231.—These are the first and third pages of an announcement originally printed in black ink on brown-tinted hand-made paper. The type-face, Caslon, was sharply impressed into the stock. It may be advisable to state here that all Caslon romans are not alike. The face usually sold by typefounders has the descenders shortened, that the letters may conform to the system of alignment adopted some years ago in America. This shortening of descenders, seemingly a trivial matter, affects the general appearance of the type-face. Attempts to “improve” the Caslon face are apt to end disastrously to the effectiveness of the letter. It has characteristics that are essential to its beauty, and shorn of any of those characteristics it loses attractiveness proportionately. This announcement folder is of a quality seldom attained in printing, depending as it does upon detail in typesetting and presswork. The reproduction cannot present these points, because the finish of the paper, the clearness of the print, the spacing, the apportionment of margins, the tone, all counted in the finished result.
EXAMPLE 232.—This circular announcement in its original form was 9½ × 12½ inches in size, the paper upon which it was printed being gray-green laid hand-made. The positions of the groups of type matter and the sizes of margins are features worthy of study. Other points of interest are: the treatment of heading and initial, the use of florets at the beginning of each paragraph, and the committee signatures. The last-named lines are set in italic lower-case with roman capitals, Aldus style. The border was printed in dull red, close to the edge of the paper.
EXAMPLE 233.—This meeting announcement is of the same series as the preceding example, but, set all in black text letter without border, the effect is totally different. The peculiar black and gray tones of the Caslon ornaments blend well with similar characteristics presented in the massed black letter. The page was printed in vermilion and black on buff laid hand-made stock. The effectiveness of this style of announcement is due not alone to the typography and stock, but to the generous size of the sheet used—good paper and plenty of it. This announcement was mailed without envelops, the double sheet being folded into thirds and the lower end inserted into the upper end.
[Illustration:
EXAMPLE 234 ]
[Illustration:
EXAMPLE 235
These specimens are lettered in a style that suggests the sturdy masculine character of the lettering developed with the new German decorative poster art. Designed by Oswald Cooper, Chicago ]
[Illustration:
EXAMPLE 236
A classic arrangement based upon the architectural inscription plate. By Benjamin Sherbow, New York ]
[Illustration:
EXAMPLE 237
Ornaments as eye-attracters. An idea that could be adapted to many jobs of printing. Designed by Will Bradley ]
[Illustration:
EXAMPLE 238
Postal-card announcement, the typography of which is attractive, not because of what is put on, but because of what is left off ]
[Illustration:
EXAMPLE 239
Good advertising typography. Type groups and blank space well proportioned, and an interesting decorative spot of color ]
EXAMPLE 234.—This announcement page is lettered in a style that suggests the sturdy masculine character of the lettering that has been developed with the new German decorative art. Typographers should not make the mistake of assuming that a page set in the so-called gothic types of the typefounders would give this effect. While the letters are without serifs, as are the gothic types, yet they have not the mechanical perfection of those types. Type-faces, lettering and drawing of any kind seem to be better liked when they possess the human quality of imperfection. I once called on Boardman Robinson, then cartoonist of the New York _Tribune_, and found him at work on a cartoon for the day. I noticed that he had considerably altered the picture on which he was working, and I asked him about it. With a smile, he stated that he had been working on the cartoon for several hours in order to make it look as if it had been drawn in fifteen minutes. German typefounders have made type-faces that carry the qualities of this poster style of lettering. The young printer should not infer from this that careless and unfinished typographic work is preferable to a careful, finished product. It will be found that the artist or printer who can best give this little touch of human nature to designs is one who first learned to do the work as perfectly as possible.
EXAMPLE 235.—This design was the first page of a folder of which Example 234 was the third page. Oswald Cooper, who lettered this announcement, used the figure of a dog that had been drawn by the German poster artist Hohlwein, but gave him due credit in the upper left corner. This style of lettering, as has already been mentioned, is appropriate to the subject of German posters and in harmony with the poster illustration used. Heavy treatment of this kind offers a rich opportunity for the use of strong and harmonious colors. Light-faced type is very unsatisfactory as a carrier of color, but the broad strokes of this style of lettering make possible a liberal showing of color on the page. An extra color has been introduced, altho the original announcement was entirely in brown on a brown-tinted card.
EXAMPLE 236.—From the viewpoints of art and dignity an announcement card such as this one is always in good taste. Its style is classic, being arranged along the lines of an architectural inscription plate. The border is the reliable egg-and-dart pattern and the type-face is Caslon. Capitals are essential to best results in this sort of design.
EXAMPLE 237.—The idea suggested in this page, of using ornaments as eye-attracters, is a good one. While the design as a whole is decorative in character, the advertising element is not overlooked. The several articles of merchandise are prominently displayed, as is also the name of the store. In the series of type designs of which this was a part, the designer strongly emphasized ornamentation. There was a reason for his doing this, as he was engaged in introducing new typographic decorative material, but printers working for the commercial public are engaged in a different vocation. In attempting such designs as this, compositors should decrease the prominence of the ornaments and border and increase that of the reading portion of the page.
[Illustration:
EXAMPLE 240
Showing the use of roman, italic and spaced small capitals on an organization announcement ]
[Illustration:
EXAMPLE 241
Unusual division into two groups, providing for fold. By the Calumet Press, New York ]
EXAMPLE 238.—This announcement was printed in black ink on a Government postal card. The young compositor will, no doubt, recognize the small amount of actual typesetting necessary for this page; however, he should not overlook the fact that the results were really secured by one-tenth manual labor and nine-tenths brain exercise. A specimen such as this is good not because of what is put on but because of what is left off. There are only a rule border, a small silhouette illustration and four lines of type exclusive of the signature, yet the busy man gets the message and experiences pleasure in getting it. The type in the original was no larger than was necessary to be easily read. Compositors frequently forget that announcements of this kind are read at a distance of only a foot from the eyes, and that twelve-point type is really large enough for the purpose. It is usually a mistake to make the type-face very large or very small. One is an unnecessary size and the other is an illegible size.
EXAMPLE 239.—This is another announcement set in twelve-point type, with a liberal distribution of blank space. The personal mark of Mr. Baker adds a decorative touch of color that attracts attention and helps to make the page distinctive.
[Illustration:
EXAMPLE 243
Harmony of type-face and decoration ]
EXAMPLE 240 (Insert).—This announcement has typographic interest in that it shows how variety and advertising emphasis can be obtained by the proper use of italic and small capitals with lower-case roman, especially with a type-face such as Cloister Oldstyle. The small capitals are letterspaced; they usually respond pleasingly to such treatment. Typographers who have studied the matter of spacing have found that capitals and small capitals can be letterspaced with good results, and that roman and italic lower-case seldom look well if the letters are separated by spacing. It is probably an exaggeration to say that lower-case should never be spaced, as typographic artists such as Will Bradley have produced very effective results with letterspaced lower-case; but the average compositor had better adhere to the rule of never letterspacing lower-case letters. It will be noticed that on this announcement the name of the organization, the words “Dinner” and “Exhibit” and the name of the guest, are set in capitals and small capitals with letterspacing. The names of the books, the title of the talk, and the request to return a card, are in italic. Only one size of type has been used, excepting for the committee group at the foot. In order that the words “Program Committee” should not look exactly like the other lines in this group, they were letterspaced.
[Illustration:
EXAMPLE 242
A study in tone values and margins ]
[Illustration:
EXAMPLE 244
Artistic form for brief announcement. By A. F. Mackay, New York ]
EXAMPLE 241.—This announcement form, like No. 240, is conventional in size, the paper upon which the original was printed measuring 5½ × 7 inches. The arrangement of the type page was designed to provide for the fold which horizontally crossed the center of the page. The division into two groups, each in a different type-face, is unusual, and the manner in which this has been accomplished is instructive to the student of typography. The use of a large initial gives distinction to the upper group, and spacing of the Caslon capitals in the lower group maintains a distinction there. This page illustrates two points recognized by good typographers—that the printed effect of old-style roman capitals is usually improved by a slight increase of space between letters, and that, on the other hand, the printed effect of text letters would be impaired by increased space between them. There is danger of too great contrast of tone in a page, and had this example been executed less skilfully, it would have failed in effect.
[Illustration:
EXAMPLE 245
Colonial treatment of an announcement page. By the Calumet Press, New York ]
EXAMPLE 242.—This announcement circular affords a study in tone values, especially in the original size, which was 9 × 12½ inches. The type, Old Style Antique, was twelve-point, with six-point slugs between lines. The black tone of the type-face and the liberal spacing found relationship in the black tone and open lines of the initial letter at the head. This harmony was carried out in the entire page, the black and white tones contrasting thruout. No gray lines were used; even the monogram at the foot was constructed of strong lines. In obtaining an effect like this it is necessary that the type-face be of medium black tone somewhere between the gray tone of the Caslon face and the heavy black tone of the John Hancock or other extra-black faces. It may be well to call attention to the margins inside the rule border. The artist avoids monotony in margins. In old books the four margins surrounding a type page differed. The foot margin was the largest, the others being smaller in this order: outer side, head, inner side. In this announcement page the foot margin is larger than the others, and the head presents the smallest amount of marginal space. The side margins were made equal because, unlike the paired book page, this page stands alone.
EXAMPLE 243.—Harmony of type-face and decoration is the chief attraction of this announcement card. Some of the characteristics of Washington Text in tone and stroke are also found in the initial letter and border, and to this the harmony is due. Placing of the initial letter so low on the page was a bit of daring, yet balance is retained, due to the heading.
EXAMPLE 244.—While only a little folder, 3½ × 4½ inches in size, this job was exceedingly effective. It was printed in black on white antique stock. Such a form could well be adapted to many brief announcements.
EXAMPLE 245.—This form was set in type during the Colonial revival that interested good printers about the year 1900. Caslon type and Colonial decoration give an individual character to the page. Colonial effects are not so common just at this time, which fact is quietly digested by the wise typesetter as he recognizes his opportunity.
[Illustration:
EXAMPLE 246
An announcement literally treated in Colonial typography, even to the use of the long “ſ” ]
[Illustration:
EXAMPLE 247 ]
[Illustration:
EXAMPLE 248
First and second page of an artistic, unembellished announcement circular. Designed by Benjamin Sherbow, New York ]
EXAMPLE 246.-This announcement demonstrates the possibilities of typography along the lines of appropriateness. A Colonial organization wished to announce a meeting at which would be celebrated the founding of the first American newspaper, and desired something in Colonial style. The printer looked up a reproduction of an early newspaper and set the heading in a style such as was given the headings of newspapers in the early days. The society had an emblem or seal engraved in the serifless and characterless style of lettering that the average engraver will give an organization. The printer had the emblem redrawn, giving instructions to the artist to draw the entire design in freehand and to be careful that the lines and lettering be not too regular. Instructions were also issued to have serifs on the lettering and to have it contain the contrasted light and heavy strokes of the roman type-face of the Colonial period. As will be seen by the example herewith, the idea was well carried out by the artist. The society had appropriately phrased the announcement. The printer carried the idea along by using a small size of “e” in the word “ye,” and a long “s,” made by cutting a part of the cross from the “f.” A suitable hand-made paper was selected and the paper was dampened before printing it. The announcement was then folded up and sealed in the style of Colonial times, without an envelop.
EXAMPLES 247 AND 248.—These are the first and second pages of a large circular announcement printed in black and light olive-brown on buff-tinted laid antique paper. No embellishment is used, nor is any needed, the treatment being sufficiently artistic. The arrangement of the first page is uncommon. The lack of margins around the type group and the absence of print on three-fifths of the page would be counted by some printers as mere eccentricities, yet to others these things spell art. Compositors interested in this arrangement should notice how the type lines fit the phraseology. The advertising element has been considered by the designer along with æsthetic requirements. The double line of capitals at the head of the second page was duplicated on the third. The second page shows simplicity and legibility that are admirable, the liberal margins and the three-line initial being noteworthy features.
[Illustration:
EXAMPLE 249
One of four pages of a convention announcement, showing the attractiveness of rules when properly used with headings ]
EXAMPLE 249.—This is the second page of a convention announcement and is evidence of the success that is possible with the proper use of a well-designed type-face, an appropriate initial, and rules to separate the headings. A combination of a heavy- and light-faced rule has always looked well with the Caslon style of type-face.
[Illustration:
EXAMPLE 250
Announcement designed by an artist who believes in the liberal leading of type lines ]
[Illustration:
EXAMPLE 252
Blotter announcement in rugged Colonial style ]
EXAMPLE 250.—This announcement, originally printed on hand-made paper, all in black ink, was designed by a famous New York artist-typographer, who believes that there is greater legibility when the lines are separated by a liberal use of leads than when they are “set solid.” The arrangement is unusual in several respects—the placing of the name in the far-off upper corner, the use of the initial “A” in the midst of a sentence, the setting of the names of the officers in italic and their titles in roman, and the liberal leading previously referred to.
[Illustration:
EXAMPLE 251
Announcement in black and gray on gray fabric-finished stock, illustrating harmony of type-face and decoration ]
EXAMPLE 251.—This specimen also has the feature of an initial in the midst of a sentence, and it may be well to suggest to young compositors that it is better not to use an initial in this manner. This page would probably be even more effective if the entire word “announces” were in lower-case. The announcement was printed in black and gray on a light-gray stock. The foundry that made this series of type also made ornaments that would harmonize with it and thus enabled the printer to produce an artistically pleasing page. This letter is one of a few that closely suggest good hand-lettering. The selection of type sizes and the arrangement and apportionment of margins help to make a result that reflects credit on the printer’s art.
EXAMPLE 252.—A blotter was the vehicle that carried this announcement, which is in the rugged Colonial style of typography of the year in which this piece of work was produced. The tone is pleasing, as is also the contrast of white and black. The ornament blends in shape and style with the accompanying typographical treatment.
In the production of his own announcement forms the printer is not hampered by the requirements of customers. He works with the unrestricted freedom of a Michelangelo and there is little reason why his work should not be of the best, if he will read and study books and trade magazines.
[Illustration:
EXAMPLE 257
The historic Gothic, or pointed style ]
[Illustration:
EXAMPLE 258
Strong treatment, the motive of modern origin ]
[Illustration:
EXAMPLE 259
A striking effect that should please the college student ]
[Illustration]
TICKETS
It is said of printers who make no attempt to learn the principles governing art typography, that once or so in a lifetime they produce an artistic job of printing. They become much elated at the phenomenon, not realizing that it was brought on by the unconscious introduction into their product of art principles. The experience may be likened to that of a child who accidentally touches an electric button, causing the room suddenly to be illuminated. The child knows the light is there, but does not comprehend how it got there.
Now instead of being the cause of an oriental handshake, a good job of printing ought to be an everyday occurrence, and the stirring of the waters should be left for the bad job of printing when, unfortunately, it happens along.
Lack of interest is the reason for the non-development of many printers in the art side of typography. Because, to many compositors, printing is merely a means of making a living, only enough knowledge is acquired to enable them to “hold their jobs,” or, in the cases of employers, to retain their customers. Time spent in the printshop is considered drudgery and the pleasures of life come after the whistle has blown. There are young printers who know comparatively nothing about good typography, yet are authorities on the rules of pinocle, baseball, or other pastimes. And there are older printers, too, who could write a book about chicken-raising, yet do not know when type-faces harmonize.
Any man who is not interested in his vocation is to be pitied. Unless his heart is in his work, a lawyer, preacher, editor, ad-writer, artist or printer will not be successful.
Interest may be developed. If the typographer will devote a portion of the time now spent on outside matters to the study of his craft, and especially the art side of printing, his work will become lighter and the hands on the clock will chase each other. The same concentration of thought now devoted to unimportant side interests would bring large dividends if invested in the study of typography. Efficiency is a guarantee of steady work and good pay to the employee, and an assurance of steady customers and better prices to the employer.
[Illustration:
EXAMPLE 256
Classic, refined treatment, for art and literary purposes ]
The typographer who prefers freedom from care, and the blissfulness of ignorance, is a poor member of society. He should line up among the world’s workers and accept some of the responsibilities. The first things he observes, should he become a student, are the imperfections of his own product. Work that before looked good to him, now, viewed in a new light, is defective, and finally the old verdict is reached, “There is none perfect, no, not one.” While to the experienced art-printer expectations of absolutely perfect results are known to be futile, he tries for one hundred per cent just the same. A man lacks something in his make-up when he is satisfied to be rated as a twenty-five or fifty per cent printer.
* * * * *
Tickets, altho only a minute part of the printing-office product, afford opportunity for the practice and development of art printing. In typography there are many themes and styles and their incorporation into type-designs is an interesting and instructive study. The compositor or layout man should know and understand these various styles, that he may be able to adapt himself to any demand made for “something different.” Resourcefulness is a valuable characteristic for any printer to possess, and close examination of the nineteen ticket forms, and careful reading of what follows, should serve to develop that quality. These forms were designed by the author especially for this chapter.
EXAMPLE 256.—It is fitting, in commencing a series of type arrangements, first to show one based upon a classic motive. The design is old to students of art, yet may be new to printers in general. The arrangement has been used for many years by leading architects on inscription tablets, and the idea itself comes from ancient Rome. The egg-and-dart border is a standard embellishment in architectural designing. The roman type-face is historically proper, especially the adherence to capitals, as originally there was none but what we call capitals, the small “lower-case” or minuscule letters having been evolved during the Middle Ages. The letters of roman type-faces usually set very close together and to get certain results the capitals should be slightly spaced. One-point spaces have been used in this example. White cardboard is preferable to a colored one on which to print this design.
EXAMPLE 257 (Insert).—The historic Gothic or church style furnished the motive for the treatment of this ticket. Both border and type-face possess characteristics peculiarly Gothic—notably the pointed form of the letters and floret. There is also blend of tone, and similar contrast of heavy and light strokes in letter and border. Ancient features are consistently carried out in the arrangement. The lines are set close to the border and made full length. Contrast is obtained by the use of color and the emphasis in type size of two important phrases. This style of treatment is appropriate for tickets used by churches or kindred organizations.
[Illustration:
EXAMPLE 260
Modern treatment based upon the Colonial ]
EXAMPLE 258 (insert).—The style of this ticket is a modern conception and originated in the art revival of the latter part of the last century. The motive is masculine and its features are contrast of tone, massing of lettering, and liberal blank space. It will be noticed that while in this specimen the margin inside of border is wide, on the previous specimen (Example 257) there is practically no space inside of the border. These features are necessary in the correct interpretation of the respective styles. The motive of the specimen under consideration is particularly applicable to tickets for minstrel performances, smokers, club outings, and other affairs in which men are interested.
EXAMPLE 259 (Insert).—The color border on this specimen suggests a means of varying the treatment of tickets, the extension of the border into two of the corners adding distinction. Such a design as this is likely to meet approval among college students, as they welcome odd and striking effects. The strong italic lower-case is a relief from the many more familiar roman faces used on such tickets. Emphasis of important parts is obtained by increasing the type sizes until proper contrast is obtained.
[Illustration:
EXAMPLE 262
Daintily appropriate in type-face and illustration ]
[Illustration:
EXAMPLE 263
The secession or mission style applied to ticket composition ]
EXAMPLE 260.—The treatment of this example may be described as modern based upon the Colonial. The Caslon type-face furnishes a Colonial atmosphere, and the border treatment of color inside surrounding rules blends with the type-face. Only two sizes of type are used and lower-case is consistently adhered to. The shape of the main group gives a pleasing symmetry to the arrangement, the floret serving well to complete this result. The effect as a whole is bookish, and may be adapted to various literary and art purposes. White or buff stock would be suitable, antique finish preferred.
[Illustration:
EXAMPLE 261
Suggested for course tickets. Coupons should be attached ]
EXAMPLE 261.—There may be an idea here for course tickets in which a number of lectures are listed. The form as shown is not complete, the idea including the attachment at one side of coupons containing the names and dates of the lectures. Only capitals are used and the three main lines are aligned at each end of the measure. The narrow border gives a finish to the general design, which is well suited for printing in black ink on white stock.
[Illustration:
EXAMPLE 264
The ecclesiastical or missal style well adapted ]
EXAMPLE 262.—Here we have a ticket of peculiar interest to women and the treatment is daintily appropriate. Caslon italic is an admirable letter for the purpose, as it is graceful and neat. Bold treatment and large type have been avoided, the main portion of the copy being grouped in the center and surrounded by liberal blank space. The outline illustration underprinting the type group gives added interest to the ticket and may have advertising value in the suggestion it presents of the evening’s pleasure. White card would be proper, and a buff or gray-blue stock might also look well.
[Illustration:
EXAMPLE 265
Perhaps Morris would have set a ticket this way ]
EXAMPLE 263.—This ticket presents the geometric, or so-called secession style; a mild example, tho. Because straight lines form its motive, some call it the mission style. There are possibilities in it for the typographer looking for fresh ideas with which to vary his work. Right here it may be well to warn compositors against becoming enthusiastic over every new style of type arrangement that may come to his notice. There are men who in their endeavors to do something to win fame— something astonishing and entirely original—set out on unknown seas without rudder or compass. The result usually is shipwreck. The printer who starts out to produce typography not founded on some proved and tried base builds a house in the sands that may come tumbling down at the first test of endurance. A type-face of squared shape such as the capitals of lining gothic is best fitted to accompany the squares and angular ornaments of the mission or secession style. A gray stock on which to print this example would be a wise selection.
[Illustration:
EXAMPLE 267
Modern application of classic type effects ]
[Illustration:
EXAMPLE 268
Patterned after Colonial treatment of title-pages ]
EXAMPLE 264.—This specimen will be recognized as an adaptation of the missal or mass-book style of treatment, mentioned in a previous chapter. It is an accepted ecclesiastical arrangement, and proves as pleasing on a ticket as on a title-page. Uncial initials (as are here shown in color) may be had of typefounders in slight variations. White or buff card admirably supports missal treatment.
EXAMPLE 265.—Inspiration for ticket designs may even be drawn from the work of William Morris and the Italian printers who used the black-toned decorative border, altho this style should not be undertaken unless the proper border is available. The one here adapted carries out the idea fairly well. Old Style Antique set snugly to fill the panel gives the proper results, the capital lines also being necessary to this style. Tickets for educational and art functions especially lend themselves to this treatment and white card should be used.
[Illustration:
EXAMPLE 266
The medieval art worker furnished a motive for this ticket ]
EXAMPLE 266.—The motive for this ticket form came from observing that art workers during the Middle Ages frequently engraved inscriptions around the margins or borders of plates, slabs, doors, and like objects. This suggested the adoption of the idea to carry a few pertinent words on an entertainment ticket. Cardboard of almost any color could be used.
EXAMPLE 267.—Perhaps this arrangement could be described as a modern application of classic type effects. The display lines are in Cheltenham, a face that approximates some of the ancient Roman lettering, and the treatment of the ticket as a whole is chaste. The ornaments, surrounded as they are by blank space, emphasize the classic simplicity of the ticket. The type group is tapered to give proper symmetry.
[Illustration:
EXAMPLE 269
A dainty, refined effect suited to many occasions ]
EXAMPLE 268.—This is purely a Colonial effect and closely follows the arrangements found on title-pages of the seventeenth and eighteenth centuries. Hair-line rules well separated by space were common in those days. The type here used is Caslon, a letter cut in the eighteenth century, and one especially suited to Colonial typography. Antique-finished card in white and buff is appropriate.
EXAMPLE 269.—Dainty, refined effects are demanded by certain customers. This specimen demonstrates the effectiveness of such treatment on a ticket. Two sizes of type (Pabst), all capitals and slightly spaced, give the proper results. The ornaments are used as symbolic decoration.
[Illustration:
EXAMPLE 270
Robust treatment of an outing ticket ]
EXAMPLE 270.—The typography of this ticket is distinctly masculine. This result has been obtained by the use of capitals of a robust type-face, so distributed in size as strongly to emphasize the important phrases. Had this form been printed in one color, the two type lines now in color should have been reduced a size. It is well for compositors to keep in mind that when orange is used in combination with black, the portion printed in orange will be lighter in tone than that in black, unless the difference is provided for by bolder or larger type-faces. Any color of stock excepting dainty tints would do for this ticket.
[Illustration:
EXAMPLE 272
Treatment that should prevent easy counterfeiting ]
[Illustration:
EXAMPLE 273
Corner decoration suitable to the subject ]
EXAMPLE 271.—This unusual arrangement was dictated by the nature of the cab ornament. The shapes of the type groups are built about it. Were the cab ornament not used, another arrangement would be necessary. There are social clubs of all kinds in every city, and balls are frequently held for which tickets are needed. An element of interest such as is given by the cab ornament would surely be appreciated by such customers.
[Illustration:
EXAMPLE 271
The cab ornament dictated the type formation ]
EXAMPLE 272.—Occasionally there comes to the printshop a customer wanting a ticket which cannot easily be duplicated by any one with a press and a few fonts of type. Instead of referring the customer to a lithographer the printer should ascertain if he is not in a position to produce such a ticket. The style of the one here shown is suggested for such emergencies. A type border printed in color forms the background. Over this print the reading matter, and for the display lines use a type-face that happens not to be possessed by other printers in the same city. In providing a border for this ticket a rule with double lines has been used, thus blending it with the double lines of the type-face. White stock should be selected for this ticket.
EXAMPLE 273.—The corner decoration is in keeping with the subject of this ticket, and the arrangement as a whole is suggested for similar purposes. Any color of cardboard is suitable.
[Illustration:
EXAMPLE 274
This arrangement has an old French motive ]
EXAMPLE 274.—The decoration of early French books furnished the motive for the typographical treatment of this ticket. It is submitted simply to demonstrate that ideas for arrangement can be picked up in many quarters, and as a suggestion that typographers go thru the world with eyes open.
[Illustration:
EXAMPLE 275
Neat, conventional treatment of a letterhead containing a large amount of copy. The bold-face type lends variety to the heading and brings out important points ]
[Illustration:
EXAMPLE 276
Professional stationery must be treated with dignity and refinement. The type should be small ]
[Illustration:
EXAMPLE 277
Suggested treatment for church stationery of the conventional kind. A text letter is appropriate and is usually satisfying ]
[Illustration:
EXAMPLE 278
As a change from the style shown in Example 276, professional stationery could be treated in this manner in one body size of a modern job type ]
[Illustration]
LETTERHEADS & ENVELOPS
Is there a standard size of letter sheet and envelop for commercial correspondence? A look thru the letter files of any business house will reveal the interesting fact that most of the letters are on sheets measuring 8½ × 11 inches. Letter sheets of about this size have been in use for many years. From De Vinne’s Price List of 1871 we learn that 10 × 16 inches (8 × 10 folded) was the favorite size of letter sheet, and that for commercial letters the size 10¾ × 17 inches (8½ × 10¾ folded) was sometimes required.
Note sheets were then in two sizes: Commercial note, 8 × 10 inches (5 × 8 folded); and packet note, 9 × 11¼ inches (5⅝ × 9 folded).
The typewriter and modern commercial requirements have since developed use of the single leaf, altho for personal correspondence and certain refined business purposes the folded note sheet is proper.
In passing it might be noted that in the price list above mentioned the printer is urged to charge an increased price when “brass or French flourishes are used in excess.” The composition of “one plain heading, of not more than four straight lines,” was to be charged at seventy-five cents; “one ornamental heading with curved lines,” twenty-five or fifty cents additional.
[Illustration:
EXAMPLE 279
This elaborate border continued around the entire sheet. In the original the colors were subdued and harmonious and on a brown-gray hand-made paper ]
[Illustration:
EXAMPLE 280
A suitable type-face symmetrically arranged, with a harmonious decorative device ]
As has been stated, the standard size of the present-day commercial letterhead is 8½ × 11 inches. Strange to say, the standard size of envelop (known as No. 6¾ Government) used for the carrying of these letter sheets measures 6½ × 3⅝, tho if a snug fit were required the envelop would be about 5¾ × 3 inches. The standard size, however, should usually be selected, as all sorts of enclosures are made to fit it.
The large “official” envelop is also used extensively for business purposes, the most common size (No. 10 Government) measuring 9½ × 4⅛ inches. It takes a letter sheet of two parallel folds, and also provides for business and advertising enclosures larger than those planned for the standard envelop of smaller dimensions.
Distinction is given business stationery by folding the standard letter sheet twice so that, folded, it measures 5½ × 4¼ inches, and by using an envelop (Baronial) that measures an eighth or a quarter of an inch larger each way. For private or semi-private purposes this kind of envelop is preferred, especially if the letter sheet is used as a double note sheet. The heading is frequently printed on the fourth page of the double note sheet, so that when the message is written on the fourth and first pages and the sheet is opened, the letter appears as two pages in a book.
Another size of men’s personal correspondence sheet measures 5 × 8 inches folded once. After being written upon the sheet is again folded, and it then measures 5 × 4 inches. When the customer is willing to pay a price for which the best quality of stationery may be furnished, the printer should secure from houses specializing in society stationery envelops that are made with a more stylish flap than those commonly used for business purposes.
Another size of letter sheet, used for men’s personal correspondence and for giving an exclusive appearance to commercial stationery, measures about 7¼ × 10½ inches. The paper is given two parallel folds and fits in an envelop that measures about 7½ × 4 inches.
[Illustration:
EXAMPLE 281
Artistic treatment in squared effects ]
[Illustration:
EXAMPLE 282
A simple treatment of a heading with little copy. Capitals have been letterspaced a trifle ]
Since the typewriter is in such general use, ruled letter sheets are seldom called for; in fact, ruled correspondence sheets of any kind are now in poor taste.
The old-time notehead is also little used, the half-letter sheet (8½ × 5½ inches), and the two-thirds letter sheet (8½ × 7⅓ inches), printed the broad way, taking its place for brief business messages.
[Illustration:
EXAMPLE 284
The heavy border effect of the Colonial style of typography gives character to this heading. By Arthur Nelson ]
The typographical treatment of letterheads and envelops should have some relation, and it is now generally conceded that the paper should be the same in both cases. A good grade of paper is now considered essential for bona-fide correspondence, a cheaper grade being allowed for form letters. A light-weight paper of a high grade is preferable over a heavy-weight paper of a low grade. Quality isn’t a matter of weight, altho if it can be afforded the heavier weight is not in the least objectionable. Twenty-pound folio (17 × 22) seems to be most easily obtained in the various papers.
As to the style of typographic treatment, the printer must in all cases consider the tastes of his customers, and especially the business or profession for which the stationery is to be used. As an instance, the style of typographic treatment of doctors’ and lawyers’ stationery seldom changes.
It should be kept in mind that simple, neat, refined typography is appropriate for almost every order of stationery, while elaborate typography in many cases is inappropriate.
Color is seldom well used on stationery. Most letterheads that the writer has seen which have been treated in three or four colors would have been more pleasing if given but one printing. A test of typographic skill is to design a letterhead that in one printing will look attractive and distinctive. The heading should usually be printed in black or some darkened color, and if another impression is desired a very small part of the design printed in orange or vermilion will add a touch of bright color.
All the reproductions shown are reduced in size, those on the inserts being only slightly smaller.
[Illustration:
EXAMPLE 283
There is a great deal of character in this simple letterhead design. The lantern is really a monogram. By Charles R. Capon ]
EXAMPLE 275 (Insert).—Lithographers and steel-die printers really furnish the styles for the conventional arrangement of letterheads. They work along standardized lines and usually produce well-balanced, appropriate headings. Typographical printers should study stationery produced by these processes and observe how the parts of headings are grouped and the advertising points emphasized; for a letterhead is one form of advertising. There are limitations, however, in the copying of such letterhead arrangements. Only plain designs should be studied for this purpose. Imitations of shaded and ornamental lettering are seldom successful. Example 275 demonstrates how