,,typographic ,,technical ,,series ,,for ,,apprentices--,,part ,,vii4 ,,no4 #dc ,,applied ,,design ,,for ,,printers ,a ,,handbook ,,of ,,the ,,principles ,,of ,,arrangement1 ,,with ,,brief ,,comment ,,on ,,the ,,periods ,,of ,,design ,,which ,,have ,,most ,,strongly ,,influenced ,,printing ,,by ,,harry ,,lawrence ,,gage ,,published ,,by ,,the ,,committee ,,on ,,education ,,united ,,typothetae ,,of ,,america #aibj ,copyright1 #aibj ,united ,typothetae of ,america ,chicago1 ,ill4 ,composition and electrotypes contributed by ,,state ,,journal ,,company ,lincoln1 ,neb4 ,,foreword ,this primer of design is an earnest effort to make intelligible to the apprentice student certain fundamental principles of arrangement and of ornamentation whose use is instinctive to the accomplished typographer4 ,it has been often written that there are no rules in ,art1 and equally often that the master artist 7or craftsman7 is he who can skillfully break all rules4 ,it must be inevitable that the apprentice shall adhere too closely to each newly observed principle before his work can be a well-rounded embodiment of them all4 ,to him is commended this exact procedure1 recognizing1 as his perception grows1 that there are good reasons why traditions are emphasized here and all-embracing rules and formulae are not to be found4 ,due credit must be paid to ,mr4 ,ernest ,allen ,batchelder1 who first devoted his pen and brush directly to the printer's problem in design1 and who in turn gives honor to the influence of ,mr4 ,denman ,ross4 ,neither has expressed a method but has graphically analyzed the attitude of mankind during successive epochs toward those matters which deal with beauty4 ,it is to be hoped that this little book may serve as a simple guide and as a stimulant toward an extended study of the larger attributes of printing which are not concerned with utility alone4 ,h4 ,l4 ,g4 ,,contents ,,page ,,introductory #g ,,the ,,surface #h ,,the ,,materials ,,of ,,design #aj ,,the ,,qualities ,,of ,,design #ab ,,proportion #ai ,,balance #bd ,,symmetry #bh ,,variety #ca ,,motion #ca ,,ornament #cd ,,the ,,periods ,,of ,,design ,,which ,,have ,,most ,,affected ,,printing #dc ,,supplementary ,,reading #fd ,,review ,,questions #fe ,,glossary #fh ,,applied ,,design ,,for ,,printers ,introductory ,raw material may be made into a finished product which will have the quality of usefulness alone4 ,utility is the first purpose of most of the works of man4 ,but when the maker is moved by pride in his work and a desire for beauty to make his handiwork pleasing in appearance as well as useful a second purpose is fulfilled4 ,all civilization and most forms of savagery demand that the equipment of routine life shall be pleasing to the eye after its prime purpose of usefulness has been developed4 ,if an article be pleasing in appearance its making will have involved some of the elements of design4 ,the relationship of its parts1 the lines of its construction1 its coloring1 the manner in which it is ornamented will depend first upon its purpose1 but will be guided by a group of recognized traditions which we call the principles of design4 ,design governs the arrangement of masses1 lines1 and dots to secure the qualities of beauty and fitness4 ,any piece of work which is definitely arranged with consideration for its various parts and their relationship is called1 in the abstract1 a design4 ,thus we speak of a poster1 a decorated wall1 a building1 or a printed page as a design4 ,any successful design will have the qualities of fitness and beauty4 ,fitness to purpose is largely a mechanical factor4 ,an ugly building may protect its occupants from the weather1 and an ugly printed page may be entirely legible4 ,beauty depends upon esthetic qualities2 that is1 upon the characteristics of the design which will appeal to the eye and mind through the consideration of-- ,harmony 7of shape1 tone1 color1 and conception74 ,balance and proportion 7of mass1 shape1 and color74 ,rhythm 7of shape1 line1 tone1 and color74 ,this conception of the elements of design covers all of the many things that mankind makes--buildings1 or railroad trains1 or sculpture1 or paintings1 or pottery1 or furniture1 or the printed page alike4 ,in each1 different though they be1 the purpose of design is to relate the various surfaces1 masses1 and structural lines and to decorate or ornament the finished whole4 ,countless materials may be used and all the varied purposes of the equipment of mankind must be satisfied1 but the application of the principles of design will be similar throughout4 ,this point is emphasized so that the student of printing may find a common ground with the workers in all the fine and useful arts4 ,the ,surface ,in the printed page1 design is concerned with the arrangement of masses and lines on a flat surface--the face of the sheet of paper4 ,hence design in printing considers two dimensions only1 width and length4 ,the third dimension1 depth1 which must be treated in all but flat surfaces1 can only be represented on the printed page and the means of showing depth is really an illusion by which the eye sees various colors and tones which convey a pictorial impression4 ,it is important to note that design and pictorial representation serve each a different purpose in printing4 ,yet they are similar mechanically in that each requires a printing surface 7type1 borders1 ornaments1 and engravings7 which may be prepared by the same mechanical procedures4 ,the picture exists for its own interest or as an illustration for the text4 ,as such it is merely an element in the design of the page4 ,decoration or ornament may be used to embellish the page1 as a pattern on its flat surface1 and may be related to the text1 but need not serve as an illustration to it4 ,illustration3 ,fig4 #a4 ,a design of flat surfaces and a realistic pen sketch of the same subject4 ,as an example3 ,much of the material devised for the decoration of the printed page 7ornaments and borders7 is derived from natural forms2 i4 e41 leaves1 flowers1 etc4 ,the leaves1 stems1 and flowers which are adapted to form the ornament shown in ,fig4 #a are a flat pattern of black and white4 ,the same material is rendered pictorially in the pen sketch accompanying the ornament4 ,it will be observed that the flat treatment of the ornament depends upon arrangement of interesting flat masses for its significance4 ,the pen sketch not only conveys an impression of the form of the natural objects1 but it also suggests depth4 ,a photograph of the natural objects1 reproduced by a printing plate1 would be still more realistic4 ,the preceding points have been given emphasis as a warning against a tendency to use pictures1 however pleasing1 as decorative material2 or to allow design in printing to be concerned with a representation of depth4 ,the same masses of shadow and light which express roundness or depth in a picture may be formed into decorative flat masses and thus embodied in the design of the page4 ,in ,fig4 #b1 ,a is a picture which might be used as an illustration or for its own interest4 ,b is a flat rendering whose arrangement of masses suggests the pictorial interest of ,a without denying the flat surface upon which it is printed4 ,the ,materials of ,design ,since design is a matter of arrangement1 its materials are the masses1 lines1 and dots which make up the whole form4 ,a dot theoretically has no dimensions4 ,and a line 7being the path of a dot in motion7 theoretically has length but no width4 ,while if a line be moved sideways it produces a mass which has area and shape4 ,practically1 a dot may be larger than a pin point and may have definite shape--a square dot or a round dot4 ,also in the common terms of design a line may have width 7often called weight74 ,thus we speak of a narrow or light line as contrasted with a wide or heavy line4 ,illustration3 ,fig4 #b1 ,a4 ,halftone engraving from a photograph1 retaining full pictorial effect of depth1 expressed in various gray tones and soft edges4 ,this is an illustration4 ,illustration3 ,fig4 #b1 ,b4 ,decorative pen drawing from the same subject1 telling the story of the photograph in flat surfaces of black and white4 ,suitable to decorate a type page4 ,a mass will have shape1 which is the impression conveyed to the eye by its general contour4 ,it will have size or measure1 which will be its actual or relative area4 ,it will further have tone or color1 its general relation in appearance to black and white or to the colors of the spectrum4 ,embodying these terms in an example3 ,we may specify a mass square in shape1 having an area of four square inches1 and being gray in tone4 ,these three characteristics1 then1 will identify and describe any mass4 ,in printing1 the successive lines of type which form a paragraph1 block1 or connected series of paragraphs or blocks1 are considered as a mass4 ,an initial letter may be another mass2 a head-band still another2 and ornaments or illustrations may form other masses4 ,all must be considered as mass elements in the design of the page1 with rule borders as surrounding lines1 or heavier designed borders as surrounding masses4 ,thus all the component parts of the printed page are reduced to elements or materials of design1 and with these materials an arrangement is to be made1 for the sake of beauty1 which will have the qualities of harmony1 balance1 proportion1 and rhythm4 ,the ,qualities of ,design ,the dictionary defines harmony1 in art1 as a normal state of completeness in the relation of things to each other4 ,this state of completeness in a harmonious scheme is such that we have no desire to change or modify any detail or characteristic4 ,balance is defined as the state of being in equilibrium4 ,in design this refers to the equilibrium or balance of attraction to the eye between the various masses4 ,proportion is the comparative relation of one thing to another with respect to size4 ,rhythm1 in design1 is a movement characterized by regular recurrence of accent4 ,let us discover the embodiment of these qualities of design with a simple experiment4 ,cut from black1 dark gray1 and light gray cover paper a miscellaneous assortment of small pieces as shown in ,fig4 #c4 ,this group of squares1 oblongs1 triangles1 diamonds1 circles1 and whatnot has none of the qualities of design as it appears in ,fig4 #c4 ,illustration3 ,fig4 #c4 ,a group of miscellaneous masses having various measures1 shapes1 and tones4 ,arranged without thought of design4 ,choose from ,fig4 #c certain pieces which seem to have a definite similarity of shape4 ,combine them with another rectangle1 as in ,fig4 #d1 and the result is certainly more orderly and pleasing than the unrelated tangle in ,fig4 #c4 ,in ,fig4 #d we have developed the quality of shape harmony4 ,but we note that in spite of the harmony of shapes in ,fig4 #d some of the pieces of paper seem unduly prominent because of their blackness4 ,they do not seem harmonious with the gray tone of the others4 ,if we replace them with other pieces gray in color1 as in ,fig4 #e1 the result will be a more pleasing relationship of tone throughout the design4 ,thus we have made a simple demonstration of tone harmony4 ,if our pieces of paper were of various colors we could make another arrangement to express a color harmony4 ,the problem of color1 however1 has so many phases that it is considered separately in this series4 ,if rhythm is to give us a regular recurrence of various features of a design1 it will be possible to choose a combination of pieces of paper which will show a rhythmic arrangement1 ,fig4 #f4 ,it will be noticeable here that the shapes occur in successive groups which repeat an idea4 ,we may also arrange a series of pieces in which the tones are rhythmic1 progressing from light to dark in repeated groups4 ,this will be a simple example of tone rhythm1 ,fig4 #g4 ,summing up the experiment thus far the following definitions may be noted3 ,shape harmony will exist when masses similar in contour or shape are used to form a design4 ,tone harmony results from the use of tones in a design which carry a feeling of relationship4 ,illustration3 ,fig4 #d4 ,units selected from ,fig4 #c1 having a common similarity of shape4 ,but they are not harmoniously related in tone4 ,illustration3 ,fig4 #e4 ,the same shapes used in ,fig4 #d1 substituting equal tones of gray as needed to produce harmony throughout4 ,illustration3 ,fig4 #f4 ,simple development of shape and measure rhythm such as might occur on a printed page4 ,masses should be related in measure as well as in shape4 ,illustration3 ,fig4 #g4 ,simple illustration of tone rhythm as it may occur on a type page4 ,the tones progress from the white of the margins through the light gray masses of type1 to the darker grays of decorations4 ,shape rhythm is the regular recurrence of similar shapes in a design or a rhythmic increase or decrease in the size of shapes used in a design4 ,tone rhythm is a recurrence of similar tones or a regular progression of related tones from light to dark or the reverse through a design4 ,the four qualities above are so closely related that there is often no definite dividing line between them2 indeed1 a successful design will embody them all4 ,proportion ,our definition of proportion as a comparative relationship of size is so broad that any sizes may be in proportion4 ,the quality of proportion in design is always assumed to be a pleasing relationship of sizes4 ,it thus becomes necessary to determine what relationship of sizes will be most pleasing4 ,the use of equal masses in a design is monotonous4 ,the eye finds variety of size more interesting4 ,but to determine what form of variety is most interesting we must find1 if possible1 the ideal area relationship between masses in a design4 ,this problem has of necessity been solved by the designers of all nations and all periods1 and it is interesting to note that the result has everywhere been practically the same4 ,let us arrive at the expression of good proportion by the simple means of dividing a rectangle into two parts which will have the most interesting relationship4 ,this rectangle is ,a in ,fig4 #h4 ,b shows a division into equal parts1 the result being uninteresting and monotonous4 ,in ,c the division gives a feeling that the lower part is too large2 it is crowding the upper and the result is not pleasing4 ,the relationship in ,d is so nearly equal that the division seems to have been an inaccurate effort to locate the center4 ,somewhere between the division point in ,c and that in ,d will probably be the best point4 ,repeated trials will locate the point about as in ,e1 which will be found to lie about two-fifths of the distance down from the top4 ,this will give the upper area in ,e an area of #b and the lower an area of #c4 ,hence the relationship or proportion is said to be as #b is to #c4 ,by the term good proportion1 or merely the word proportion1 in speaking of design this ratio of #b to #c is assumed4 ,illustration3 ,fig4 #h4 ,the division of a rectangle1 ,a1 to secure spaces of interesting relationship4 ,equal division in ,b4 ,overbalanced effect in ,c4 ,too nearly equal in ,d4 ,more interesting in ,e1 where the relationship of spaces is as #b is to #c4 ,it is interesting to note that when a space has been divided into the ratio of #b to #c1 the relationship of the smaller to the larger is practically the same as the relationship of the larger to the original whole4 ,or1 mathematically1 if the original1 having an area of #e1 is divided into parts of #b and #c1 then #b is to #c as #c is to #e1--;a ratio which is approximately true4 ,the student of architecture finds the most careful consideration of proportion in the relationship of spaces throughout all the architectural orders4 ,in printing1 the designer must be guided by the same traditions4 ,illustration3 ,fig4 #i4 ,spotting a single line on a page so that it makes an interesting division of space4 ,there are #b parts of white space above and #c parts below4 ,illustration3 ,fig4 #aj4 ,placing a single line so that it will appear to be centered4 ,the dotted lines show the mathematical center of the vertical side4 ,the straight lines show the center of the type line4 ,the most simple application of proportion to the division of a printed page occurs when a single type line or compact group of lines is to be placed on the page 7,fig4 #i74 ,it is unfortunate that it is so easy to divide space mechanically in a type page by using identical measures of furniture or slugs above and below4 ,when1 in certain instances 7as in a business card71 tradition demands that a line be centered vertically1 it will be found that the exact centering of the line will make it appear a bit low4 ,an optical illusion demands that such a line be raised slightly if it is to appear in the vertical center 7,fig4 #aj74 ,this apparent center is called the optical center4 ,the same condition makes it necessary when an apparent square is to be used that the width of the square be slightly greater than the height4 7,fig4 #aa47 ,illustration3 ,fig4 #aa4 ,a true square above and an optically corrected square below4 ,psychologists explain that the eyes find it more difficult to judge the length of vertical lines1 hence are inclined to exaggerate them4 ,balance ,the physical equilibrium which exists in the balanced seesaw of our childhood and the optical balance which is the result of the proper adjustment of masses within the confining edges of a design are similar1 in that each is an equalizing of forces of attraction4 ,in the former the force is gravity2 in the latter1 the attraction to the eye1 which varies with the size and tone of the mass4 ,while the force of gravity usually brings balancing masses to a horizontal alignment1 optical balance may bring the masses in a design into equilibrium on any desired line1 horizontal1 vertical1 or diagonal4 ,the attraction which a mass possesses varies directly with its size and tone4 ,thus a mass of four square inches1 solid black1 will be twice as strong in attraction value as a mass of two square inches1 solid black4 ,it will also be twice as strong in attraction value as a mass of four square inches1 neutral gray 7the gray being half the value of black74 ,the attraction value of gray tones particularly affects the consideration of blocks of type which vary in depth of tone according to the blackness of the type face1 closeness of spacing1 etc4 ,since the seesaw must have its sawhorse and the weighing scale its point of support1 it follows that any condition of equilibrium1 physical or optical1 demands a point of balance4 ,in design1 this point will determine the location of the related masses4 ,it will be apparent upon further thought that the point of balance should have some relationship to the edge or confines of the design4 ,the confining edge of the design is usually a rectangle1 on the printed page4 ,the location of a point of balance within this rectangle tends to divide it4 ,how shall it be divided in the most interesting way8 ,by applying the ratio of good proportion4 ,so the point of balance may be located usually on a line which divides the page into parts of #b and #c4 ,when equal masses are to be balanced it is obvious that they will be equidistant from the point of balance4 7,fig4 #ab47 ,illustration3 ,fig4 #ab4 ,equal masses balanced at equal distance from the center point4 ,when the masses are unequal the point is at unequal distances from the centers of the masses4 ,these unequal distances have the same ratio as the masses themselves1 but the larger mass is always the shorter distance from the point4 ,if #a pound is to balance #d pounds it is obvious that the #a-pound mass must be #d times as far from the point of balance as the #d-pound mass4 ,illustration3 ,fig4 #ac4 ,mass of #d units balanced by #a unit4 ,hence1 to balance two masses in a rectangle1 the point of balance will be found by proportion1 placing it on a line which divides the rectangle into parts of #b to #c4 ,the balancing of the masses across this point will then be a matter of determining their relative distances from it4 ,it is apparent that the larger of two masses may be far enough from the point of balance so that it will force the smaller entirely out of the rectangle4 ,it is of course easy to move the larger closer to the point which automatically brings in the smaller4 ,what constitutes a proper distance from the edge of the rectangle will be discussed under ,margins1 in the book on ,typographical ,design4 ,illustration3 ,fig4 #ad4 ,mass of #c units balanced by mass of #a unit1 taking the point of balance upon the line which divides the space in good proportion4 ,illustration3 ,fig4 #ae4 ,measures of #c and #a balanced by a measure of #b1 the point of balance dividing the space in good proportion4 ,the balance of three or more masses within a rectangle involves the consideration of two at a time1 balancing the pair or pairs with the remaining mass or masses4 ,in ,fig4 #ae1 masses #a1 #b and #c are to be balanced within the rectangle4 ,balancing #c with #a gives the balancing point ,p4 ,taking #c plus #a from the point ,p1 we locate the mass #b to balance them across the line ,,ab which divides the rectangle in good proportion4 ,the point p then becomes the balancing point for the entire group4 ,mathematically1 #c plus #a equal #d2 #d is twice #b2 therefore the mass #b must be twice as far from the point p as the balanced masses #c plus #a4 ,two other combinations might have been worked out with the masses in ,fig4 #ae3 #c plus #b1 balanced by #a1 the mass #a being placed five times as far from the point p as would the point ,p4 ,or #b plus #a might have been balanced by #c1 in which case the distances would have been equal4 ,the application of these principles of balance to the problems of typography is largely a matter of influence4 ,the typographer should be guided by them but he need not make mathematical calculations if his eyes be trained to judge relative attraction values so that he can arrange his various masses to secure balance4 ,symmetry ,when two parts of a design are equal in every respect so that if the design were folded over one-half would superimpose in every detail with the other half1 then a state of symmetry exists and the design is said to be symmetrical4 ,the line upon which such a design would be folded1 or1 in other words1 the line which bisects a symmetrical design1 is called its axis4 ,the printed page is often symmetrical with respect to its vertical axis 7,fig4 #af74 ,in ,fig4 #af the line ,,ab is the vertical axis of the page4 ,illustration3 ,fig4 #af4 ,type page1 symmetrical with respect to its vertical axis4 ,illustration3 ,fig4 #ag4 ,page arranged for variety4 ,not symmetrical on either axis4 ,this arrangement is frequently used in advertising display1 but is rare in book work4 ,it is rarely possible that the printed page can be symmetrical with respect to its horizontal axis4 ,such a state would involve a division of the page below its optical center and would also have an uninteresting division of its spaces1 with equal masses above and below4 ,it should be noted that symmetry on the vertical axis permits full variety in the size of the masses used4 ,variety ,the absence of symmetry in a design gives it the character of variety1 which may be defined as a state of inequality in the arrangement of the parts of a design4 ,in ,fig4 #ag1 neither the horizontal axis nor the vertical axis divides the page so that its units are symmetrically arranged4 ,motion ,in any arrangement1 pictorial or decorative1 the eye of the observer is attracted to various parts in succession1 depending on their character and position with respect to each other4 ,this quality1 called motion1 will be more pronounced as the several units tend to lead more definitely from one to another4 ,fig4 #ah shows the path which the eye follows as it looks at the ornament4 ,in pictorial composition the same quality is employed to emphasize the story to be told or the character of the arrangement used by the painter4 ,then it is called line4 ,this quality of design is not to be confused with action1 which is the depiction of a figure in motion1 as shown in ,fig4 #ai4 ,illustration3 ,fig4 #ah4 ,the diagram shows the motion of the eye as it perceives the design above4 ,this motion is due to line entirely1 not to accents of tone4 ,illustration3 ,fig4 #ai4 ,showing action in the figure depicted1 without motion in design4 ,on the printed page the eye may be definitely directed from one unit to another through this quality of motion1 which forms a very valuable resource for the printer4 ,fig4 #bj is a diagram of a simple use of motion1 the eye progressing as indicated by the arrows through the masses which make up the page4 ,illustration3 ,fig4 #bj4 ,diagram of motion as employed in advertising to lead the eye progressively through a page4 ,ornament ,while the elements of design concern all the parts of a proposed scheme 7on the printed page1 its masses of type1 decorative border1 head-band1 initial letters1 tail-piece1 etc47 certain parts will be used solely to beautify the whole design4 ,they ornament or decorate it4 ,ornament is a means by which ,beauty or ,significance is imparted to ,utility4 ,ornament may be either ,symbolic or ,esthetic4 ,symbolic ornament consists of elements or forms chosen because they are significant of the purpose of the design4 ,in ,fig4 #bb1 the ornament is symbolic in its close connection with the message conveyed by the type4 ,esthetic ornament consists of forms chosen for their beauty alone4 ,in ,fig4 #bc1 the head-band and initial are pleasing in design and they beautify the page without having the slightest relation to the text of the page4 ,esthetic ornament characterizes the periods of design which have had the most important influence in the development of printing3 the ,greek1 ,roman1 and ,renaissance4 ,symbolic ornament is found in ,egyptian1 ,assyrian1 ,byzantine1 ,scandinavian1 ,celtic1 ,persian1 ,indian1 ,gothic1 ,chinese1 and ,japanese design4 ,for intimate study of these various styles and periods the reader is referred to the various books listed in the bibliography4 ,illustration3 ,fig4 #ba4 ,ornament designed with natural forms4 ,illustration3 ,fig4 #bb4 ,house-organ cover design by ,mr4 ,f4 ,w4 ,goudy1 in which the ornament is symbolic of the message of the page4 ,illustration3 ,fig4 #bc4 ,type page decorated with esthetic ornament4 ,much of the decorative material available to printers is of this character4 ,since the printer need not study its symbolic significance he may choose such decoration for its qualities of tone and good drawing4 ,ornament may be natural or inventive4 ,natural ornament confines itself to the rendition in decorative design of forms chosen from nature1 either animate of inanimate4 ,inventive ornament consists of elements not derived from any natural source4 ,it is usually geometric in character2 that is1 it is rendered in patterns and masses expressed in geometric shapes4 ,illustration3 ,fig4 #bd4 ,type border used as geometric ornaments4 ,illustration3 ,fig4 #be4 ,further use of type border to make a flat pattern or all-over design4 ,compare the effect with that shown in the facing illustration4 ,in the artistic development of the various races1 geometric design has often been the result of religious restrictions upon the imitation of any animate forms4 ,the ,mahometans have developed it to its highest type of expression4 ,arabian and ,moorish architecture and handicrafts are the best examples1 with the crystal beauty of the ,alhambra1 the wonderful palace built by the ,moors in ,spain1 as the supreme achievement of geometric design4 ,illustration3 ,fig4 #bf4 ,a niche in the ,alhambra1 at ,granada1 ,spain4 ,showing characteristic ,moorish ornamentation4 ,geometrical design uses simple materials1 being the oldest of the elements of decoration4 ,the implements of savages and the tattooing of the ,indians prove this4 ,from the first crude expressions of the original squares1 circles1 zigzag lines1 and sundry simple combinations1 gradual development led finally to the delicate forms of ,moorish design4 ,the elaboration of this style involves deep mathematical problems and careful draftsmanship4 ,the majority of geometrical ornaments may be divided into three groups4 ,as we find them in typographical material these groups are bands or borders1 made up visually of repeated units or spots2 enclosed spaces or panels2 and unlimited flat patterns or all-over designs4 ,illustration3 ,fig4 #bg4 ,the development of a motif 7stems1 leaves1 and berries7 into a decorative spot4 ,diagram in the upper corner shows the geometrical arrangement of the material4 ,the spot has been repeated to form a band4 ,illustration3 ,fig4 #bh4 ,development of the motif used in ,fig4 #bg into a natural ornament4 ,the forms and growth are not distorted but the rendering is in flat surfaces to hold the decorative quality4 ,in nearly every style and period of design the plant-world has been the biggest source of material for adaptation4 ,the direct imitation of natural forms1 keeping as much as possible of their shape1 color1 formation1 etc41 is called naturalistic design4 ,a departure from the exact details of the natural form1 forming the design according to the rules of rhythm and symmetry1 with strict attention to regularity leads to a result more artificial in character4 ,whether the ornament you consider be naturalistic or artificial1 the original source1 which is the plant-form or other natural form from which the design was made1 is called the motif of the design4 ,it is interesting to survey the world about you and note here and there a recognizable motif in the design of wallpaper1 hangings1 furniture1 rugs1 books1 and so on all through the works of man4 ,the development of a motif into ornament or decoration calls for the use of all the principles thus far established1 plus familiarity with the medium to be used and the inventiveness that comes only with some experience4 ,if the reader lacks this experience and is interested in undertaking to devise ornament or decoration with pen1 pencil1 or brush1 he is advised to consult some one or more of the books on the subject which are listed in the bibliography4 ,if he has facility with his pencil and enthusiasm for the work he will find it a most fascinating undertaking4 ,illustration3 ,fig4 #bi4 ,initial letter decorated with natural ornament and a pen sketch treating the motif in a more realistic way4 ,further emphasis of the essential flatness of surface in material that is to decorate a flat sheet of paper4 ,periods of ,design ,which ,have ,most ,affected ,printing ,the student of design finds that historical study of his subject carries him through the entire history of art1 from the crude expressions of prehistoric man down the long and varied centuries to the styles and fancies of the present day4 ,he will find his theme closely interwoven with the story of the development of races1 the rise and fall of nations1 the whole thrilling drama of ancient and modern history4 ,printing1 as a means of making records and of embodying and illustrating thought1 has given us the wide field of literature on design4 ,but in the making of books as an application of design1 and in the making of all other forms of printed matter1 printers since ,gutenberg have been influenced by relatively few of the many distinct periods through which art has come4 ,and those few have usually been the artistic feeling which prevailed at the time the printers lived4 ,to trace the periods of design that have most influenced printing is to tell in part the history of the craft4 ,since that subject is developed elsewhere in this series1 suffice it to follow briefly the steps through which the making of books has passed4 ,since the invention of movable types came opportunely to meet the desire for enlightenment by means of books1 it was natural that printed books should be planned closely to imitate the hand-written or lettered books4 ,these latter1 having been produced for centuries by the men of the church to whom had been given training in the arts1 had been brought to a high state of perfection in design4 ,it has often been said that ,gutenberg's forty-two line ,bible1 one of the first books printed from type1 has never been surpassed in pure beauty of design and in the rich quality of its type masses4 ,illustration3 ,fig4 #cj4 ,a reproduction1 greatly reduced1 of a page from a ,manuscript ,bible of the early #adth ,century4 ,entirely the product of the quill and brush of the writer and illuminator4 ,such books were usually done in black ink on parchment or vellum and decorated in water colors and gold leaf4 ,illustration3 ,fig4 #ca4 ,a page from an illuminated ,flemish manuscript of the middle #aeth ,century1 showing characteristic treatment of illustration and decoration4 ,this and the preceding example are shown for comparison with ,figs4 #cb and #cc4 ,they demonstrate the effect of the writing of books upon the development of printing4 ,illustration3 ,fig4 #cb4 ,type of the ,mazarin ,bible 7exact size74 ,but the first books printed from type were all of religious character1 and the type itself was designed to imitate the black1 condensed text letter forms which had been developed by the scribes4 ,the elaborate initial letters which marked the sundry divisions of thought were repeated by the early printers1 sometimes to be illumined by hand and later as engravings on wood or metal4 ,there was no distinct departure from the ecclesiastical style of the monks save as was necessitated by the mechanical limitations of the new process of printing4 ,hence came a style which marked the first years of printing with the influence of the church4 ,and that style today can be embodied in modern work by means of typographic material1 black text types1 missal initials1 and liberal use of color4 ,but it will always be associated by the power of tradition with church literature and ecclesiastical printing4 ,illustration3 ,fig4 #cc4 ,reproduction of a page from ,gutenberg's #db-line ,bible1 of which it has been said that no later book has been more beautifully designed4 ,in completing this book and for some years after1 the illuminating and decoration were done by hand1 only the type being set and printed on the press4 ,perhaps it was fortunate for the future of the printing art that the upheaval in ,mainz drove printers out of the restricted atmosphere in which their craft was growing4 ,for with the spread of printing into ,italy1 where printers sought freer fields1 there straightway came a marked change in its use4 ,the first ,roman type was cut and the printers grew under the influence of the most splendid period in the history of art1 the ,italian ,renaissance1 the revival and further development of the arts which had well-nigh perished through the dark centuries4 ,the purity of line and form1 the severe dignity1 and the almost too perfect proportion which had been developed by the ,greeks over a thousand years before were revived and interpreted with more human feeling by the ,italians of the fifteenth century4 ,just as ,gutenberg1 ,fust and ,schoeffer set a standard in ecclesiastical printing with their first efforts1 so ,nicholas ,jenson in cutting his first ,roman type established a precedent which has lived to the present day4 ,designers of today find inspiration in the classic expression of the ,greeks for printed work which is to be similarly restrained and dignified4 ,type faces have been developed which are distinctly classic in feeling1 echoing the letter-forms of the inscriptions which were cut in stone by ,greek and ,roman artisans4 7,figs4 #ce-f47 ,the design of the ,renaissance has been embodied in the books of many nations4 ,indeed1 it may be said that modern book design dates from the start of printing in ,italy4 ,but1 just as the fine arts have never since flourished as they did in that resplendent period1 so has the progress of design in printing been a matter of the work of individuals or limited groups rather than the character of a period or a national expression4 ,illustration3 ,fig4 #cd4 ,ecclesiastical style in modern typography4 ,the voluptuous vagaries of the successive ,french periods of design gave little lasting distinction to contemporary printing4 ,type faces were cut at various times and by men of different nationalities which have marked characteristics1 but they are not to be noted as establishing periods or styles in printing4 ,illustration3 ,fig4 #ce4 ,an inscription in ,classic ,roman4 ,study opposite illustration4 ,in the seventeenth and eighteenth centuries printing in ,england grew into forms of expression which have been recognized under the term of ,georgian or colonial4 ,the first editions of ,shakespeare typify the earlier development of this style1 which was marked by poor typographical materials that were nevertheless arranged in a direct and interesting manner4 7,fig4 #cg47 ,a few years later the growth of printing in the ,american colonies brought this form of typographic expression into most of the printed matter which has been preserved4 ,the museums of printing and the literature dealing with the times are rich with examples4 ,see ,figs4 #ci to #da4 ,through the ensuing decades printing developed mechanically1 but it lapsed into styles which had little or no relationship to design4 ,it is interesting historically to follow the efforts of the printers who rode on the first steamboats and railroad trains2 who recorded the rise and fall of slavery and secession2 who bent their rules and jumbled their type faces during the early ,pullman days that marked the start of many modern successful printers4 ,the history of the craft through all these times has been picturesque and closely identified with the growth of the country4 ,but it has little or no significance for the designer4 ,illustration3 ,fig4 #cf4 ,forum1 a ,classic ,roman type1 designed by ,mr4 ,f4 ,w4 ,goudy4 ,illustration3 ,fig4 #cg4 ,title page1 much reduced1 of a ,shakespeare first folio1 showing the ,georgian style of typography4 ,the types were poorly fitted and of uncertain alignment4 ,the stock ornaments1 cut on wood1 were often bruised and worn4 ,yet there is undeniable charm in the result4 ,illustration3 ,fig4 #ch4 ,an early ,american page1 dated #afhe1 showing the influence of the ,georgian style upon the ,colonial printers4 ,an improvement in mechanical quality may be noted4 ,large capitals1 a profusion of italics1 and frequent use of cross rules mark this period of printing4 ,design in printing has suffered through the marvelous mechanical development of machines and devices whose sole purpose has been to multiply gross output4 ,necessary as sheer volume of production has been1 it has remained for very recent years to witness a renewal of interest in the beauty of printing1 as determined by the principles of design4 ,william ,morris1 in ,england1 devoted a very few years1 toward the end of his life1 to a protest against the commonplace and mechanical qualities which had dominated printing previously4 ,he revived many of the old traditions and marked his books with his strong personality4 ,we owe much of our present wide-spread reverence for good design in printing to his influence1 even as we are similarly indebted to him for the well-designed and useful appurtenances of our daily life which have supplanted twisted and distorted furniture1 stuffed birds under glass jars1 and all the atrocities of a generation or two ago4 ,see ,figs4 ,among the present-day designers of printing whose work shows an intimate study of the principles and the traditions of the craft are such men as ,rogers1 ,updike1 ,goudy1 ,cleland1 and ,currier4 ,the product of their work may frequently be seen in reproductions in the trade publications4 ,it should be studied by younger designers1 for it shows the results of earnest and understanding effort to make modern printing reach and even pass the artistic standards which were established nearly five hundred years ago4 ,illustration3 ,fig4 #ci4 ,page from ,poor ,richard's ,almanack1 one of the best known of the ,colonial publications4 ,its style is typical of that period4 ,illustration3 ,fig4 #dj4 ,illustrating the period of transition from the true ,colonial style4 ,type and material are obviously improved in mechanical qualities1 but the compositor must have been seeking for something new in typography4 ,illustration3 ,fig4 #da4 ,showing a typical title page composed at the beginning of the decline of typography in ,america4 ,during almost the entire #aith ,century there was neither reason nor design in most of the printing produced4 ,illustration3 ,figs4 #db and #dc4 ,facing pages from ,the ,tale of ,beowulf1 as designed and printed by ,william ,morris4 ,the small reproductions give but a suggestion of the ,morris conception of book-making4 ,after a century or more of the most haphazard printing1 ,morris revived the traditions of the first book-makers1 thereby stimulating a world-wide renewal of interest in typography and design4 ,illustration3 ,fig4 #dd4 ,page designed by ,mr4 ,bruce ,rogers4 ,illustration3 ,fig4 #de4 ,title page by ,mr4 ,f4 ,w4 ,goudy4 ,illustration3 ,fig4 #df4 ,folder cover arranged by ,mr4 ,t4 ,m4 ,cleleand4 ,illustration3 ,fig4 #dg4 ,catalogue page by ,mr4 ,d4 ,b4 ,updike4 ,,supplementary ,,reading ,the ,principles of ,design4 ,by ,ernest ,allen ,batchelder4 ,inland ,printer ,company1 ,chicago4 ,design in ,theory and ,practice4 ,by ,ernest ,allen ,batchelder4 ,mac,millan ,company1 ,new ,york4 ,a ,manual of ,historic ,ornament4 ,by ,richard ,glazier4 ,b4 ,t4 ,batsford1 #id ,high ,holburn1 ,london4 ,line and ,form4 ,by ,walter ,crane4 ,g4 ,bell and ,sons1 ,london4 ,the ,bases of ,design4 ,by ,walter ,crane4 ,g4 ,bell and ,sons1 ,london4 ,a ,history of ,ornament4 ,by ,a4 ,d4 ,f4 ,hamlin4 ,century ,company1 ,new ,york4 ,ornament and ,its ,application4 ,by ,lewis ,f4 ,day4 ,scribner's1 ,new ,york4 ,nature in ,ornament4 ,by ,lewis ,f4 ,day4 ,b4 ,t4 ,batsford1 #id ,high ,holburn1 ,london4 ,,review ,,questions ,,suggestions ,,to ,,students ,,and ,,instructors ,the following questions1 based on the contents of this pamphlet1 are intended to serve 7#a7 as a guide to the study of the text1 7#b7 as an aid to the student in putting the information contained into definite statements without actually memorizing the text1 7#c7 as a means of securing from the student a reproduction of the information in his own words4 ,a careful following of the questions by the reader will insure full acquaintance with every part of the text1 avoiding the accidental omission of what might be of value4 ,these primers are so condensed that nothing should be omitted4 ,in teaching from these books it is very important that these questions and such others as may occur to the teacher should be made the basis of frequent written work1 and of final examinations4 ,the importance of written work cannot be overstated4 ,it not only assures knowledge of material but the power to express that knowledge correctly and in good form4 ,,questions #a4 ,what purpose in the works of mankind is served by design8 #b4 ,in what manner does design influence man's handiwork8 #c4 ,what is design8 #d4 ,what is a design8 #e4 ,what is the difference between beauty and fitness to purpose8 #f4 ,what are the elements of design8 #g4 ,what relationship has a printer to a sculptor1 an architect1 a painter1 a decorative designer8 #h4 ,how does the printed page limit its design8 #i4 ,what is the difference between a printed picture and a printed design based upon that picture8 #aj4 ,why are pictures unsuitable to decorate a printed page8 #aa4 ,what are the materials of design8 #ab4 ,analyze a well-designed typographical ornament into the materials which compose it4 #ac4 ,when the materials of design are put to use1 what conditions must be satisfied in their arrangement8 #ad4 ,what is harmony8 #ae4 ,what is balance8 #af4 ,what is proportion8 #ag4 ,what is rhythm8 #ah4 ,how may the foregoing qualities be demonstrated8 #ai4 ,what shapes should be used in combination8 #bj4 ,what further relationship should they have8 #ba4 ,on a type page #bj picas wide by #cj picas deep would a panel #ah picas wide by #h picas deep be proper8 ,what1 if anything1 would be preferable8 #bb4 ,would a rule line #f points wide be suitable to surround a mass of #ah point ,caslon old style caps8 ,why8 #bc4 ,if the printed page is to be other than black and white1 what further consideration of harmony is involved8 #bd4 ,what must we consider in related areas with respect to their size or measure8 #be4 ,what relationship of sizes is often most interesting8 #bf4 ,place a single line on a cover page in a desirable position4 #bg4 ,is the eye always to be trusted in the judgment of space relationships8 #bh4 ,should mathematical measurements or the effect upon the eye be the guiding factor in arrangement8 ,why8 #bi4 ,what is the effect of the surrounding edge or border upon the masses of a design8 #cj4 ,how should the masses in a design be arranged with respect to the surrounding edge8 #ca4 ,what mathematical principles influence this arrangement8 #cb4 ,how is equality in the halves of a printed page sometimes desirable and sometimes not8 #cc4 ,when there is no equality in the halves of a design1 what condition exists and what principles must guide such an arrangement8 #cd4 ,what is ornament8 #ce4 ,what qualities may ornament possess8 ,define them4 #cf4 ,in what periods of design does each quality appear most pronouncedly8 #cg4 ,how is ornament related to nature8 ,to inventiveness or ingenuity8 #ch4 ,how is ornament related to mathematics8 #ci4 ,what are the important divisions of mathematical ornament8 #dj4 ,what happens when an ornament is developed from a natural source8 #da4 ,what is the source called8 #db4 ,what periods of design have most affected printing8 ,why8 #dc4 ,explain how each of the above periods influences modern typography4 #dd4 ,what should be the typographer's attitude toward the activities of designers of every age and period8 #de4 ,what has been the effect of mechanical development in printing upon typographic design8 #df4 ,name some of the modern men whose work is of interest to the typographer4 ,,glossary ,,terms ,,of ,,design ,,as ,,applied ,,to ,,printing ,,assyrian 7,art7--,the ,assyrian ,empire lay in ,southwestern ,asia between the ,tigris and the ,euphrates1 now part of ,turkey in ,asia4 ,its art was largely expressed in the treatment of flat surfaces1 using enameled bricks1 painted stuccoes1 figured bronzes1 etc4 ,bricks were the only building material4 ,the period dates from #djjj-cjjj ,b4,c4 to about #ejj ,b4,c4 ,,attraction--,the force exercised upon the eye by a mass through its tone1 color1 size1 or shape4 ,,axis--,a line dividing a surface for purpose of comparison or construction4 ,,balance--,an apparent state of rest between the various attractions in a design4 ,to balance the elements of a design is to arrange them so that they are set at rest with one another4 ,,byzantine 7,art7--,the art of ,eastern ,christendom1 from the time when ,byzantium 7now ,constantinople7 became the capital in #ccj ,a4,d4 until the taking of the city by the ,turks in #adec and even later4 ,byzantine art embodied ,asiatic luxury in splendor and in profusion of color and gilding4 ,its forms of design were purely geometrical and conventional1 with no use of the human figure4 ,,celtic 7,art7--,particularly active in the fourth century among the people of what are now the ,british ,isles4 ,it was influenced by ,central ,asia and ,persia1 and is thus somewhat oriental4 ,,chinese 7,art7--,characterized by the use of fantastic forms and brilliant color4 ,best exemplified in porcelains1 lacquers1 and carvings in wood and semi-precious stones4 ,the source of inspiration of the ,japanese who have commercialized and cheapened it in everything save wood-block cutting and printing4 ,,classic--,the period of early ,greece and ,rome4 ,,colonial 7,art7--,found in the printing and other applied design of the early ,american colonies and during the first years of the ,american ,republic4 ,derived from ,england and sometimes called ,georgian4 ,,color--,the kind of light reflected by a surface4 ,,conception--,the process of forming an idea or scheme4 ,,decoration--,any thing or group of things that embellishes or adorns4 ,,design 7,in general7--,an arrangement of forms or colors1 or both1 intended to be executed in hard substances or pliable material or to be applied to a fabric or other surface for ornament4 7,in printing7--,the arrangement of masses1 lines1 and dots to secure the qualities of beauty1 and fitness4 7,specific7--,a design3 any piece of work into which the elements of design have been incorporated4 ,,egyptian 7,art7--,includes the period of art activity in ,egypt dating from about #djjj ,b4,c4 through successive steps to #ejj ,b4,c4 ,it was highly conventionalized1 richly decorated1 making use of material forms interpreted with vigorous color4 ,in architecture its chief characteristic was durability4 ,,esthetic--,pertaining to beauty as manifested in the fine arts4 ,the esthetic imagination differs from the scientific4444 ,the difference is seen in the fact that the end is no longer knowledge but beauty4 ,,ecclesiastical 7,style7--,that which characterized the books and manuscripts of the early churches1 usually in black text letter forms with elaborate ornamentation and illumination4 ,,geometrical 7,design7--,based upon spots1 bands1 or all-over patterns made up of straight and curved lines developed geometrically4 ,,georgian 7,period7--,included the ,english and ,colonial ,american design of the #agth and #ahth centuries4 ,similar to ,colonial4 ,,gothic 7,art7--,developed in the architecture and applied design in ,europe from #abjj ,a4,d4 to #aejj ,a4,d4 ,characterized by vertical lines1 pointed arches1 and decorative material based directly upon nature4 ,,greek 7,design7--,that of early ,greece1 dated from about #fbj ,b4,c4 to about #cej ,b4,c41 developed under the influence of ,egypt and ,assyria but rising far above either in purity and expression4 ,the ,greek artisan had the unerring taste of the artist and sought his inspiration from the same sources4 ,,harmony 7,in art7--,a state of completeness in the relationship to things to each other4 ,,headband--,the horizontal strip of decoration used to ornament or to set off a type page4 ,,indian 7,art7--,that of the ,east ,indies or ,india1 which have several styles1 all oriental in character4 ,american ,indian art was manifested in geometric ornament1 raw colors1 and crude representation of animate forms4 ,,initial ,,letter--,a large letter1 unornamented or decoratively designed1 used to mark the beginning of a chapter1 an important change in the text1 or to decorate a single mass of type4 ,,japanese 7,design7--,derived from the ,chinese and usually commercialized in its application4 ,of chief interest to printers in the arrangement and rendering of wood-block prints4 ,,mahometans--,followers of the ,prophet ,mahomet1 including ,arabian1 ,indian1 ,moorish1 ,persian1 and other nations4 ,,mass--,one of the main portions of a design1 readily distinguished and having some unity in itself1 yet remaining in proper relationship to the whole scheme4 ,,materials ,,of ,,design--,masses1 dots1 and lines which compose the completed design4 ,,motif--,the original source for a decorative scheme or element4 ,,natural ,,forms--,motifs of design chosen from nature1 either animate or inanimate4 ,,naturalistic 7,design7--,the direct imitation of forms taken from nature1 retaining as much as possible of their original shape1 color1 etc4 ,,optical ,,illusion--,an error1 normal to the average eye1 in the perception of certain lines1 angles1 and spaces4 ,recognized by the designers of type and of typography4 ,,ornament--,similar to decoration4 ,,persian 7,art7--,covered by the period from about #eej ,b4,c4 to #ccj ,b4,c4 ,derived from ,assyrian art but strongly influenced by the ,greek4 ,,point ,,of ,,balance--,the point1 unindicated in the finished design1 upon which the various attractions of the design are balanced in appearance4 ,,proportion--,the comparative relationship between the various elements in a design4 ,,renaissance--,the period of art activity in the #adth and #aeth centuries in ,italy4 ,a revival of the classic arts but developed and enriched beyond former heights4 ,,rhythm--,movement1 characterized by the regular recurrence of accent or motion4 ,,roman 7,design7--,a transplanted development of ,greek design1 influenced by ,roman habits and character4 ,more realistic in the treatment of natural forms than the ,greek4 ,,shape--,the contour or appearance of an area4 ,,scandinavian 7,design7--,that of the nations ,denmark1 ,norway1 and ,sweden1 characterized by rich interlacements1 and many symbolic devices4 ,,symbolic--,typifying or representing the idea or purpose of a design4 ,,symmetry--,regular arrangement of parts across a given axis1 so that a division through that axis will give similar halves4 ,,tone--,the amount 7not kind7 of light reflected from a given surface--a light tone or dark in tone4 ,,variety--,an intermixture of elements in a design different in form or color and not arranged symmetrically4 ,,typographic ,,technical ,,series ,,for ,,apprentices ,the following list of publications1 comprising the ,,typographic ,,technical ,,series ,,for ,,apprentices1 has been prepared under the supervision of the ,committee on ,education of the ,united ,typothetae of ,america for use in trade classes1 in course of printing instruction1 and by individuals4 ,each publication has been compiled by a competent author or group of authors1 and carefully edited1 the purpose being to provide the printers of the ,united ,states--employers1 journeymen1 and apprentices--with a comprehensive series of handy and inexpensive compendiums of reliable1 up-to-date information upon the various branches and specialties of the printing craft1 all arranged in orderly fashion for progressive study4 ,the publications of the series are of uniform size1 #e x #h inches4 ,their general make-up1 in typography1 illustrations1 etc41 has been1 as far as practicable1 kept in harmony throughout4 ,a brief synopsis of the particular contents and other chief features of each volume will be found under each title in the following list4 ,each topic is treated in a concise manner1 the aim being to embody in each publication as completely as possible all the rudimentary information and essential facts necessary to an understanding of the subject4 ,care has been taken to make all statements accurate and clear1 with the purpose of bringing essential information within the understanding of beginners in the different fields of study4 ,wherever practicable1 simple and well-defined drawings and illustrations have been used to assist in giving additional clearness to the text4 ,in order that the pamphlets may be of the greatest possible help for use in trade-school classes and for self-instruction1 each title is accompanied by a list of ,review ,questions covering essential items of the subject matter4 ,a short ,glossary of technical terms belonging to the subject or department treated is also added to many of the books4 ,these are the ,official ,text-books of the ,united ,typothetae of ,america4 ,address all orders and inquiries to ,,committee ,,on ,,education1 ,,united ,,typothetae ,,of ,,america1 ,,chicago1 ,,illinois1 ,u4 ,s4 ,a4 ,,part ,i--,types1 ,tools1 ,machines1 and ,materials #a4 ,type3 a ,primer of ,information ,by ,a4 ,a4 ,stewart ,relating to the mechanical features of printing types2 their sizes1 font schemes1 etc41 with a brief description of their manufacture4 #dd pp42 illustrated2 #gd review questions2 glossary4 #b4 ,compositors' ,tools and ,materials ,by ,a4 ,a4 ,stewart ,a primer of information about composing sticks1 galleys1 leads1 brass rules1 cutting and mitering machines1 etc4 #dg pp42 illustrated2 #ej review questions2 glossary4 #c4 ,type ,cases1 ,composing ,room ,furniture ,by ,a4 ,a4 ,stewart ,a primer of information about type cases1 work stands1 cabinets1 case racks1 galley racks1 standing galleys1 etc4 #dc pp42 illustrated2 #cc review questions2 glossary4 #d4 ,imposing ,tables and ,lock-up ,appliances ,by ,a4 ,a4 ,stewart ,describing the tools and materials used in locking up forms for the press1 including some modern utilities for special purposes4 #ei pp42 illustrated2 #gj review questions2 glossary4 #e4 ,proof ,presses ,by ,a4 ,a4 ,stewart ,a primer of information about the customary methods and machines for taking printers' proofs4 #dj pp42 illustrated2 #da review questions2 glossary4 #f4 ,platen ,printing ,presses ,by ,daniel ,baker ,a primer of information regarding the history and mechanical construction of platen printing presses1 from the original hand press to the modern job press1 to which is added a chapter on automatic presses of small size4 #ea pp42 illustrated2 #di review questions2 glossary4 #g4 ,cylinder ,printing ,presses ,by ,herbert ,l4 ,baker ,being a study of the mechanism and operation of the principal types of cylinder printing machines4 #fd pp42 illustrated2 #dg review questions2 glossary4 #h4 ,mechanical ,feeders and ,folders ,by ,william ,e4 ,spurrier ,the history and operation of modern feeding and folding machines2 with hints on their care and adjustments4 ,illustrated2 review questions2 glossary4 #i4 ,power for ,machinery in ,printing ,houses ,by ,carl ,f4 ,scott ,a treatise on the methods of applying power to printing presses and allied machinery with particular reference to electric drive4 #ec pp42 illustrated2 #fi review questions2 glossary4 #aj4 ,paper ,cutting ,machines ,by ,niel ,gray1 ,jr4 ,a primer of information about paper and card trimmers1 hand-lever cutters1 power cutters1 and other automatic machines for cutting paper4 #gj pp42 illustrated2 #aae review questions2 glossary4 #aa4 ,printers' ,rollers ,by ,a4 ,a4 ,stewart ,a primer of information about the composition1 manufacture1 and care of inking rollers4 #df pp42 illustrated2 #fa review questions2 glossary4 #ab4 ,printing ,inks ,by ,philip ,ruxton ,their composition1 properties and manufacture 7reprinted by permission from ,circular ,no4 #ec1 ,united ,states ,bureau of ,standards72 together with some helpful suggestions about the everyday use of printing inks by ,philip ,ruxton4 #hj pp42 #ajj review questions2 glossary4 #ac4 ,how ,paper is ,made ,by ,william ,bond ,wheelwright ,a primer of information about the materials and processes of manufacturing paper for printing and writing4 #fh pp42 illustrated2 #fb review questions2 glossary4 #ad4 ,relief ,engravings ,by ,joseph ,p4 ,donovan ,brief history and non-technical description of modern methods of engraving2 woodcut1 zinc plate1 halftone2 kind of copy for reproduction2 things to remember when ordering engravings4 ,illustrated2 review questions2 glossary4 #ae4 ,electrotyping and ,stereotyping ,by ,harris ,b4 ,hatch and ,a4 ,a4 ,stewart ,a primer of information about the processes of electrotyping and stereotyping4 #id pp42 illustrated2 #abi review questions2 glossaries4 ,,part ,,ii--,hand and ,machine ,composition #af4 ,typesetting ,by ,a4 ,a4 ,stewart ,a handbook for beginners1 giving information about justifying1 spacing1 correcting1 and other matters relating to typesetting4 ,illustrated2 review questions2 glossary4 #ag4 ,printers' ,proofs ,by ,a4 ,a4 ,stewart ,the methods by which they are made1 marked1 and corrected1 with observations on proofreading4 ,illustrated2 review questions2 glossary4 #ah4 ,first ,steps in ,job ,composition ,by ,camille ,de,vze ,suggestions for the apprentice compositor in setting his first jobs1 especially about the important little things which go to make good display in typography4 #fc pp42 examples2 #ee review questions2 glossary4 #ai4 ,general ,job ,composition ,how the job compositor handles business stationery1 programs and miscellaneous work4 ,illustrated2 review questions2 glossary4 #bj4 ,book ,composition ,by ,j4 ,w4 ,bothwell ,chapters from ,de,vinne's ,modern ,methods of ,book ,composition1 revised and arranged for this series of text-books by ,j4 ,w4 ,bothwell of ,the ,de,vinne ,press1 ,new ,york4 ,part ,i3 ,composition of pages4 ,part ,,ii3 ,imposition of pages4 #bbi pp42 illustrated2 #ebe review questions2 glossary4 #ba4 ,tabular ,composition ,by ,robert ,seaver ,a study of the elementary forms of table composition1 with examples of more difficult composition4 #cf pp42 examples2 #de review questions4 #bb4 ,applied ,arithmetic ,by ,e4 ,e4 ,sheldon ,elementary arithmetic applied to problems of the printing trade1 calculation of materials1 paper weights and sizes1 with standard tables and rules for computation1 each subject amplified with examples and exercises4 #aei pp4 #bc4 ,typecasting and ,composing ,machines ,a4 ,w4 ,finlay1 ,editor ,section ,i--,the ,linotype ,by ,l4 ,a4 ,hornstein ,section ,,ii--,the ,monotype ,by ,joseph ,hays ,section ,,iii--,the ,intertype ,by ,henry ,w4 ,cozzens ,section ,,iv--,other ,typecasting and ,typesetting ,machines ,by ,frank ,h4 ,smith ,a brief history of typesetting machines1 with descriptions of their mechanical principles and operations4 ,illustrated2 review questions2 glossary4 ,,part ,,iii--,imposition and ,stonework #bd4 ,locking ,forms for the ,job ,press ,by ,frank ,s4 ,henry ,things the apprentice should know about locking up small forms1 and about general work on the stone4 ,illustrated2 review questions2 glossary4 #be4 ,preparing ,forms for the ,cylinder ,press ,by ,frank ,s4 ,henry ,pamphlet and catalog imposition2 margins2 fold marks1 etc4 ,methods of handling type forms and electrotype forms4 ,illustrated2 review questions2 glossary4 ,,part ,,iv--,presswork #bf4 ,making ,ready on ,platen ,presses ,by ,t4 ,g4 ,mc,grew ,the essential parts of a press and their functions2 distinctive features of commonly used machines4 ,preparing the tympan1 regulating the impression1 underlaying and overlaying1 setting gauges1 and other details explained4 ,illustrated2 review questions2 glossary4 #bg4 ,cylinder ,presswork ,by ,t4 ,g4 ,mc,grew ,preparing the press2 adjustment of bed and cylinder1 form rollers1 ink fountain1 grippers and delivery systems4 ,underlaying and overlaying2 modern overlay methods4 ,illustrated2 review questions2 glossary4 #bh4 ,pressroom ,hints and ,helps ,by ,charles ,l4 ,dunton ,describing some practical methods of pressroom work1 with directions and useful information relating to a variety of printing-press problems4 #hg pp42 #agf review questions4 #bi4 ,reproductive ,processes of the ,graphic ,arts ,by ,a4 ,w4 ,elson ,a primer of information about the distinctive features of the relief1 the intaglio1 and the planographic processes of printing4 #hd pp42 illustrated2 #ajj review questions2 glossary4 ,,part ,v--,pamphlet and ,book ,binding #cj4 ,pamphlet ,binding ,by ,bancroft ,l4 ,goodwin ,a primer of information about the various operations employed in binding pamphlets and other work in the bindery4 ,illustrated2 review questions2 glossary4 #ca4 ,book ,binding ,by ,john ,j4 ,pleger ,practical information about the usual operations in binding books2 folding2 gathering1 collating1 sewing1 forwarding1 finishing4 ,case making and cased-in books4 ,hand work and machine work4 ,job and blank-book binding4 ,illustrated2 review questions2 glossary4 ,,part ,,vi--,correct ,literary ,composition #cb4 ,word ,study and ,english ,grammar ,by ,f4 ,w4 ,hamilton ,a primer of information about words1 their relations1 and their uses4 #fh pp42 #hd review questions2 glossary4 #cc4 ,punctuation ,by ,f4 ,w4 ,hamilton ,a primer of information about the marks of punctuation and their use1 both grammatically and typographically4 #ef pp42 #ei review questions2 glossary4 #cd4 ,capitals ,by ,f4 ,w4 ,hamilton ,a primer of information about capitalization1 with some practical typographic hints as to the use of capitals4 #dh pp42 #ib review questions2 glossary4 #ce4 ,division of ,words ,by ,f4 ,w4 ,hamilton ,rules for the division of words at the ends of lines1 with remarks on spelling1 syllabication and pronunciation4 #db pp42 #gj review questions4 #cf4 ,compound ,words ,by ,f4 ,w4 ,hamilton ,a study of the principles of compounding1 the components of compounds1 and the use of the hyphen4 #cd pp42 #fb review questions4 #cg4 ,abbreviations and ,signs ,by ,f4 ,w4 ,hamilton ,a primer of information about abbreviations and signs1 with classified lists of those in most common use4 #eh pp42 #cb review questions4 #ch4 ,the ,uses of ,italic ,by ,f4 ,w4 ,hamilton ,a primer of information about the history and uses of italic letters4 #ca pp42 #cg review questions4 #ci4 ,proofreading ,by ,arnold ,levitas ,the technical phases of the proofreader's work2 reading1 marking1 revising1 etc42 methods of handling proofs and copy4 ,illustrated by examples4 #ei pp42 #fi review questions2 glossary4 #dj4 ,preparation of ,printers' ,copy ,by ,f4 ,w4 ,hamilton ,suggestions for authors1 editors1 and all who are engaged in preparing copy for the composing room4 #cf pp42 #fg review questions4 #da4 ,printers' ,manual of ,style ,a reference compilation of approved rules1 usages1 and suggestions relating to uniformity in punctuation1 capitalization1 abbreviations1 numerals1 and kindred features of composition4 #db4 ,the ,printer's ,dictionary ,by ,a4 ,a4 ,stewart ,a handbook of definitions and miscellaneous information about various processes of printing1 alphabetically arranged4 ,technical terms explained4 ,illustrated4 ,,part ,,vii--,design1 ,color1 and ,lettering #dc4 ,applied ,design for ,printers ,by ,harry ,l4 ,gage ,a handbook of the principles of arrangement1 with brief comment on the periods of design which have most influenced printing4 ,treats of harmony1 balance1 proportion1 and rhythm2 motion2 symmetry and variety2 ornament1 esthetic and symbolic4 #cg illustrations2 #df review questions2 glossary2 bibliography4 #dd4 ,elements of ,typographic ,design ,by ,harry ,l4 ,gage ,applications of the principles of decorative design4 ,building material of typography3 paper1 types1 ink1 decorations and illustrations4 ,handling of shapes4 ,design of complete book1 treating each part4 ,design of commercial forms and single units4 ,illustrations2 review questions1 glossary2 bibliography4 #de4 ,rudiments of ,color in ,printing ,by ,harry ,l4 ,gage ,use of color3 for decoration of black and white1 for broad poster effect1 in combinations of two1 three1 or more printings with process engravings4 ,scientific nature of color1 physical and chemical4 ,terms in which color may be discussed3 hue1 value1 intensity4 ,diagrams in color1 scales and combinations4 ,color theory of process engraving4 ,experiments with color4 ,illustrations in full color1 and on various papers4 ,review questions2 glossary2 bibliography4 #df4 ,lettering in ,typography ,by ,harry ,l4 ,gage ,printer's use of lettering3 adaptability and decorative effect4 ,development of historic writing and lettering and its influence on type design4 ,classification of general forms in lettering4 ,application of design to lettering4 ,drawing for reproduction4 ,fully illustrated2 review questions2 glossary2 bibliography4 #dg4 ,typographic ,design in ,advertising ,by ,harry ,l4 ,gage ,the printer's function in advertising4 ,precepts upon which advertising is based4 ,printer's analysis of his copy4 ,emphasis1 legibility1 attention1 color4 ,method of studying advertising typography4 ,illustrations2 review questions2 glossary2 bibliography4 #dh4 ,making ,dummies and ,layouts ,by ,harry ,l4 ,gage ,a layout3 the architectural plan4 ,a dummy3 the imitation of a proposed final effect4 ,use of dummy in sales work4 ,use of layout4 ,function of layout man4 ,binding schemes for dummies4 ,dummy envelopes4 ,illustrations2 review questions2 glossary2 bibliography4 ,,part ,,viii--,history of ,printing #di4 ,books ,before ,typography ,by ,f4 ,w4 ,hamilton ,a primer of information about the invention of the alphabet and the history of bookmaking up to the invention of movable types4 #fb pp42 illustrated2 #fd review questions4 #ej4 ,the ,invention of ,typography ,by ,f4 ,w4 ,hamilton ,a brief sketch of the invention of printing and how it came about4 #fd pp42 #fb review questions4 #ea4 ,history of ,printing--,part ,i ,by ,f4 ,w4 ,hamilton ,a primer of information about the beginnings of printing1 the development of the book1 the development of printers' materials1 and the work of the great pioneers4 #fc pp42 #ee review questions4 #eb4 ,history of ,printing--,part ,,ii ,by ,f4 ,w4 ,hamilton ,a brief sketch of the economic conditions of the printing industry from #adej to #aghi1 including government regulations1 censorship1 internal conditions and industrial relations4 #id pp42 #abh review questions4 #ec4 ,printing in ,england ,by ,f4 ,w4 ,hamilton ,a short history of printing in ,england from ,caxton to the present time4 #hi pp42 #fe review questions4 #ed4 ,printing in ,america ,by ,f4 ,w4 ,hamilton ,a brief sketch of the development of the newspaper1 and some notes on publishers who have especially contributed to printing4 #ih pp42 #hd review questions4 #ee4 ,type and ,presses in ,america ,by ,f4 ,w4 ,hamilton ,a brief historical sketch of the development of type casting and press building in the ,united ,states4 #eb pp42 #fa review questions4 ,,part ,,ix--,cost ,finding and ,accounting #ef4 ,elements of ,cost in ,printing ,by ,henry ,p4 ,porter ,the ,standard ,cost-,finding ,forms and their uses4 ,what they should show4 ,how to utilize the information they give4 ,review questions4 ,glossary4 #eg4 ,use of a ,cost ,system ,by ,henry ,p4 ,porter ,the ,standard ,cost-,finding ,forms and their uses4 ,what they should show4 ,how to utilize the information they give4 ,review questions4 ,glossary4 #eh4 ,the ,printer as a ,merchant ,by ,henry ,p4 ,porter ,the selection and purchase of materials and supplies for printing4 ,the relation of the cost of raw material and the selling price of the finished product4 ,review questions4 ,glossary4 #ei4 ,fundamental ,principles of ,estimating ,by ,henry ,p4 ,porter ,the estimator and his work2 forms to use2 general rules for estimating4 ,review questions4 ,glossary4 #fj4 ,estimating and ,selling ,by ,henry ,p4 ,porter ,an insight into the methods used in making estimates1 and their relation to selling4 ,review questions4 ,glossary4 #fa4 ,accounting for ,printers ,by ,henry ,p4 ,porter ,a brief outline of an accounting system for printers2 necessary books and accessory records4 ,review questions4 ,glossary4 ,,part ,x--,miscellaneous #fb4 ,health1 ,sanitation1 and ,safety ,by ,henry ,p4 ,porter ,hygiene in the printing trade2 a study of conditions old and new2 practical suggestions for improvement2 protective appliances and rules for safety4 #fc4 ,topical ,index ,by ,f4 ,w4 ,hamilton ,a book of reference covering the topics treated in the ,typographic ,technical ,series1 alphabetically arranged4 #fd4 ,courses of ,study ,by ,f4 ,w4 ,hamilton ,a guidebook for teachers1 with outlines and suggestions for classroom and shop work4 ,,acknowledgment ,this series of ,typographic ,text-books is the result of the splendid co-operation of a large number of firms and individuals engaged in the printing business and its allied industries in the ,united ,states of ,america4 ,the ,committee on ,education of the ,united ,typothetae of ,america1 under whose auspices the books have been prepared and published1 acknowledges its indebtedness for the generous assistance rendered by the many authors1 printers1 and others identified with this work4 ,while due acknowledgment is made on the title and copyright pages of those contributing to each book1 the ,committee nevertheless felt that a group list of co-operating firms would be of interest4 ,the following list is not complete1 as it includes only those who have co-operated in the production of a portion of the volumes1 constituting the first printing4 ,as soon as the entire list of books comprising the ,typographic ,technical ,series has been completed 7which the ,committee hopes will be at an early date71 the full list will be printed in each volume4 ,the ,committee also desires to acknowledge its indebtedness to the many subscribers to this ,series who have patiently awaited its publication4 ,,committee ,,on ,,education1 ,,united ,,typothetae ,,of ,,america4 ,,henry ,p4 ,,porter1 ,chairman1 ,e4 ,,lawrence ,,fell1 ,a4 ,m4 ,,glossbrenner1 ,j4 ,,clyde ,,oswald1 ,,toby ,,rubovits4 ,,frederick ,w4 ,,hamilton1 ,education ,director4 ,,contributors ,for ,composition and ,electrotypes ,,isaac ,h4 ,,blanchard ,,company1 ,new ,york1 ,n4 ,y4 ,s4 ,h4 ,,burbank ,,co41 ,philadelphia1 ,pa4 ,j4 ,s4 ,,cushing ,,co41 ,norwood1 ,mass4 ,,the ,,devinne ,,press1 ,new ,york1 ,n4 ,y4 ,r4 ,r4 ,,donnelley ,,sons ,,co41 ,chicago1 ,ill4 ,,geo4 ,h4 ,,ellis ,,co41 ,boston1 ,mass4 ,,evans-,,winter-,,hebb1 ,detroit1 ,mich4 ,,franklin ,,printing ,,company1 ,philadelphia1 ,pa4 ,,gage ,,printing ,,co41 ,ltd41 ,battle ,creek1 ,mich4 ,f4 ,h4 ,,gilson ,,company1 ,boston1 ,mass4 ,,stephen ,,greene ,,co41 ,philadelphia1 ,pa4 ,,william ,,green1 ,new ,york1 ,n4 ,y4 ,w4 ,f4 ,,hall ,,printing ,,co41 ,chicago1 ,ill4 ,,frank ,d4 ,,jacobs ,,co41 ,philadelphia1 ,pa4 ,,wilson ,h4 ,,lee ,,co41 ,new ,haven1 ,conn4 ,j4 ,b4 ,,lippincott ,,co41 ,philadelphia1 ,pa4 ,,maccalla ,,co4 ,,inc41 ,philadelphia1 ,pa4 ,,the ,,patteson ,,press1 ,new ,york4 ,,the ,,plimpton ,,press1 ,norwood1 ,mass4 ,,poole ,,bros41 ,chicago1 ,ill4 ,,remington ,,printing ,,co41 ,providence1 ,r4 ,i4 ,,edward ,,stern ,,co41 ,philadelphia1 ,pa4 ,,the ,,stone ,,printing ,,mfg4 ,,co41 ,roanoke1 ,va4 ,,state ,,journal ,,company1 ,lincoln1 ,neb4 ,,the ,,university ,,press1 ,cambridge1 ,mass4 ,for ,composition ,,boston ,,typothetae ,,school ,,of ,,printing1 ,boston1 ,mass4 ,,william ,f4 ,,fell ,,co41 ,philadelphia1 ,pa4 ,,the ,,kalkhoff ,,company1 ,new ,york1 ,n4 ,y4 ,,oxford-,,print1 ,boston1 ,mass4 ,,toby ,,rubovits1 ,chicago1 ,ill4 ,electrotypers ,,blomgren ,,brothers ,,co41 ,chicago1 ,ill4 ,,flower ,,steel ,,electrotyping ,,co41 ,new ,york1 ,n4 ,y4 ,c4 ,j4 ,,peters ,,son ,,co41 ,boston1 ,mass4 ,,royal ,,electrotype ,,co41 ,philadelphia1 ,pa4 ,h4 ,c4 ,,whitcomb ,,co41 ,boston1 ,mass4 ,for ,engravings ,,american ,,type ,,founders ,,co41 ,boston1 ,mass4 ,c4 ,b4 ,,cottrell ,,sons ,,co41 ,westerly1 ,r4 ,i4 ,,golding ,,manufacturing ,,co41 ,franklin1 ,mass4 ,,harvard ,,university1 ,cambridge1 ,mass4 ,,inland ,,printer ,,co41 ,chicago1 ,ill4 ,,lanston ,,monotype ,,machine ,,company1 ,philadelphia1 ,pa4 ,,mergenthaler ,,linotype ,,company1 ,new ,york1 ,n4 ,y4 ,,geo4 ,h4 ,,morrill ,,co41 ,norwood1 ,mass4 ,,oswald ,,publishing ,,co41 ,new ,york1 ,n4 ,y4 ,,the ,,printing ,,art1 ,cambridge1 ,mass4 ,b4 ,d4 ,,rising ,,paper ,,company1 ,housatonic1 ,mass4 ,,the ,,vandercook ,,press1 ,chicago1 ,ill4 ,for ,book ,paper ,,american ,,writing ,,paper ,,co41 ,holyoke1 ,mass4 ,,bryant ,,paper ,,co41 ,kalamazoo1 ,mich4 ,,the ,,miami ,,paper ,,co41 ,west ,carrollton1 ,ohio4 ,,oxford ,,paper ,,company1 ,new ,york1 ,n4 ,y4 ,,west ,,virginia ,,pulp ,,paper ,,co41 ,mechanicville1 ,n4 ,y4 ,for ,book ,cloth ,,interlaken ,,mills1 ,providence1 ,r4 ,i4 ,transcriber's ,notes3 ,passages in italics are indicated by underscore4 ,passages in bold are indicated by bold4 ,the following misprints have been corrected3 ,gutenburg's corrected to ,gutenberg's 7page #dg7 realstic corrected to realistic 7page #ga7 ,other than the corrections listed above1 printer's inconsistencies in spelling and punctuation have been retained4