,the ,,art ,,practice of ,,typography ,illustration3 ,,the ,,first ,,printed ,,declaration ,fac-simile in reduced size 7original type form about twelve by seventeen inches7 of the ,declaration of ,independence officially printed about ,july #e1 #aggf4 ,it was this setting of the ,declaration that was read before ,washington's army4 ,reproduced direct from the original in the ,congressional minute book of ,july #d1 #aggf ,illustration ,illustration ,illustration ,the ,,art ,,practice of ,,typography ,a ,manual of ,american ,printing ,,including ,a ,,brief ,,history ,,up ,,to ,,the ,,twentieth ,,century1 ,,with ,,reproductions ,,of ,,the ,,work ,,of ,,early ,,masters ,,of ,,the ,,craft1 ,,and ,a ,,practical ,,discussion ,,and ,,an ,,extensive ,,demonstration ,,of ,,the ,,modern ,,use ,,of ,,type-,,faces ,,and ,,methods ,,of ,,arrangement ,second ,edition ,illustration ,by ,,edmund ,g4 ,,gress ,,editor ,,the ,,american ,,printer ,,author ,,the ,,american ,,handbook ,,of ,,printing ,,new ,,york,,oswald ,,publishing ,,company#aiag ,illustration ,copyright1 #aiag1 by the ,oswald ,publishing ,company ,illustration ---------------------------------------- -------------------------------- ,,to ,,the ,,typographers ,,of ,,the ,,past ,,who ,,made ,,the ,,art ,,honored ,,among ,,men ,,and ,,to ,,the ,,typographers ,,of ,,the ,,present ,,who ,,are ,,restoring ,,to ,,printing ,,its ,,ancient ,,dignity ,,this ,,book ,,is ,,dedicated ,,table ,,of ,,contents ,,page ,,author',s ,,preface vii ,,synopsis ,,of ,,contents ix ,,list ,,of ,,reproductions xvi ,,list ,,of ,,designers xx ,,when ,,books ,,were ,,written #a ,,the ,,origin ,,of ,,typography #g ,,the ,,spread ,,of ,,typography #ac ,,typography ,,in ,,colonial ,,days #ai ,,typography ,,in ,,the #ai,,th ,,century #bg ,,the 8,,layout0 ,,man #ce ,,harmony ,,and ,,appropriateness #da ,,tone ,,and ,,contrast #dg ,,proportion1 ,,balance ,,and ,,spacing #ec ,,ornamentation #ei ,,the ,,typography ,,of ,,books #fg ,,booklets1 ,,pamphlets1 ,,brochures1 ,,leaflets #ge ,,catalogs #hc ,,programs #ia ,,announcements #ii ,,tickets #ajg ,,letterheads ,,and ,,envelops #aaa ,,billheads ,,and ,,statements #aai ,,package ,,labels #abc ,,business ,,cards #abg ,,the ,,blotter #aca ,,posters1 ,,car ,,cards1 ,,window ,,cards #ace ,,advertisements #aci ,,newspapers #adg ,,periodicals #aea ,,house-,,organs #afa ,,type-,,faces #afi ,,imprints #aie ,,appendix--,,greeting ,,cards ,illustration ,,author',s ,,preface ,in the preface to the first edition of 8,the ,art and ,practice of ,typography10 the author stated that he did not 8anticipate again having the pleasure of producing a book as elaborate as this one10 but the favor with which the volume was received made another edition advisable1 and in consequence he has had the additional pleasure of enlarging and revising it and of producing a volume even more elaborate and with a better selection of examples4 ,the task of rewriting and replanning the second edition was near completion when ,america entered the war against ,germany1 and now1 a few months later1 the book is presented to the public4 ,the first edition was published in ,february1 #aiaj4 ,work on the new edition was begun by the author in the latter part of #aiac1 and so great has been the task1 in addition to his customary editorial labors1 that almost four years have passed4 ,the extent of the work will be comprehended when it is mentioned that there are twenty-eight chapters1 in which the illustrations or typographic arrangements1 numbering six hundred and fifteen1 include forty full-page specially-printed inserts4 ,most of these illustrations or typographic arrangements are in color4 ,the text matter1 which makes direct reference to the examples1 totals nearly one hundred thousand words4 ,that these examples are mostly high-class and by many of the best typographers in ,america 7,europe also being represented71 is due to the fact that the author during his connection with ,the ,american ,printer has received several thousand pieces of printing1 from which selections were made for this work4 ,great care was exercised in the choice of examples in order that the book would not become obsolete1 and it is believed that most of the type arrangements shown will be considered good for a hundred years to come4 ,that this is possible is proved by the ,whittingham titles on page #cb1 one of which is sixty-eight and the other seventy-three years old at this writing4 ,these titles were set up when most typography was poor1 yet few other type arrangements of that time would meet approval today2 which indicates that it is not when printing is done1 but how it is done that makes it good or bad4 ,attention should be called to the plan of this volume4 ,there are two parts1 the first having to do with typography of the past and the second with typography of the present4 ,good printing of the present has a basic connection with that of the past1 and for this reason one part is incomplete without the other4 ,the entire first part should be studied before any of the ideas in the second part are applied to present-day problems1 and especially should the chapter on ,type-,faces be patiently read and studied4 ,the printer should first know type-faces and then learn how to use them4 ,in the chapters on ,harmony1 ,tone1 ,proportion1 ,ornamentation and other art principles the author does not intend to advocate that his readers shall make pictures with type or build pages that are merely beautiful4 ,the first requirement of typography is that it shall be easy to read2 the second is that it shall be good to look at4 ,the efficient typographer studies the copy and arranges it so that the reader's task is an easy and pleasant one4 99 99 99 99 99 ,in planning the second edition the general style of the first edition was retained4 ,however1 an effort was made to change the style1 especially of the binding1 but so satisfactory was the original that it was again adopted4 ,the historical chapters in the first part have been revised and slightly altered1 but they are practically as before4 ,extensive changes have been made in the second part4 ,the text has been thoroly revised1 and better typographic examples substituted in many cases4 ,these chapters especially have been greatly altered3 ,booklets1 ,catalogs1 ,announcements1 ,letterheads1 ,billheads1 ,business ,cards1 ,posters1 ,advertisements1 ,imprints4 ,the chapter on ,type-,faces is all new and has been enlarged from ten to twenty-four pages4 ,new chapters on the following subjects have been added3 ,package ,labels1 ,blotters1 ,newspapers1 ,periodicals1 ,house-,organs4 ,in place of the medley of contest specimens in the appendix of the first edition1 there are halftone reproductions of more than one hundred attractive holiday greetings4 ,no one realizes more than does the author the minor defects in typography1 presswork and other details that are present in this volume1 yet the effort of a ,hercules and the patience of a ,job have been expended in making everything as correct as possible4 ,as the book now stands1 it is a reaching after the ideal1 with human inability to attain perfection4 ,it is needless to point out imperfections2 the reader will discover them4 ,in his selection of examples and recommendation of type-faces the author has been entirely free from pressure from any source4 ,if certain type-faces are favored1 it is because the author believes he is doing something for the cause of good printing by favoring them4 ,what has been written has been written with sincerity4 99 99 99 99 99 ,it is well to mention that the 8,pilgrim's ,progress0 title on page #ba is not genuine4 ,having seen the book on exhibition at the ,new ,york ,public ,library1 the author arranged to have it photographed and included in this work4 ,the sequel to this is interesting and rather humorous4 ,when the chapter on ,type-,faces was being written and ,caslon types were being studied1 the author was startled to find that the types used on the 8,pilgrim's ,progress0 page were the same as those ,william ,caslon was supposed to have designed forty-four years later4 ,greatly puzzled1 the author made a trip to the library and examined the original4 ,he immediately saw that the type-face used on the body of the book differed from that on the title4 ,discovering a note on the fly-leaf signed by ,william ,pickering1 the explanation dawned on him4 ,the book was probably owned by ,pickering in the middle of the last century and the title-page being missing a new one was set up1 printed and inserted when the book was rebound4 ,it was ,whittingham1 ,pickering's printer1 who revived the ,caslon types about that time1 and he naturally used these types as the nearest approach to the ,english types of the period1 #afgh1 when 8,pilgrim's ,progress0 was first published4 99 99 99 99 99 ,it is impossible to mention by name all of those who have in one way or another assisted and encouraged the author in the production of this volume4 ,a list of acknowledgments would include typographers of international note and typographers-to-be whose prentice hands need guidance4 ,it would include office associates and those of the workrooms whose interest and attention to technical details helped much in the effort to make the work worthy4 ,there is one1 however1 were such a list printed1 whose name would lead all the rest1 the man who1 back in #aijc1 conceived the idea of this book2 without whose business support this elaborate and costly work would have been impossible2 whose ideals have been an inspiration2 whose confidence and encouragement generated the energy and enthusiasm that have attended the author during the fourteen years in which this work has been building4 ,it is a privilege to pay this tribute to ,john ,clyde ,oswald4 ,,edmund ,g4 ,,gress4 ,new ,york1 ,july1 #aiag4 ,,synopsis ,,of ,,contents ,,part ,,one ,,when ,,books ,,were ,,written ,page #a ,the printer and typography--,definitions and derivations of trade words-- ,printing with separate types practiced between #adej-adee--;,books previously written by hand or printed from wood--,the ,middle and ,dark ,ages--,latin in written books kept knowledge alive--,meaning of 8manuscript0--,writing materials--,arrow-shaped writing of the ,chaldeans-- ,papyrus rolls of the ,egyptians--,ink1 paper and block-printing supposedly invented by the ,chinese--,dressed skins and palm leaves used by ,hindoos-- ,the ,hebrews wrote upon stones and animal skins--,we owe the present ,roman alphabet to the ,phnicians--,the word 8alphabet0 derived from the first two letters of the ,greek alphabet1 ,alpha and ,beta--,the bards of ,greece-- ,manuscripts written by slaves--,papyrus imported from ,egypt--,development of parchment1 and what it is--,the great ,alexandrian library--,length of rolls-- ,story of 8,septuagint0--,destruction of the ,alexandrian library--,rome supersedes ,alexandria as an intellectual center--,csar credited as the founder of the first newspaper--8,short-hand0 writing--,the period of ,emperor ,augustus a memorable one in literature--,producing large editions of manuscript rolls--,books were plentiful and cheap--,elaborate parchment rolls--,origin of flat-sheet books--,hinged waxed tablets--,destruction of the library at ,constantinople--,drift of literature toward the ,east-- ,transcribing and decorating holy writings in the monasteries of ,europe-- ,monopoly of learning gave power to ,church of ,rome--,since the seventh century monastery manuscripts in ,latin1 the official language of that church--,translation of ,bible into 8,vulgar tongue0 forbidden--,william ,tyndale's ,english translation--,martin ,luther's ,german translation--,making of manuscript books in the ,middle ,ages--,st4 ,benedict sets the monks to work copying manuscripts--,popularity of cloisters--,the scriptorium and the rules governing scribe or copyist--,tools and materials--,rubrics-- ,illuminating--,the copyist at work--,a beautiful ,irish book--,illuminators' colors and binding of manuscript books--,missal1 ,psalter1 ,book of ,hours-- ,donatus1 books associated with the ,middle ,ages--,first types were imitations of current ,gothic lettering--,types cut in style of ,roman lettering--,ancient ,roman writing all capitals--,evolution of ,roman capitals into small or lower-case letters--,the uncial and half-uncial--,minuscule and majuscule--,development of writing toward both heavy pointed ,gothic and the ,roman style used by ,nicholas ,jenson--,cursive1 a 8script0 letter4 ,,the ,,origin ,,of ,,typography ,page #g ,the invention of typography marked the beginning of a new civilization-- ,the beginning and end of the ,middle ,ages--,printing with separate metal types an evolution--,demand for playing cards and sacred pictures--,engraved wood blocks--,block books1 and method of printing them--,coloring cards and pictures by means of stencils--,the oldest dated specimen of printing--,the first block books probably ,latin grammars--,the 8,art of ,dying10 the 8,bible of the ,poor10 and the 8,mirror of ,human ,salvation0--,when1 where and by whom was typography invented8--,the inventor failed to print his name on his product--,almost every ,european country claimed the honor--,all claims disproved excepting those of ,germany and ,holland--,weight of evidence is with ,germany--,typography was practiced by ,gutenberg at ,mainz some time during #adej-adee--;,claims of priority for ,coster of ,haarlem--,story of the invention by ,ulrich ,zell the earliest testimony on the subject--,dierick ,coornhert's version--,the unfaithful servant--,dignified gray heads point out the house of 8the first printer0--,hadrian ,junius and his 8,coster ,legend0--,fashioning the bark of a beech tree in the form of letters-- ,changing the letters to lead and then to tin--,old wine flagons melted into type--,a workman1 ,john ,faust1 steals the type-making instruments-- ,cornelis1 an old book binder--,the story dissected--,peter ,scriverius has another version--,a clap of thunder--,confusion of dates--,a statue erected to ,coster in ,haarlem--8,true and rational account0 by one ,leiz--,gerard ,meerman's story--,the sheriff who printed with wooden types--,robbed by a brother of ,johann ,gutenberg--,jacob ,koning awarded a prize for his essay on the invention--,makes researches in ,haarlem archives--,corroborates some details in preceding stories--,for many years ,coster given equal honor with ,gutenberg--,investigations by ,dr4 ,anton ,van der ,linde--,forgeries and misrepresentations revealed--,haarlem practically surrenders its claim and alters its school books--,records of ,louwerijs ,janszoon and ,laurens ,janszoon ,coster--,van der ,linde goes to ,germany1 alters his name and writes a book--,hessels translates the book into ,english1 and afterward becomes a ,haarlem advocate--,coster proofs are weak--,haarlem claimants unable to agree as to ,coster's identity--,gutenberg a tangible human being1 and probable inventor of the art--,parentage of ,gutenberg--,the family removes from ,mainz presumably to ,strassburg--,was the new art practiced at ,strassburg8--,records of a lawsuit--,gutenberg agreed to teach ,andrew ,dritzehen certain trade secrets--,fust lends money to ,gutenberg and takes a mortgage on his printing office--,fust seizes all types1 presses and books--,records of this suit evidence of ,gutenberg's invention--,the famous ,forty-two ,line ,bible--,gutenberg again establishes himself as a printer--,an appointment from the ,bishop of ,mainz--,dies about #adfh--;,h4 ,noel ,humphrey's tribute--,peter ,schffer--,copies books at the ,university of ,paris--,becomes ,gutenberg's assistant--,assumes charge after his master's death--,marries ,fust's daughter--,the new firm publishes a ,psalter--,first book with a printed date--,features of the book4 ,,the ,,spread ,,of ,,typography ,page #ac ,the city of ,mainz--,a conflict between two archbishops--,the city is set afire--,fust and ,schffer's printing office burned--,the workmen flee to various parts of ,europe--,a table of the spread of typography from ,mainz-- ,in ,germany--,john ,mentel at ,strassburg--,albrecht ,pfister at ,bamberg--,ulrich ,zell at ,cologne never printed a book in the ,german language--,arnold ,ter ,hoorne first to use ,arabic numerals--,gunther ,zainer at ,augsburg first in ,germany to print with ,roman characters--,heinrich ,keffer at ,nuremberg--,john ,sensenschmidt at ,nuremberg and ,bamberg--,the ,bamberg ,missal--,anthony ,koburger at ,nuremberg had twenty-four presses in operation--,in ,italy-- ,first type printing done in the monastery at ,subiaco--,conrad ,schweinheim and ,arnold ,pannartz brought from ,germany--,ulrich ,hahn first printer in city of ,rome proper--,john de ,spira first typographer at ,venice and had exclusive right--,nicholas ,jenson comes to ,venice and uses a new ,roman type-face--,story of his introduction to the art--,the first page of displayed type composition--,j1 ,u and ,w not in books printed by ,jenson--,his office passes to ,aldus ,manutius--,italic introduced--,aldus reduces the size of books and suggests the printing of a polyglot ,bible--,works of ,peter ,paul ,porrus and ,augustin ,justinian--,aldus assisted by scholar-refugees from ,constantinople--,his complete name--,venetian printing offices and their product--,bernardo ,cennini at ,florence--,johann ,numeister at ,foligno-- ,in ,switzerland--,bertold ,ruppel at ,basel--,this city gave ,france its first typographers--,john ,froben at ,basel--,erasmus has him print his books--,in ,france--,ulrich ,gering1 ,martin ,crantz and ,michel ,friburger at ,paris--,gering becomes rich--,sectional wood border on book printed by ,philip ,pigouchet for ,simon ,vostre--,henry ,estienne at ,paris--,first of illustrious family of typographers--,robert ,estienne best known and most scholarly--,flees to ,geneva1 ,switzerland1 for safety--,dies there after a labor of love--,in the ,netherlands--,a press erected at ,utrecht--,colard ,mansion and ,william ,caxton at ,bruges produce the first book printed in ,english--,van der ,goes at ,antwerp--,christopher ,plantin at ,antwerp gave renown to that city--,his printing office now a museum--,a polyglot ,bible his greatest work--,louis ,elzevir1 founder of a family of learned printers1 at ,leyden--,the second ,louis ,elzevir at ,amsterdam--,johannes ,andriesson at ,haarlem--,in ,england-- ,william ,caxton the first to set type in that country--,apprenticed to a merchant and goes to ,bruges--,becomes ,governor--,enters the service of the ,duchess of ,burgundy--,translates a 8,historie of ,troye0 and learns how to print it--,returns to ,england and sets up a press at ,westminster ,abbey-- ,peculiarities of ,caxton's work--,wynken de ,worde succeeds to ,caxton's business--,introduced the ,roman letter into ,england--,richard ,pynson at ,london--,richard ,grafton as a printer of ,english ,bibles translated by ,william ,tyndale and ,miles ,coverdale--,tyndale suffers death--,grafton imprisoned for printing the 8,great ,bible0--,edward ,whitechurch his partner--,john ,daye also imprisoned--,fox's 8,acts and ,monuments0--,in ,scotland--,androw ,myllar and ,walter ,chepman at ,edinburgh--,in ,ireland-- ,humphrey ,powell at ,dublin--,in ,north ,america--,john ,cromberger at ,mexico ,city--,in the ,united ,states--,stephen ,daye at ,cambridge1 ,mass4 ,,typography ,,in ,,colonial ,,days ,page #ai ,martyrs in typographic history--,ecclesiastical and political conditions in ,europe from the sixteenth to eighteenth centuries--,a book of treaties on the intended marriage of ,queen ,elizabeth--,oliver ,cromwell encourages printing and literature--,first edition of ,milton's 8,paradise ,lost0--,thomas ,roycroft prints ,brian ,walton's ,polyglot ,bible--,the first book published in ,england by subscription--,paper for the work allowed to come in duty free--,cardinal ,mazarin discovers a copy of ,gutenberg's ,forty-two ,line ,bible--,chap-books and something about them--,poor representatives of the art of typography--,woodcuts and type battered and worn--,peddled by chapmen--,dicey books--,broadsides--,puritans land at ,charlestown and begin to settle ,cambridge and ,boston--,rev4 ,jesse ,glover solicits money for press and types--,contracts with ,stephen ,daye to come to new country--,rev4 ,glover dies--,daye reaches ,cambridge with outfit--,begins printing in #afci--,the first work--,the first book--,poorly printed--,president ,dunster of ,harvard ,college appoints ,samuel ,green to succeed ,daye--,another press and types added--,an inventory--,the printing office discontinued--,printing in the colonies of ,massachusetts and ,virginia--,pennsylvania second ,english colony to have typography--,william ,bradford prints an almanac--,bradford arrested in ,philadelphia for printing an address--,type pages as evidence-- 8,pied0 by a juryman--,bradford goes to ,new ,york--,first printshop there-- ,official printer--,publishes the first ,new ,york newspaper--,benjamin ,franklin--,indentured to his brother ,james--,the ,new ,england 8,courant0--,james is imprisoned--,benjamin becomes the publisher--,the brothers disagree-- ,benjamin ships to ,new ,york--,meets ,william ,bradford and goes to ,philadelphia--,secures employment with ,samuel ,keimer--,leaves for ,england to buy printing equipment--,goes to work in ,london--,returns to ,philadelphia and starts a printing office--,one of the first jobs--,publishes 8,poor ,richard's ,almanack0--,proverbs widely quoted--,sells his shop to ,david ,hall-- ,quaintness of ,colonial typography--,comments on reproductions--,page from a ,caslon specimen book of #agfd--,the work of ,bodoni4 ,,typography ,,in ,,the ,,nineteenth ,,century ,page #bg ,william ,morris's declaration--,the first printed book a testimony to genius--,the first cylinder press and first linotype were crudely constructed--,typography at its highest point--,italian and ,german styles contrasted--,these styles blended into the ,colonial--,franklin as a typographer compared to ,aldus and ,plantin--,beginning of the nineteenth century--,utility and art--,william ,nicholson plans a cylinder press--,dr4 ,kinsley constructs a model--,a new roman type-face designed--,ornaments and borders discarded--,style of typography becoming uninteresting--,transition illustrated by four title-pages--,charles ,whittingham and ,william ,pickering--,artistic qualities introduced--,punches of ,caslon ,oldstyle recovered--,a page in ,colonial style--,punctuation marks omitted--,fifty years ahead of their time--,job printing of modern development--,newspaper1 book and job work--,typography should be based upon art foundations--,a ,book of ,common ,prayer--,title-pages without ornamentation--,job printers take to fancy typography--,imitations of copperplate engravers' work--,a business card and a bill of fare--,changing styles applied to commercial headings-- ,mac,kellar1 ,smiths ,jordan--,a card with apologies--,a longing for pictures1 color and decoration--,brass rule and tint blocks--,remarkable skill exhibited--,the 8,modern ,renaissance0--,machinery led typography away from art--,printers thought they were doing artistic work--,inspiration wrongly interpreted--,forming of a curious chain of events--,the ,kelmscott ,press-- ,william ,morris1 artist1 poet1 designer and craftsman--,franklin and the ,franklin stove--,morris and the ,morris chair--,the influence of ,morris on house furnishing and typography--,his home--,learned to print and to make paper--,designs type-faces--8,golden0--8,troy0--,draws decorative initials and borders--,additional designs by ,burne-,jones--,morris criticised-- ,revolutionizes typography--,aubrey ,beardsley--,will ,bradley--,a country printer--,studies art in ,chicago--,the 8,wayside ,press0--8,bradley3 ,his ,book0-- ,inspired by both past and present--,a new typography--,combines with the ,university ,press--,becomes an interesting subject for discussion--,an opinion by ,george ,french--,attempts another new style of typography-- ,profuse ornamentation--,works rapidly--,bradley and his clients--,his personality--,influence upon the ,american style of typography--,other influences-,theodore ,l4 ,de ,vinne--,has a college degree--,apprentice in a country printshop--,job compositor with ,francis ,hart--,takes charge of the business--,a writer on printing subjects--,exponent of the conservative and dignified in typography--,should be no conflict between the styles of ,morris1 ,de ,vinne and ,bradley--,for different purposes--,the compositor must decide--,de ,vinne a leader in perfecting modern methods--,designs a type-face--,persuades printers to group wording--,charles ,t4 ,jacobi--,has done much for typography in ,england--,responsibilities of the modern typographer--,underrating the value of history--,all knowledge is valuable4 ,the chapters following are devoted to the consideration of typography as practiced in the twentieth century4 ,,part ,,two ,,the 8,,layout0 ,,man ,page #ce ,typography in the twentieth century--,compared with the past--,perfection not attainable--,the spirit of the master craftsman--,inspired work--,the necessity of careful preparation--,every printshop should have a layout man--,when a building is erected--,quality printing is not accidental--,shop style--,layout men in large and small shops--,please the customer--,typography essentially a business vocation--,orders obtained thru 8dummies0 submitted--,selecting a layout man--,type equipment should be appropriate and sufficient--,a working outfit for the layout man--,portfolio of sample sheets--,laying out a small booklet--,paper1 margins1 type page and size of type--,words to a square inch--,arrangement of title-page--,specimen pages in available body type--,use of crayon and pencil--,dummy submitted to customer--,duplicating it in the workrooms--,dummy sheets for periodicals and large catalogs--,incorporating illustrations in the text matter-- ,marking copy for machine composition--,the average stationery job--,a patchwork of typographic styles--,different results if handled by a layout man--,studying color harmony--,determining color combinations--,the colder color should predominate--,indicating the finished result--,proofs in the colors and on the stock to be used--,blending paper stock--,laying out advertisements4 ,,harmony ,,and ,,appropriateness ,page #da 8,leit-motif0--,the central idea in composition--,harmony and appropriateness--,undervaluing their importance--,what is appropriate8-- ,discriminating judgment required--,discreet selection of type1 ink and paper--,it makes a difference--,as to type-faces--,as to inks--,as to papers-- ,simplicity synonymous with good typography--,the ideal printshop-- ,harmonious type-faces1 ink colors and paper stock--,certain amount of contrast desirable--,all capitals or all lower-case--,harmony of type-faces and borders illustrated--,typographic sins--,in typography there should be a motive--8,is it appropriate80--,an architectural motive--,in which strength is the motive--,design suggested by an old lock-plate--,typographic motive found in woodcut borders and initials of early printers--,a millinery booklet cover--,a page severely plain and non-sentimental--,a program for a church service appropriate to the environment--,a page in keeping with a festive spirit--,typographers should give support to artists--,the ,colonial arch and a title-page--,the better the typographer1 the more restraint will he exercise4 ,,tone ,,and ,,contrast ,page #dg ,a story of white and black--,a combination popular with writers1 printers and readers--,uniformity of tone or depth of color--,a mixture of irregular gray and black tones inexcusable--,art principles too often ignored-- ,contrast necessary1 but uniformity should not be sacrificed--,art makes concession to utility--,a right way and a wrong way--,unjust blaming of the customer--,a ,german example of uniform tone--,practical demonstration of uniform tone--,four ornaments1 upon which four pages are constructed-- ,contrast1 from the viewpoints of art and utility--,lessening the contrast between print and paper--,a compromise--,impressing the print firmly on antique paper--,setting the print daintily upon glossy paper--,lack of artistic feeling responsible for unpleasant contrasts--,great contrast is eccentricity--,mark ,twain and contrasts--,cover-page should be darker than title-page--,the tone of a massed page--,controlled by spacing--,duplicating the tone of a pen-and-ink illustration--,a spotted black tone--,equalizing the tone by using lighter ink--,spaced capitals and open-line illustration--,a classic interpretation of uniform tone--,characteristics and tone superbly blended--,initial and headpiece should approach the tone of the type page--,uniform tone between display line and border--,catalog illustrations should stand out in relief--,outline type-faces to obtain gray tone on newspaper page--,letterspacing--,all lines should be similarly spaced--,an unusual heading4 ,,portion1 ,,balance ,,and ,,spacing ,page #ec ,symmetry is necessary to beauty--,what has art to do with printing8--,two views--,the book printer and the job printer--,pleasing the few or being all things to all men--,printing as a business and as an art--,art is essential to printing--,study of art arouses ambition--,unfolds a new world-- ,proportion--,book pages--,the width and length of a page--,position of the page--,margins--,the job printer and proportion--,relation of shape of type-face to page--,condensed types for narrow pages--,extended types for wide pages--,architecture as an example--,vertical and horizontal lines--,the relation of lines to proportion--,a page with ornament1 type-face and page design in proportion--,irregularity and when it may be introduced--,a type line large or small by contrast--,the happy medium--,balance1 an important subject--,type lines horizontally centered--,safety from blunders-- ,out-of-the-center balance--,the point of vertical balance above center-- ,testing balance to the limit--,diagonal arrangements show lack of imagination--,spacing--,its proper apportionment--,an important feature when letters are designed--,the capital ,l--,emphasis by means of spacing--,the effect of separate lines--,should be an even page tone--,distributing display lines over the entire page--,grouping them at the point of balance--,spaced words in narrow measures--,a good sign when one recognizes imperfections4 ,,ornamentation ,page #ei ,the human race has a liking for ornamentation--,natural and artificial beauty--,nature furnishes motives for man's work--,the average man giving thought to art--,beautiful things all about--,privileges of museums and art galleries available to printers--,take less thought of food and raiment and these things shall be added--,is ornamentation necessary to art typography8--,paper as embellishment--,covering poor stock with decoration-- ,ornaments under lock and key--,revising ideas of art--,abstinence--,using ornaments with discrimination--,study of significance and appropriateness-- ,motive or reason in ornamentation--,italian and ,german influences--,harmony because of sympathy between arts and crafts--,inharmonious ideas of several persons--,relation of typography to architecture shown in alphabets--,roman and ,gothic--,ornamentation both inventive and imitative-- ,conventionalized ornament--,with or without perspective--,things which have inspired the decorator--,artists' work full of meaning--,leaves1 mythical beings1 sacred animals--,architectural designs on title-pages--,egg-and-dart and bead ornaments--,results of observation--,designs thousands of years old--,typographic borders--,triple division of taste--,the severely plain1 ,doric--,the slightly ornamental1 ,ionic--,the elaborately ornamental1 ,corinthian--,sturdiness and grace--,difference in ideals and preferences-- ,some delight in magnificence1 others in plainness--,the three divisions of taste applied to typography--,the style of architecture and home furnishings influence typography--,the 8mission0 style and straight lines-- ,the frivolous rococo style and curved lines--,rococo type ornamentation not successful--,a style to please those who like neither the severely plain nor the elaborately ornamental--,ornament secondary--,should not distract attention--,excess of embellishment--,chippendale first made furniture serviceable1 then added ornament--,regularity and variety in repetition--,four classes of ornament--,based upon geometrical lines1 upon foliage1 upon the inanimate1 and upon the animate--,initials as means of ornamentation--,corner ornaments--,decoration with a motive--,reversing half of a design--,a page with but a single ornament--,present-day preferences are for ,gothic rather than for ,italian type ornaments--,the reason-- ,ornamentation4 ,,the ,,typography ,,of ,,books ,page #fg ,good taste important in production of books--,judgment perfect in one respect and erratic in others--,good taste and conservatism--,catering to fashion leaves unsalable stock--,conservatives are few--,printed things that please for the moment--,art reasons in book typography applicable to job typography--,the job compositor drawing closer to his book brother--,the book typographer governed by precedent--,the conservative man constructive--,the radical destructive--,masterpieces discarded for frivolous things--,morris set out to change book typography--,he offered the good things of the old masters--,age not proof of merit--,good typography always good--,book industry in ,america tremendous--,carnegie at first ridiculed1 now acknowledged a benefactor--,the need of good books well printed--,majority of books poorly printed--,rarely do reading pages1 title-page and cover harmonize--,cover only part given artistic attention-- ,should be honestly what it seems--,a book model in its way--,not a line in capitals--,only two sizes of type on title-page--,chapter headings cling to type page--,margins--,surface covered--,proportion--,bruce ,rogers--,designs books for the ,riverside ,press--,regard for the appropriate--,the literary motive the cue--,suggesting a product of the middle nineteenth century--,two pages with faults--,inharmonious typography--,the cost of an appropriate title-page ridiculously small--,provide display faces to match machine letters--,artist and typographer and the literary motive--,composite ,colonial and modern--,unfinished effect--,books that lend themselves to decoration--,serious books--,typographic results exceptionally good--,general use of border--,title page an excellent example--,reading matter close to border--,one margin--,style of the modern novel--,modern book composition set on the linotype--,an unconventional page--,page from a book written and illustrated by ,will ,bradley--,harmony between type-face and decoration-- ,effectiveness of a plain initial--,title-page of classic design--,dignified beauty--,classic feeling in a modern title-page--,a serious effort by the ,roycrofters--,page from a book by ,de ,vinne--,an ecclesiastical book by ,updike--,improving typography in ,america--,a book with a ,french motive-- ,avoiding commonplace types--,fonts from old matrices--,specially designed faces--,arrangement of a book--,fly leaf1 sub-title1 title-page1 copyright notice1 imprint1 table of contents and illustrations1 preface1 frontispiece1 dedication1 index--,numbering the pages--,the space under running titles--,lowering of the chapter headings--,the space around initials--,position of a book page--,em-quad or en-quad between sentences8 ,,booklets1 ,,pamphlets1 ,,brochures1 ,,leaflets ,page #ge ,misuse of the word 8booklet0--,definitions of booklet1 pamphlet1 brochure1 leaflet--,chap-books--,the booklet's mission educational--,users--,ideas of writer and artist should be blended--,harmonious and complete--,printers have many artists to select from--,the connecting link between job typography and book typography--,blending the typography with a lettered title-page--,pure typographical effects--,approved faces--,three series only--,a page one likes to read--,reluctance to explore the past--,understanding of typography--,type alone can be effective--,good typography to be preferred to poor art work--,distinctive features--,space between sentences--,dignity in lettering and decoration--,title labels--,a small amount of reading matter-- ,placing an illustration that is out of proportion--,care in the details of typesetting--,results of careless typography--,buyers slaves to conventionality--,newness and bright coloring that gets attention-- ,lower-case letters for capitals--,interesting decorative headings--,the initial furnishes a spot of black--,no decoration of any kind--,depending on type-faces and paper for results--,swash italic capitals and letterspaced capitals--,chapter heading not sunk--,suggestions from lettered designs--,a standard type for old-style effects--,lettering in ,caslon style on blue-prints--,a memorial volume--,strict typographic harmony--,suggesting such volumes-,japanese paper printed on one side--,simple typography--,living in an artistic atmosphere--,printing journals--,specimen booklets for study purposes--,printers depend too much on artists--,possibilities of type arrangement never exhausted--,working together4 ,,catalogs ,page #hc ,three branches of architectural virtue applied to the catalog--,act well1 speak well1 look well--,the days when the catalog was a heterogeneous collection of woodcuts and type-faces--,now care and taste shown--,the catalog a portable show case--,proper display of goods makes selling easier--,playing up the ordinary--,a block of marble1 rough and carved-- ,standardizing the dimensions of catalogs--,engineers recommend standard sizes--,other suggestions--,overlapping covers--,titles on exposed backs--,date-- ,index card inclosed--,copy should be legible--,a dummy should be passed on-- ,decoration supplemental--,expressing personality--,the penalty of being an average typographer--,the envy of master printers of old--,horizontal position of illustration--,brass rule well used--,a design full of character--,description facing illustration--,small amount of reading matter--,red borders--,variety and interest by simple means--,cover-page built on an illustration--,modern ,german typographic ideas--,bold type desirable when color is to be shown--,an art museum catalog--,securing value from background--,technical details kept orderly--,a book-catalog page--,rule border adds decorative quality--,typography seldom receives the attention it deserves--,an uncommon catalog page--,tabular treatment for a high-class wine list--,the stone rejected by the builder--,a dainty ,german page--,a legible ornamental letter--,absence of roman lower-case--,appropriate woodcut--,marginal distribution--,realistic pictures--,gloves well shown--,usual method of selling--,tabular matter4 ,,programs ,page #ia 8,let all things be done decently and in order0--,four classes of programs-- ,programs of sacred services--,offer opportunity for artistic treatment-- ,significance an important element--,the key to ecclesiastical printing-- ,rubrics--,a modern interpretation of the historic--,pointed ,gothic type-face--,uncial rubricated initials--,red lines--,a significant device-- ,prejudices among clergymen--,a churchly aspect by rubrication--,arranging numerous small titles--,economizing space--,an almost perfect specimen of church program printing--,a specialist on church typography--,program of lenten services--,a small program1 with a page for each event--,arranging a program with little matter--,the dance program--,should be dainty--,stock folders--,must 8look like a dance program0--,a typographic dance card-- ,centered dots in place of periods--,uniform border treatment on an outing program--,an unconventional dance program--,banquet programs and varied treatments possible--,value of the decorative border--,arrangement of type matter--,a background in olive--,the menu program in small booklet form--,menu dishes in the form of checks--8,hash0 and 8,rehash0--,a bit of fun--,a classic menu-page--,a style appropriately humorous--,eating in a foreign language-- ,side hits--,artistic treatment simulating woodcut decoration--,a simply constructed menu page--,unique arrangement--,titles at the left--,symmetrical arrangement--,programs for entertainments and exercises--,the commonplace program a disappointment--,artistic programs--,a refined page by ,updike-- ,features of interest in a page by ,rogers--,admirable treatment of a brief program--,appropriate decoration overprinted by type--,a page dominated by the ,gothic style--,list of characters unusually displayed--,a neat page in ,caslon type--,the program containing small advertisements--,theater programs exert influence on public taste4 ,,announcements ,page #ii ,publicity essential to success--,announcements the modern representative of the public crier--,not confined to any size or shape--,often consists of only one page--,the most personal of printed mediums of publicity--,the printer depended on for suggestions and advice--,confidence of the customer an asset--,imitation engraved announcement the most common--,allows of no original or decorative treatment--,the cobbler and tinker-- ,satisfaction from work well done--,the uncommon typographer not governed by usual warnings--,an announcement folder of a quality seldom attained-- ,points of interest in a ,caslon page--,black text letter and a generous size of sheet--,sturdy masculine lettering--,the human quality of imperfection--,a cartoonist's task--,broad strokes make a liberal showing of color possible--,classic dignity--,ornaments as eye-attractors--,a postal-card announcement--,one-tenth manual labor and nine-tenths brain exercise-- ,mistake to make type-face very large or very small--,obtaining variety and emphasis by use of italic and small capitals--,spacing of lower-case--,one size of type only--,division into two type groups--,a study in tone values-- ,harmony of type-face and decoration--,a brief announcement--,colonial effects--,appropriate typography based on an early newspaper--,lack of margins and absence of print--,heavy- and light-faced rule--,greater legibility when lines are separated--,a misplaced initial--,a blotter announcement--,printers' own announcements4 ,,tickets ,page #ajg ,good results by accident--,a good job of printing should be an everyday occurrence--,lack of interest reason for non-development--,any man not interested in his vocation to be pitied--,thought concentrated on typography--,efficiency a guarantee--,accept responsibilities--,the first observations of a student--8,none perfect1 no not one0--,tickets afford practice of art printing--,many themes and styles in typography-- ,resourcefulness a valuable characteristic--,ticket forms especially designed--,one based upon a classic motive--,an idea from ancient ,rome-- ,capitals slightly spaced--,the historic ,gothic or church style--,contrast by the use of color--,a modern conception with a masculine motive--,the margins of two styles--,an odd and striking effect--,modern treatment based upon the ,colonial--,a bookish effect--,an idea for a lecture course--,white or colored stock8--,a ticket of peculiar interest to women--,the geometric or secession style--,enthusiasm over new styles--,building a house in the sands-- ,square-faced type and square ornaments--,an adaptation of the missal style--,inspiration from ,william ,morris and ,italian printers--,for educational and art functions--,a motive from the art workers of the ,middle ,ages--,a modern application of classic type effects--,a purely ,colonial effect--,dainty1 refined treatment and symbolic decoration-- ,typography that is distinctly masculine--,orange is lighter than black in tone--,an arrangement dictated by an ornament--,a ticket not easily duplicated--,color background--,corner decoration in keeping with the subject--,a motive from early ,french books--,typographers should go thru the world with eyes open4 ,,letterheads ,,and ,,envelops ,page #aaa ,standard sizes--,single leaves and the folded note sheet--,official envelops--,folding the sheets--,printing on fourth page--,society stationery-- ,ruled sheets seldom called for--,paper and typographical treatment of letterhead and envelops should have relation--,style of professional stationery seldom changes--,simple1 neat1 refined typography--,color seldom well used--,styles furnished by lithographers and steel-die printers--,work along standardized lines--,a letterhead one form of advertising--,two tones of type-face for much copy--,elaborate treatment seldom advisable--,all matter in one group--,blank space a factor--,brief copy--,use of a decorative device--,a harmonizing border--,a meeting announcement--,suggesting an architectural panel--,appropriate to the business--,all lines of same length--,for a general store--,resetting of a 8brick0 letterhead--,too literal--,injection of individuality--,something different--,attractive club stationery--,typographic neatness--,a copperplate letterhead--,two distinct groups--,italic on a heading--,inclosing type matter in a panel--,a line border finishing off the edges of a letter sheet--,a spot of decorative color--,the cross-line panel--,german treatment--,notehead by a book typographer--,humor--,envelops a convenience--,its purpose and use--,advertising possibilities--8,after five days return to0--,medieval character--,bringing out the business--,an envelop corner that is artistic--,elaborate treatment4 ,,billheads ,,and ,,statements ,page #aai ,suitable and dignified type composition--,should correspond in style to that of letterhead--,standard sizes--,allowance for head portion--,window envelops--,change in arrangement--,billheads of a quarter of a century ago-- ,features of the average billhead or invoice--,composition of a billhead-- ,transforming a letterhead into a billhead--,classic typography--,typographic art and good taste on a billhead--,stationery of a book dealer--,printing on colored stock--,lower part divided into columns--,a decorator's stationery-- ,business stated in firm name--,credit bills--,use of the statement--,other forms used in business4 ,,package ,,labels ,page #abc ,effectiveness of an attractive package label--,good clothes and the package--,selection of wrapping stock--,appreciation of neat wrapping-- ,druggists excel--,the art of making a good impression--,twine1 gummed-paper tape1 corrugated board--,the printed label as a spot of attraction--,the wrapping paper as a background--,two labels of contrasting treatment-- ,stronger label striking--,labels not usually seen at close range--,no standard size--,stock that pastes easily--,hand lettered labels as studies-- ,italic with a decorative quality--,a label design with no border-- ,suggestion of ,italian art--,closely-spaced black-toned lettering--,artistic quality and interest by means of typography--,a study in black and white-- ,the ,aldine combination--,border1 decorative device and lettering in the same key--,a label design that could be improved--,a ,goudy type arrangement-- ,label with address printed in--,stock labels should be studied4 ,,business ,,cards ,page #abg ,courtesies of business--,the business card as an introduction--,sizes of cards--,white cards predominate--,an attempt at standardization in arrangement--,a model of dignity--,featuring the individual's name--,contrast in tone--,a specimen of hand lettering--,a design of strength and interest-- ,an attractive black monogram--,decorative device in color--,an interesting contrast--,high-hat and frock-coat treatment in ,french style--,arrangement in blocked ,caslon capitals--,decorative device in tint--,roman capitals with italic--,a representative ,german card--,the word 8decorators0 furnishes the cue--,italic for dainty effects--,a strong1 simple arrangement--,classic arrangement in one size of type--,much information on a card--,decorative treatment that could be merged with the stock--,horizontal rule lines--,a card in ,bodoni--,more than one right way--,styles available for all likes and dislikes--,character and personality expressed typographically--,more individuality now permissible--,copperplate engravers set the style for much business-card printing--,how to obtain results4 ,,the ,,blotter ,page #aca ,business cards and blotters--,less restraint and dignity--,coarseness should be avoided--,no longer an experiment--,advertising values--,the size--,enameled surfaces--,a model typographic blotter with calendar--,treatment should be simple--,one design of type-face--,blank space liberally distributed--,natural freedom--,most blotters contain too much type matter--,relief from sledge-hammer advertising--,blotter for personal checkbook--,good taste--,for a convention--,pleasing factors--,strong contrasts--,reading the message as the signature is blotted--,masculine treatment--,the character of an architectural panel--,pleasure in using--,material that is used and material that is not used--,a model of good taste in blotter typography--,the test of time--,a neat1 refined arrangement--,the use of large type--,the narrow way-- ,gray features--,a touch of appropriateness--,other features4 ,,posters1 ,,car ,,cards1 ,,window ,,cards ,page #ace ,poster printing a specialty in large cities--,type equipment well selected1 but not elaborate--,blend of type-faces--,standard job faces duplicated--,sizes of posters1 car cards and window cards--,color and lettering--,what the poster should be--,viewed at closer range--,typographic effects in poster printing--,a poster that measures up--,a study of composition--,contrast of color--,card in conversational style--,using types in a sane1 simple manner--,strong simplicity--,refinement in theatrical printing--,a strong poster in gothic and 8secession0 border--,making the typography appropriate-,shakespearean typography--,decoration reproduced from original sources--,usefulness of a library of books--,a hanger in one size of type--,the ,colonial style of type arrangement--,why cardboard is used--,suggested arrangement for excursion card--,printers and poster printing--,the best sale-bill compositor in the country--,work should be done profitably--,poster printing on a large scale4 ,,advertisements ,page #aci ,advertisements1 business men and printers--,blame for ineffectiveness-- ,treating the advertisement typographically--,study of good type work1 advice and judgment--,oratory--,a good speaker and a good typographic advertisement--,print too small or too large--,bluntness and forcefulness-- ,decorative attractiveness--,emphasizing significant parts--,the difference between setting type with a stick and setting it with the head--,assuming a new formation--,a multiplication of small advertisements--,easily read1 conversational style of advertisements--,not much to say--,popularizing zinc--,a well-treated signature--,one of many clever advertisements--,a peculiar department-store advertisement--,problems of the country newspaper--,typography influenced by the article advertised--,text types in advertisements--,harmonious suggestion--,a long list of cities and agents-- ,selling costly automobiles--,suggesting ,roman architecture--,text group in upper right corner--,little display--,blank space well used--,interesting country-newspaper advertisement--,classified advertisements well displayed4 ,,newspapers ,page #adg ,neutral gray--,building suitable and harmonious typographic form--,problem simpler in early days--,the ideal newspaper--,the title--,distinctive in design--,text letters--,using the ends of titles--,slogans and quotations--,date lines--,the text--,small type--,narrow columns--,lengthy excerpts indented--,the headings--,first newspaper a letter and not set off by headings--,side headings--,wars developed display--,advertising the contents--,condensed type necessary--,harmonious type lines--,italic to overcome monotony--,paneled headings--,a four-deck single-column heading--,the make-up--,a good-looking newspaper--,alternating large and small headings--,no advertisements on front page--,position of article of most importance--,paneled news-- ,editorials--,usual position--,the sporting page--,building advertisements from the lower right corner of the page4 ,,periodicals ,page #aea ,making publications attractive--,letterer and decorator--,circus poster type--,the poor always with you--,many periodicals good to look at and easy to read--,the dimensions--,nine by twelve inches a favorite with technical publications--,three groups for magazines--,growing larger--,pocket magazines-- ,the front cover--,paintings--,decorative designs--,paid advertisements on the front cover--,appropriate views in halftone--,columns--,number decided by size of type--,wide columns strain the eyes--,gutenberg used two columns--,small type in very wide measures--,the margins--,proportions as in good books--,good margins spoiled in bindings--,type-faces for the text--,chosen for legibility in small sizes--,separation with one-point leads because of lack of descenders--,difference in type-faces printed on coated and antique-finished paper--,lines need to be separated by leads--,should be well-formed as well as readable--,thin lines should be cut a trifle stronger--,type-faces for the headings--,same design as type for text matter--,desirable1 but not always possible--,an instance--,large1 black headings should be avoided--,slightly decorative panels--,editorial headings and titles--,make-up of the illustrations--,a background of gray--,well balanced--,text matter between illustrations--,same style on facing pages-- ,arrangement of headings--,they sell the contents--,a well-advertised story-- ,the captions--,centered under illustrations--,in two parts--,lines of same length--,the editorial pages--,no standard style--,unlike other reading pages-- ,features--,verse in italic--,restraint necessary--,the advertisements--,bold types overshadow text pages--,good taste--,not to be mingled with text matter--,treatment need not be timid or blustering--,when advertisers are best served4 ,,house-,,organs ,page #afa ,little brother of the periodical and newspaper--,smallest and largest dimensions--,favorite sizes--,self-covers and covers that are separate--,not many pages--,published regularly-,titles--,number of columns--,margins-- ,type-faces--,headings--,house advertising--,illustrations1 descriptions and prices--,mistake to use dark types with illustrations--,ideal typographic treatment--,useful and informative--,light matter to maintain interest-- ,features--,borders and initials--,almanacs--,house-organs on blotter stock--,in newspaper style--,a western printer's expression--,specimens of actual work-- ,too much copy--,loose inclosures should not prove a nuisance--,return post cards--,postal regulations4 ,,type-,,faces ,page #afi ,type-faces not easily remembered--,naming and numbering--,six representative standard ,roman type-faces--,legible and good-looking and possessing character--,caslon ,oldstyle--,scotch ,roman--,cheltenham ,oldstyle--,cloister ,oldstyle--,bodoni ,book--,french ,oldstyle--,private type-faces not considered-- ,permanency and investment--,cloister ,oldstyle based on ,jenson's ,roman letter--,not the first ,roman type--,caslon ,oldstyle--,a historic ,american type-face--,approved by good printers as the best and most useful ,roman face available--,difficulties in machine composition--,not an entirely new ,roman letter--,story of its designing--,ill-treated by modern founders--,the revival--,bodoni ,book--,refined and legible--,its history--,modern ideas of improvement--,scotch ,roman--,the link connecting the graceful old-style and the severe modern ,roman--,french ,oldstyle--,capitals especially pleasing-- ,cadmus1 the ,mayeur letter--,cheltenham ,oldstyle--,designed in ,america and developed into a numerous family--,the space above the line emphasized by long ascenders--,used for narrow booklets--,capitals awkwardly large-- ,development of the ,roman type-face--,in the beginning ,roman letters were in capitals only--,lower-case letters in formation--,black ,letter and ,white ,letter--,jenson fortunate in the selection of a model--,comparisons--,a change in form--,moxon's drawings of the alphabet--,made into type--,baskerville's types rival ,caslon's in beauty--,bodoni threw typography out of gear--,his types not so dressed up and finished as at the present time--,modernized ,oldstyle--,characteristics of ,roman type-faces--,the serifs--,has a decorative quality--,oldstyles and ,moderns distinguished by serifs--,thick and thin strokes--,makes lettering interesting--,their distribution--,characteristics of pen-made letters--,ascenders and descenders--,beauty in the strokes--,false logic--,proportion of letters--,old ,roman capitals as models--,uniformity in width revealed in typewriter type--,legibility of type-faces--,type matter should be easy to read--,tests for legibility--,printing on a hard-finished paper and a soft-finished paper--,decided contrasts tire the eye-- ,lower-case more legible than capitals--,space between lines necessary-- ,space between words--,advantage of close spacing--,possible in machine composition--,words more easily read than letters--,group of words almost as easily read as one word--,length of line--,recommendations--,size and kind of type should be considered--,measuring one and a half alphabet--,technical and optical reasons--,testing newspaper types--,approved type sizes and leading--,dr4 ,cohn's measurements--,italic types--,the mate of ,roman types--,was first cut by ,francia for ,aldus--,not merely an inclined ,roman--,moxon's ,italic letters1 including ,swash capitals--,text faces--,fashioned after ,black ,letter writing--,other names--,block types--,an unfinished ,roman letter-- ,poster rendering in black tones--,bold types--,many could be dispensed with-- ,ornamental types--,types for special purposes--,the influence of ,frederic ,w4 ,goudy on typography4 ,,imprints ,page #aie ,the printer should regularly use his name and device--,neglect and fear of customer's condemnation--,should mark his product as other craftsmen and manufacturers do--,a guarantee of quality--,how the innovation could be introduced--,a precaution--,imprint should be unassuming and inconspicuously placed--,various uses--,first use of a printers' decorative device-- ,historical uses of distinguishing marks--,emblems of hospitality--,the sign of the ,cross--,printers should select a device and attempt to live up to it--,the ,gutenberg ,bible contained neither device nor printed name--,fust and ,schffer's ,psalter first book with imprint--,the colophon-,a decorative device--,its significance--,imitated--,as used by a descendant--,the classic ,aldus device--,pickering uses it--,others adopt it--,bruce ,rogers's interpretation--,the imprint-device of the ,venetian ,society of ,printers-- ,its significance--,emblem of authority--,the most popular of old imprints-- ,hubbard adopts it--,used on biscuit packages--,other adaptations--,caxton's imprint device--,resembles a rug--,characters cause discussion--,a trade device used by the merchants of ,bruges--,a merchant's memorial plate--,de ,worde adapts the device--,morris's device resembles ,de ,worde's--,the device of the ,german master printers--,typothet--,a modern adaptation--,the ,british printer and the pun--,daye and ,myllar--,froben's imprint--,devices of ,bebel1 ,plantin1 the ,elzevirs1 ,tory1 ,dolet and ,estienne--,devices very large in the old days--,ancient motives in two modern devices--,the winged ,lion of ,st4 ,mark--,recent adaptations--,story of the device--,a colophon-imprint-- ,designs with ancient motives--,the unique mark of the ,de ,vinne ,press-- ,imprint-devices based upon architectural motives--,initials in monogram form--,representative devices used by commercial printers--,decorative imprints with typefounders' material--,harmony of type1 rule and ornament-- ,small type imprints--,where should an imprint be placed--,on books--,on small commercial work--,a legitimate opportunity for publicity that should be4 ,,list ,,of ,,reproductions ,the first printed ,declaration of ,independence1 frontispiece ,,part ,,one ,,when ,,books ,,were ,,written ,page #a ,the scribe at work1 opp4 p4 #a ,assyrian clay tablet1 p4 #a ,ancient ,roman reading manuscript1 p4 #b ,roman waxed tablet1 p4 #c ,the ,egyptian 8,book of the ,dead10 p4 #c ,evolution of the alphabet1 p4 #d ,capital letters of the ancient ,romans1 p4 #d ,uncial letters of the sixth century1 p4 #e ,half-uncial letters1 p4 #e ,gothic letters of the fifth century1 p4 #e ,page from the 8,book of ,kells10 p4 #f ,,the ,,origin ,,of ,,typography ,page #g ,portion from ,fust and ,schffer's ,psalter of #adeg1 opp4 p4 #g ,french playing card1 a block print1 p4 #g ,image print of #adbc1 p4 #g ,bible of the ,poor1 from block book1 p4 #h ,text page from the block book 8,ars ,moriendi10 p4 #h ,page from an engraved wood block1 p4 #i ,page from separate metal types1 p4 #i ,two pages from the ,huntington copy of ,gutenberg's ,bible1 p4 #ab ,decorated page from ,gutenberg's famous ,bible of ,forty-two ,lines1 opp4 p4 #ab ,,the ,,spread ,,of ,,typography ,page #ac ,the ,venetian style of typography and decoration1 opp4 p4 #ac ,the spread of typography 7table71 p4 #ac ,page printed by ,koburger1 p4 #ad ,the first displayed composition1 p4 #ad ,a page from the famous ,bamberg ,missal1 opp4 p4 #ad ,the first italic1 a page by ,aldus1 p4 #ae ,specimens from ,plantin's ,polyglot ,bible of #aefi1 pp4 #af1 #ag ,gothic ornamental pieces1 from a 8,book of ,hours10 p4 #af ,page by ,england's first printer1 p4 #ag ,page in ,english by ,john ,daye1 p4 #ah ,the first ,psalter in ,english1 p4 #ah ,,typography ,,in ,,colonial ,,days ,page #ai ,a title-page of #afee1 with much type display1 opp4 p4 #ai ,first book printed in ,english ,america1 p4 #ai ,title-page of a ,shakespeare book1 p4 #bj ,first edition of 8,pilgrim's ,progress10 7reset by ,whittingham71 p4 #ba ,first issue of the ,london 8,times10 p4 #ba ,page from a chap-book1 p4 #bb ,page from 8,description of ,trades10 p4 #bb ,french specimen of #agdb1 p4 #bc ,caslon types and ornaments1 p4 #bc ,first edition of 8,paradise ,lost10 p4 #bd ,two pages from 8,poor ,richard's ,almanack10 p4 #be ,italian specimen of #aggf1 p4 #bf ,pages from ,bodoni books of #aghi and #ahjf1 p4 #bf ,,typography ,,in ,,the ,,nineteenth ,,century ,page #bg ,a ,morris title-page and text page1 opp4 p4 #bg ,page from a 8,book of ,common ,prayer10 p4 #bg ,a design of the rule-curving period1 p4 #bh ,title-page of #ahaj1 p4 #bh ,title-page of #ahdg1 p4 #bh ,title-page of #ahgb1 p4 #bh ,title-page of ,mac,kellar's 8,american ,printer10 p4 #bi ,a banquet program of #ahfe1 p4 #bi ,from a type-foundry specimen book of #ahhe1 p4 #cj ,a business card of #ahfe1 p4 #cj ,a business card of #ahhi1 p4 #ca ,stationery composition of #ahgj1 p4 #ca ,the panel as used in #ahic1 p4 #ca ,a neat letterhead of #ahig1 p4 #ca ,title-pages by ,charles ,whittingham1 p4 #cb ,bradley's adaptation of the ,colonial style1 opp4 p4 #cb ,a ,jacobi page of #ahib1 p4 #cc ,a ,bradley page in lower-case1 p4 #cc ,a ,bradley page in ,caslon capitals1 p4 #cd ,a ,de ,vinne page1 p4 #cd ,,part ,,two 7,the index figures refer to the number of the example7 ,,the 8,,layout0 ,,man ,page #ce ,booklet cover-page laid out with pencil and crayon1 #a ,anticipating the appearance of the printed page1 #b1 #c ,ascertaining color combination with crayons1 #e1 #f ,laying out copy for machine composition1 #d-;a1 #d-;b ,table for ascertaining the number of words to square inch1 #g ,notehead set without instructions1 #h ,business card set without instructions1 #i ,label set without instructions1 #aj ,notehead laid out for compositor1 #aa ,business card laid out1 #ab ,label laid out1 #ac ,layout of a cover-page1 #ad ,cover-page as set from instructions1 #ae ,layout sketch for a cover1 #af 7insert7 ,the cover printed as indicated1 #ag 7insert7 ,,harmony ,,and ,,appropriateness ,page #da ,harmony by the use of lower-case1 #ah ,harmony of type-faces and borders1 #ai ,an architectural subject treated appropriately1 #bj 7insert7 ,a booklet cover suggestive of the subject1 #ba 7insert7 ,cover suggested by old lock-plate1 #bb ,an old lock-plate1 #bc ,inscription on a ,roman arch1 #bd ,cover-page for a catalog of books1 #be ,a plain page for a plain purpose1 #bf ,treatment appropriate for a church program1 #bg-;a ,portion of a page of an old manuscript missal1 #bg-;b ,cover-page for a catalog of decorative materials1 #bh ,the ,colonial arch1 #bi ,title-page in semi-,colonial style1 #cj ,,tone ,,and ,,contrast ,page #dg ,contrast in color and tone1 #ca ,uniform tone and contrast of black and white1 #cb ,four ornaments1 each of a different depth of tone1 used in the construction of four pages1 #cc1 #cd1 #ce1 #cf1 #cg ,extremes of tone on book pages1 #ch1 #ci ,blending of illustration and text1 #dj ,spotted black tone of border and text1 #da ,blending of illustration and type-face1 #db ,uniform tone in classic typography1 #dc 7insert7 ,a study in uniform tone1 #dd 7insert7 ,tone-blending of initial1 headpiece and text1 #de ,emphasis of parts to be printed in light color1 #df1 #dg ,display lines should match the border in tone1 #dh ,uniform tone by equal spacing1 #di ,,proportion1 ,,balance ,,and ,,spacing ,page #ec ,one method of determining the page length1 #ej ,another method1 #ea ,three widths of type-faces1 #eb ,type page in which vertical lines predominate1 #ec ,an architectural comparison1 #ed ,the conventional page shape1 #ee ,type page in which horizontal lines predominate1 #ef ,an architectural comparison1 #eg ,page in which ornament1 border and type-face are in proportion1 #eh 7insert7 ,pages in which the type-face is not in proportion1 #ei1 #fj ,mismated type-faces and borders1 #fa ,vertical lines proper1 #fb 7insert7 ,horizontal lines not suitable1 #fc ,a display line surrounded by other type lines must be larger1 #fd1 #fe ,type proportionately too large1 #ff ,type proportionately too small1 #fg ,a proportion that is about right1 #fh ,out-of-center balance on a card1 #fi ,type grouped unusually high1 #gj ,exact center is too low1 #ga ,the point of vertical balance1 #gb ,an architectural example of out-of-center balance1 #gc ,a disorderly arrangement1 #gd ,an ornament that balances with the design1 #ge ,out-of-center balance on an announcement1 #gf ,the effect of horizontal lines in a type page1 and how it is avoided1 #gg1 #gh ,spacing letters to obtain even tone1 #gi ,emphasis obtained by letterspacing1 #hj ,the obsolete practice of spreading the lines over the page1 #ha ,the modern practice of grouping the type lines1 #hb ,,ornamentation ,page #ei ,the egg-and-dart ornament1 #hc ,the bead ornament1 #hd ,the egg-and-dart ornament as a typographic border1 #he ,the bead ornament as a typographic border1 #hf ,conventionalized papyrus plant1 #hg ,the winged ball1 #hh ,the acanthus leaf1 #hi ,palm-like ,greek ornament1 #ij ,the ,doric pillar1 #ia ,the ,ionic pillar1 #ib ,the ,corinthian pillar1 #ic ,ornamentation on an entablature1 #id ,square-lined1 ornamentless furniture1 #ie ,square-lined1 ornamentless typography1 #if ,dainty1 elaborate rococo ornament applied to furniture1 #ig ,similar treatment of a program title-page1 #ih 7insert7 ,slightly ornamental furniture1 #ii ,slightly ornamental typography1 #ajj ,monotony and variety in strokes and shapes1 #aja1 #ajb1 #ajc1 #ajd1 #aje ,roman architectural border and roman type-face1 #ajf ,gothic pointed ornament and ,gothic type-face1 #ajg ,natural and conventionalized ornament1 #ajh ,extravagant wall border ornamentation1 #aji ,roman scroll ornament cut in stone1 #aaj ,type ornament based upon geometric lines1 #aaa ,type ornament based upon foliage1 #aab ,ornament based upon the inanimate1 #aac ,ornament based upon the animate1 #aad ,ornamental hand-lettered effect1 #aae ,corner ornaments1 from bolts on inscription plates1 #aaf ,decoration from a manuscript book1 #aag ,filling blanks with ornamentation1 #aah ,semi-ornamental ecclesiastic style1 #aai ,initials of various kinds1 #abj ,simple ornamentation applied to letterhead1 #aba ,appropriate ornamentation on a modern booklet1 #abb ,effect of alternating colors1 #abc ,an ornament based upon the animate1 #abd ,the significance of ornamentation applied1 #abe 7insert7 ,,the ,,typography ,,of ,,books ,page #fg ,two model specimens of book typography1 #abf1 #abg 7insert7 ,title-page of a book of classic poems1 #abh ,title-page with a nineteenth-century motive1 #abi ,two book pages inharmoniously treated1 #acj1 #aca ,two pages1 composite ,colonial and modern1 #acb1 #acc ,two pages constructed with care for detail1 #acd1 #ace ,a text-page in modern roman1 #acf ,a text-page in old-style type-faces1 #acg ,title-page with an ,italian motive1 #ach ,page from a children's book1 #aci ,harmony in tone of type-face and decoration1 #adj ,a title-page of classic design1 #ada ,classic feeling in a modern title-page1 #adb 7insert7 ,text-page of a ,roycroft volume1 #adc ,text-page from a book by ,de ,vinne1 #add ,two pages from a small ecclesiastical book1 #ade1 #adf ,gothic treatment of a book of poetry1 #adg ,title-page with a ,french motive1 #adh ,,booklets1 ,,pamphlets1 ,,brochures1 ,,leaflets ,page #ge ,title-page by ,goudy1 #adi ,two pages from leaflet in simple typography1 #aej1 #aea ,three easily-read pages by ,sherbow1 #aeb1 #aec1 #aed ,two typographic leaflet pages1 #aee1 #aef ,three pages in which rules are factors1 #aeg1 #aeh1 #aei ,label on a brilliant cover1 #afj ,admirable treatment for small amount of matter1 #afa ,adopting a photograph of wrong proportions1 #afb ,two artistic pages from type and rule1 #afc1 #afd ,rear and front cover designs of unconventional booklet1 #afe1 #aff ,a prospectus page by ,bradley1 #afg ,dignified typographic beauty1 #afh1 #afi ,hand-lettered cover page1 #agj ,representative page from a commemoration book1 #aga ,unconventional arrangement of a booklet page1 #agb ,,catalogs ,page #hc ,page from an automobile catalog by ,cleland1 #age ,unusual treatment of a page1 #agf ,architectural title treatment1 #agg ,effective results obtained in a simple way1 #agh1 #agi ,inside page and cover of a publication catalog1 #ahj1 #aha ,german poster type on a catalog1 #ahb ,title-page and inside page of a museum catalog1 #ahc1 #ahd ,rules on a book catalog1 #ahe ,type matter prominently treated1 #ahf ,unusual automobile catalog page1 #ahg ,tabular rules in a wine list1 #ahh ,german wine-list treatment1 #ahi ,title-page of an exhibit catalog1 #aij ,capitals and italic for descriptions1 #aia ,page from a sewing-machine catalog1 #aib ,an attractive background1 #aic ,artistic catalog treatment1 #aid ,tabular matter in a catalog page1 #aie ,,programs ,page #ia ,program cover-page in ecclesiastical style1 #bjj 7insert7 ,economizing space on a program1 #bja ,missal style of church program1 #bjb ,classic treatment of a church program page1 #bjc ,program page in semi-missal style1 #bjd ,generous margins on a program1 #bje ,a dance card1 #bjf ,page from a booklet program1 #bjg ,unconventional treatment of a dance program1 #bjh ,the decorative border on a banquet program1 #bji ,a halftone decorative background on a program1 #baj ,a booklet program1 #baa ,the banquet program in the form of a check book1 #bab ,humorous treatment of titles and odd arrangement1 #bac ,suggestion for a menu page1 introducing a bit of fun1 #bad 7insert7 ,a classic menu page1 #bae ,program used by master printers1 #baf ,dignified style for menu page1 #bag ,treatment simulating woodcut decoration1 #bah ,the missal style adapted to a menu program1 #bai ,unique arrangement of a menu page1 #bbj ,excellent typographic treatment1 #bba ,refined entertainment program page1 #bbb ,two pages from an entertainment program1 #bbc1 #bbd ,program page in lower-case1 #bbe ,the decoration was in color1 #bbf ,program in ,gothic style1 #bbg ,a well-arranged page1 #bbh ,,announcements ,page #ii ,classic capitals combined with rules1 #bbi 7insert7 ,two pages from an announcement folder1 #bcj1 #bca ,announcement in ,colonial style1 #bcb ,odd treatment of an announcement1 #bcc ,announcement in poster art1 #bcd1 #bce ,invitation based on inscription plate1 #bcf ,ornaments as eye-attracters1 #bcg ,postal-card announcement1 #bch ,good advertising typography1 #bci ,an announcement1 #bdj 7insert7 ,announcement in two groups1 #bda ,study in tone values and margins1 #bdb ,harmony of type and decoration1 #bdc ,a brief announcement1 #bdd ,colonial style of treatment1 #bde ,literal treatment in ,colonial style1 #bdf ,two pages from an announcement circular1 #bdg1 #bdh4 ,from a convention announcement1 #bdi ,liberal leading of type lines1 #bej ,harmony in gray tones1 #bea ,blotter in rugged style1 #beb ,,tickets ,page #ajg ,classic1 refined treatment for art and literary purposes1 #bef ,the historic ,gothic1 or pointed style1 #beg 7insert7 ,strong treatment1 the motive of modern origin1 #beh 7insert7 ,a striking effect for the college student1 #bei 7insert7 ,modern treatment based upon the ,colonial1 #bfj ,suggestion for course tickets1 #bfa ,daintily appropriate in type-face and illustration1 #bfb ,the mission style applied to ticket composition1 #bfc ,the ecclesiastical or missal style well adapted1 #bfd ,perhaps ,morris would have set a ticket this way1 #bfe ,the medieval art worker furnished this motive1 #bff ,modern application of classic type effects1 #bfg ,patterned after ,colonial treatment of title-pages1 #bfh ,a dainty1 refined effect suited to many occasions1 #bfi ,robust treatment of an outing ticket1 #bgj ,the cab ornament dictated the type formation1 #bga ,treatment that should prevent easy counterfeiting1 #bgb ,decoration suitable for the subject1 #bgc ,arrangement with ,french motive1 #bgd ,,letterheads ,,and ,,envelops ,page #aaa ,a large amount of copy conventionally treated1 #bge 7insert7 ,small type for professional stationery1 #bgf 7insert7 ,church stationery of the conventional kind1 #bgg 7insert7 ,a change in style of professional stationery1 #bgh 7insert7 ,elaborate border around letter sheet1 #bgi ,symmetrical arrangement1 #bhj ,squared effects1 #bha ,simple treatment of little copy1 #bhb ,character in letterhead design1 #bhc ,colonial rule border panel1 #bhd ,advertising a meeting1 #bhe ,a well-treated panel heading1 #bhf ,suggestion of the ecclesiastic1 #bhg ,three lines of equal length1 #bhh ,for the general store1 #bhi ,treatment suggesting the business1 #bij ,novel and dignified treatment1 #bia ,a distinctive heading1 #bib ,decorative initials in heading1 #bic ,just a neat typographic arrangement1 #bid ,dignity in letterhead designing1 #bie ,a heading in two groups1 #bif ,uncommon distribution of color1 #big ,double-panel treatment1 #bih ,distinction in letterhead design1 #bii ,an ornament with a touch of color1 #cjj ,a cross-lined panel1 #cja ,a ,german idea1 #cjb ,note-sheet typography1 #cjc ,humor in a notehead1 #cjd ,conventional treatment of an envelop corner1 #cje ,artistic envelop treatment1 #cjf ,envelop corner in text letter1 #cjg ,harmony of device and typography treatment1 #cjh ,elaborate envelop corner1 #cji ,,billheads ,,and ,,statements ,page #aai ,features of the average invoice1 #caj ,converting letterhead into billhead1 #caa ,the non-stock-ruled type of billhead1 #cab 7insert7 ,italic lower-case and ,roman capitals1 #cac 7insert7 ,billhead suggesting early printing1 #cad ,good taste on billheads1 #cae ,interesting border treatment1 #caf ,large setting of a billhead1 #cag ,invoice with many columns1 #cah ,decorative type treatment that is suitable1 #cai ,an uncommon arrangement1 #cbj ,credit bill made from billhead1 #cba ,professional bills1 #cbb ,,package ,,labels ,page #abc ,catching attention at a distance1 #cbc 7insert7 ,emphasizing daintiness and delicacy1 #cbd 7insert7 ,lettering for typographic study1 #cbe ,a label rich in suggestion1 #cbf ,ruled line for the address1 #cbg ,black lettering with contrasts1 #cbh ,artistic quality thru typography1 #cbi ,study in black and white1 #ccj ,a ,caslon specimen1 #cca ,harmony of border and lettering1 #ccb ,possible of typographic improvement1 #ccc ,freedom of treatment1 #ccd ,label used for a special list1 #cce ,,business ,,cards ,page #abg ,standardizing the arrangement1 #ccf ,dignified treatment for a well-known house1 #ccg ,forceful card treatment1 #cch 7insert7 ,an unconventional effect1 #cci 7insert7 ,a black monogram that is attractive1 #cdj 7insert7 ,the monogram in color1 #cda ,an uncommon typographic effect1 #cdb ,high-hat-and-frock-coat treatment1 #cdc ,business card in blocked capitals1 #cdd ,an underprinting decorative device1 #cde ,roman capitals with italic lower-case1 #cdf ,modern ,german card treatment1 #cdg ,decorative style suited to business1 #cdh ,italic is sometimes pleasing1 #cdi ,a strong design for special purposes1 #cej ,classic arrangement in one size1 #cea ,a large amount of copy1 #ceb ,highly decorative1 #cec ,horizontal lines well employed1 #ced ,for general purposes1 #cee ,,the ,,blotter ,page #aca ,a model blotter1 #cef 7insert7 ,modest amount of copy1 #ceg ,a convention-hall blotter1 #ceh ,strong but pleasing contrasts1 #cei ,suggestive of an architectural panel1 #cfj ,treatment that survives the test1 #cfa ,neat1 refined arrangement1 #cfb ,type matter that fills the blotter1 #cfc ,a blotter arranged the narrow way1 #cfd ,harmonizing typography1 #cfe ,,posters1 ,,car ,,cards1 ,,window ,,cards ,page #ace ,typographic poster in ,roman capitals1 #cff 7insert7 ,lettered poster worthy of study1 #cfg ,a car card that has suggestion1 #cfh ,little copy and strong contrasts1 #cfi ,unique insurance advertising1 #cgj ,simplicity worthy of adaptation1 #cga ,refined theatrical printing1 #cgb 7insert7 ,a strong poster on plain lines1 #cgc 7insert7 ,type treatment that suggests ,franklin's time1 #cgd ,poster in ,shakespearean typography1 #cge ,simple typographic treatment1 #cgf ,colonial style on a window card1 #cgg ,suggestion for an excursion card1 #cgh ,,advertisements ,page #acj ,newspaper advertisement arranged without thought1 #cgi ,easier to read and more pleasing to look at1 #chj ,a city department-store advertisement1 #cha 7insert7 ,the conversational style1 #chb ,name and trademark sell the goods1 #chc ,one word thoroly advertised1 #chd ,interesting use of white space1 #che ,a bordered advertisement1 #chf ,study in advertising values1 #chg ,pictorial store advertisement1 #chh ,the store name does not appear1 #chi ,four country-newspaper advertisements1 #cij 7insert7 ,a good-looking advertisement1 #cia ,suggested by building architecture1 #cib ,a long list of agents1 #cic ,planned to sell high-priced cars1 #cid ,roman lettering and architecture1 #cie ,uncommon placing of blank space1 #cif ,modest display of a magazine advertisement1 #cig ,blank space emphasizes illustration1 #cih ,a country-newspaper advertisement1 #cii ,classified advertisements1 #djj ,,newspapers ,page #adg ,first number of ,america's first newspaper1 #dja ,the first newspaper issued regularly1 #djb ,make-up of a suburban newspaper1 #djc 7insert7 ,front-page make-up of a ,hearst newspaper1 #djd ,same news story by the 8,times10 #dje ,a four-deck heading1 #djf ,sporting-page make-up1 #djg ,pyramid make-up of advertisements1 #djh ,,periodicals ,page #aea ,decorative treatment of a ,thanksgiving number1 #dji 7insert7 ,dignity in make-up and typography1 #daj ,samples of actual type matter1 #daj-;,a1 #dbb-;,a1 #dbd-;,a ,typographical harmony of heading and text1 #daa ,advertising the story to the readers1 #dab ,inserted feature panel1 #dac ,illustration separated from heading1 #dad ,headings and text in same face1 #dae ,use of a small illustration1 #daf ,box headings on editorial pages1 #dag ,another way to feature editorials1 #dah ,excellent editorial typography1 #dai ,use of rules on editorial page1 #dbj ,news photograph on front page1 #dba ,fine typographic make-up1 #dbb ,attractive first text page1 #dbc ,running around illustration1 #dbd ,feature page of a ,christmas number1 #dbe ,convention feature of a trade journal1 #dbf ,news headings and make-up1 #dbg ,conservative1 readable editorial page1 #dbh ,caslon headings and old-style text1 #dbi ,caslon typography on a magazine1 #dcj ,typography of a pocket magazine1 #dca ,,house-,,organs ,page #afa ,two pages in ,kennerley typography1 #dcb 7insert7 ,three pages from a quaintly-treated house-organ1 #dcc1 #dcd1 #dce ,distinctive lettering and typography1 #dcf ,interpolated paragraphs in italic1 #dcg ,a house-organ in miniature1 #dch ,another on the same plan1 #dci ,attractive rule treatment of headings1 #ddj ,contents outlined on cover1 #dda ,simple1 effective typography1 #ddb ,dark-toned typography1 #ddc ,suitable treatment for silverware1 #ddd ,rubricated typography on a house-organ1 #dde1 #ddf ,easily read and pleasingly illustrated1 #ddg ,a typographic house-organ1 #ddh ,editorial page typographically neat1 #ddi ,attractive use of rules and italic1 #dej ,elaborate house-organ title-page1 #dea ,a page in ,cloister type1 #deb ,use of paragraph marks1 #dec ,good specimen of house-organ cover1 #ded ,blank space used to good advantage1 #dee ,cover of the 8,philistine10 #def ,an 8almanack0 feature1 #deg ,bodoni typography1 #deh ,cover of a small house-organ1 #dei ,suggestions for return post cards1 #dfj1 #dfa1 #dfb ,,type-,,faces ,page #afi ,comparison of the same type forms on two finishes of paper1 #dfc 7insert7 ,roman alphabet from ,trajan column1 #dfd-;,a ,proportions of ,roman capitals1 #dfd-;,b ,evolution of ,roman lower-case1 #dfe ,two standard legible type-faces1 #dff ,six standard representative ,roman type-faces1 #dfg ,types of ,sweinheim and ,pannartz1 #dfh ,roman types of ,john and ,wendelin of ,spires1 #dfi ,roman type-face of ,nicholas ,jenson1 #dgj ,manuscript of the fifteenth century1 #dga ,type-face used by ,paul ,manutius1 #dgb ,cloister ,oldstyle as a ,jenson title1 #dgc ,type-face used by ,national ,printing ,office1 #dgd ,comparison of old-styles1 #dge ,cheltenham ,oldstyle in ,plantin typography1 #dgf ,type-faces used by ,daniel ,elzevir1 #dgg ,roman types of ,fournier1 #dgh ,capital alphabet drawn by ,moxon1 #dgi ,moxon's lower-case alphabet1 #dhj ,moxon's alphabets inked in and reduced1 #dgi-;,a1 #dhj-;,a ,earliest ,caslon specimen sheet1 #dha ,two slightly different faces to ,caslon fonts1 #dhb ,baskerville types1 #dhc ,possible descent of ,scotch ,roman1 #dhd ,a study in ,french ,oldstyle1 #dhe ,resetting in ,bodoni ,book1 #dhf ,comparison of original ,bodoni with present types1 #dhg ,modern ,roman of the nineteenth century in three tones1 #dhh ,modern ,roman as used on newspapers1 #dhi ,optical changes by adding serifs1 #dia ,differences in serif construction1 #dib ,oldstyle changed to modern1 #dic ,modern changed to old-style1 #did ,comparison of strokes1 #die ,thick and thin strokes in the alphabet1 #dif ,serifs and stroke contrasts1 #dig ,vertical thick strokes1 #dih ,diagonal thick strokes1 #dii ,heavy strokes in the letter 8,o10 #ejj1 #eja ,letters with ascending and descending strokes1 #ejb ,descending strokes long in lettering1 #ejc ,cramped descenders and compressed ends1 #ejd ,descending and ascending numerals1 #eje ,the space between words in good lettering1 #ejf ,lower-case letters grouped according to formation1 #ejg ,legibility and other qualities1 #ejh ,sizes of type set to proper lengths1 #eji ,ascertaining the proper optical length1 #eaj ,moxon's ,italic capitals of #afgf1 #eaa ,italic lower-case of ,moxon1 #eab ,resetting in ,cloister types1 #eac ,decorated capitals or ,swash letters1 #ead ,roman and ,italic compared1 #eae ,a few representative ,italic type-faces1 #eaf ,complete ,roman and ,italic ,caslon alphabets1 #eag ,text capitals of ,moxon1 #eah ,text lower-case of ,moxon1 #eai ,two standard ,german type-faces1 #ebj ,a half-,gothic and half-,roman type1 #eba ,several representative ,text types1 #ebb ,block types1 serifless and of one thickness of stroke1 #ebc ,modern art poster type1 #ebd ,a bold-face from ,french ,oldstyle1 #ebe ,a few representative bold types1 #ebf ,eighteenth-century ornamental types of ,fournier1 #ebg-;,a ,early nineteenth-century ornamental types of ,english founders1 #ebg-;,b ,recent ,american types of the ornamental kind1 #ebg-;,c ,,imprints ,page #aie ,the first 8imprint10 as found on ,fust and ,schffer's ,psalter1 #adeg1 #ebh-;,a 7insert7 4pnxx ,colophon and imprint by ,peter ,schffer1 #adgf1 #ebh-;,b 7insert7 ,the first imprint-device1 and three adaptations1 #ebi ,aldus's anchor and dolphin device1 and adaptations by modern printers1 #ecj ,the most popular imprint-device as early used by printers1 and modern interpretations1 #eca ,arms supposedly granted the ,typothet1 ,german master printers1 #ecb ,the imprint-device of ,england's first printer1 its probable derivation1 and two notable devices evolved from it1 #ecc ,two designs with ancient motifs1 #ecd ,the pun1 as found in two ancient printers' marks1 #ece ,devices used by notable printers of the sixteenth and seventeenth centuries1 #ecf ,a printer's device and imprint that monopolizes two-thirds of the title-page1 #ecf-;,a ,colophon-imprint by ,d4 ,b4 ,updike1 #ecg ,the ,lion of ,st4 ,mark adapted to a book on ,venetian life1 #ech ,the ,lion of ,st4 ,mark and its use by the ,oswald ,press1 #eci-;,a1 #eci-;,b ,robert ,estienne's mark and ,bruce ,rogers's adaptation1 #edj ,an appropriate mark for a printer1 #eda ,use of oval shape in the designing of printers' marks1 #edb ,modern imprints suggested by ancient forms1 #edc ,printers' marks based upon architectural motifs1 #edd ,an imprint that has to do with mythology1 #ede ,the monogram is an attractive form for printers' devices1 #edf ,representative of the large variety of devices in use by printers1 #edg ,decorative imprints constructed with typefounders' ornaments and suitable type-faces1 #edh ,type imprints and the various effects possible with them1 #edi ,quaint book-ending as used by ,elbert ,hubbard1 #eej ,,appendix ,,holiday ,,greetings ,reproductions of more than a hundred greetings1 in various forms1 received by the editors of 8,the ,american ,printer40 ,,list ,,of ,,designers ,,part ,,one ,aldus ,manutius1 p4 #ae ,barker1 ,christopher1 p4 #ah ,bodoni1 ,john ,baptist1 p4 #bf ,bradley1 ,will1 opp4 p4 #cb1 #cc1 #cd ,caxton1 ,william1 p4 #ag ,daye1 ,john1 p4 #ah ,daye1 ,stephen1 p4 #ai ,de ,vinne1 ,theodore ,l41 p4 #cd ,franklin1 ,benjamin1 p4 #be ,fust and ,schffer1 opp4 p4 #g ,gutenberg1 ,johann1 p4 #ab1 opp4 p4 #ab ,jacobi1 ,charles ,t41 p4 #cc ,jenson1 ,nicholas1 p4 #ad ,koburger1 ,anthony1 p4 #ad ,mac,kellar1 ,thomas1 p4 #bi ,morris1 ,william1 opp4 p4 #bg ,newcomb1 ,thomas1 opp4 p4 #ai ,parker1 ,peter1 p4 #bd ,plantin1 ,christopher1 p4 #af1 #ag ,rand1 ,george ,c41 and ,avery1 p4 #bi1 #cj ,roberts1 ,james1 p4 #bj ,sensenschmidt1 ,j41 opp4 p4 #ad ,thomas1 ,isaiah1 p4 #bh ,whittingham1 ,charles1 p4 #ba1 #cb ,,part ,,two 7,figures refer to the example numbers7 ,adams-,brander ,company1 #cja ,advertisers ,press1 #cjj ,anger1 ,harry ,a41 #aba1 #bib1 #bif ,baker1 ,william ,henry1 #aee1 #aef1 #bci1 #cdj1 #deg1 #deh1 #dfb ,bartlett-,orr ,press1 #cce ,becker1 ,august1 #cfb ,beran1 ,c4 ,r41 #bjg ,blanchard ,press1 #agj ,bradley1 ,will1 #fb1 #gf1 #ajj1 #aci1 #afg1 #baa1 #bai1 #bcg1 #cci1 #dji1 #dbe1 #dcj ,bradley1 ,william ,aspenwall1 #ada ,cadillac ,printing ,company1 #ahg ,calkins ,holden1 #chd ,calumet ,press1 #bda1 #bde ,capon1 ,charles ,r41 #bhc1 #caa1 #cbf1 #ded ,carr1 ,horace1 #beb1 #cfa ,chasmar-,winchell ,press1 #aie ,cleland1 ,t4 ,m41 #di1 #afj1 #age1 #agf1 #ahh1 #bcc1 #bej1 #cid ,colonial ,press1 #acf1 #acg ,cook ,printing ,company1 #abd ,cooper1 ,frederick ,g41 #cch ,cooper1 ,oswald1 #bcd1 #bce1 #cbh ,corday ,gross1 #agb1 #bie ,crittenden1 ,lee ,l41 #bjd1 #cea ,currier1 ,everitt ,r41 #bcj1 #bca1 #ddh ,de ,vinne ,press1 #bag ,de ,vinne1 ,theodore ,l41 #add ,douglas1 ,lester1 #dbc ,dunn1 ,h4 ,h41 #cfg ,dwiggins1 ,will1 #agg1 #dce ,fell ,company1 ,william ,f41 #bhi1 #cbe ,fleming ,carnrick1 #if ,french1 ,george1 #abf1 #abg1 #bid ,frommader1 ,e4 ,a41 #cfc ,gilliss1 ,walter1 #ahc1 #ahd1 #daj1 #daa ,glover1 ,john1 #cjd ,goudy1 ,frederic ,w41 #adb1 #adi1 #agj1 #ccd1 #cff ,government ,printshop1 ,berlin1 #aah ,gress1 ,edmund ,g41 #a1 #b1 #c1 #d1 #e1 #f1 #aa1 #ab1 #ac1 #ad1 #ae1 #af1 #ag1 #ah1 #bj1 #ba1 #bb1 #be1 #bf1 #bg-;,a1 #bh1 #cj1 #cd1 #ce1 #cf1 #cg1 #ch1 #ci1 #df1 #dh1 #eh1 #fd1 #fe1 #fh1 #fi1 #hb1 #he1 #hf1 #ajf1 #ajg1 #aae1 #aaf1 #aai1 #afh1 #afi1 #aga1 #bjj1 #bje1 #bjh1 #bad1 #bah1 #bbj1 #bdj1 #bdb1 #bdc1 #bdf1 #bef1 #beg1 #beh1 #bei1 #bfj1 #bfa1 #bfb1 #bfc1 #bfd1 #bfe1 #bff1 #bfg1 #bfh1 #bfi1 #bgj1 #bga1 #bgb1 #bgc1 #bgd1 #bgf1 #bgg1 #bgh1 #bhb1 #bhe1 #bhg1 #bhi1 #bia1 #cjg1 #caj1 #cac1 #caf1 #cag1 #cai1 #cbb1 #cbc1 #cbd1 #cbi1 #ccj1 #ccf1 #ccg1 #cdc1 #cde1 #cdh1 #ceb1 #cee1 #cef1 #ceg1 #ceh1 #cfd1 #cfe1 #cgb1 #cgc1 #cgd1 #cge1 #cgf1 #cgg1 #cgh1 #cia1 #cic1 #cii1 #djj1 #dae1 #daf1 #dbf1 #dbg1 #dbh1 #dch1 #dci ,greenleaf1 ,ray1 #cjh ,gress1 ,walter ,b41 #cdf ,griffith-,stillings ,press1 #baj1 #bac1 #ddc ,haime1 ,harry1 #bba ,hall-,taylor ,company1 #aic1 #cic ,heintzemann ,press1 #de1 #bha ,jacobson1 ,e4 ,g41 #afe1 #aff ,kehler1 ,j4 ,h41 #dj ,kleukens1 ,f4 ,w41 #cb ,lang1 ,fred ,s41 #bbf ,leader1 ,leon ,i41 #bhh1 #big ,lewis1 ,barnard ,j41 #aeg1 #aeh1 #aei ,mackay1 ,a4 ,f41 #bcb1 #bdd ,marchbanks ,press1 #aej1 #aea1 #cca1 #dfj1 #dfa ,matthews-,northrup ,works1 #abe1 #agh1 #agi1 #aib ,munder-,thomson ,company1 #abb ,nash1 ,j4 ,h41 #acd1 #ace1 #adg1 #ahe1 #bgi1 #ddb1 #dej1 #dea ,neal ,press1 #cjf ,nelson1 ,arthur1 #ach1 #bdi1 #bhd1 #bhf1 #bij1 #ddj ,peabody1 ,charles ,edward1 #cdb ,radcliffe1 ,b4 ,walter1 #cfj ,rogers1 ,bruce1 #dc1 #abh1 #abi1 #adh1 #bbc1 #bbd1 #ddi-;,b1 #dea ,roycroft ,shop1 #adc1 #def ,school of ,printing1 ,boston1 #db1 #ge1 #cce ,seaver-,howland ,press1 #dcc1 #dcd ,sherbow1 ,benjamin1 #aeb1 #aec1 #bcf1 #bch1 #bdg1 #bdh1 #chj1 #dab1 #dac1 #dad1 #dbj ,smith ,company1 ,eugene1 #deb ,stetson ,press1 #bbe1 #bbh ,stillson ,company1 ,robert ,l41 #ahf ,stutes1 ,edward ,w41 #bjf1 #cej ,taft1 ,henry ,d41 #cec ,tapley ,company1 ,j4 ,f41 #cdd ,taylor ,taylor1 #afc1 #afd1 #aid1 #dde1 #ddf ,trow ,press1 #adj ,university ,press1 #da ,updike1 ,d4 ,b41 #gj1 #ade1 #adf1 #ahj1 #aha1 #aij1 #aia1 #bjc1 #bae1 #bbb1 #bbg1 #cjc1 #cad1 #cae ,warde ,press1 #ddg ,winchell1 ,edward ,everett1 #afa1 #afb1 #bji ,,part ,,one ,illustration3 ,,the ,,scribe ,,at ,,work ,representing a secretary to ,philip the ,good1 ,duke of ,burgundy and patron of learning1 copying manuscript books at the ,hague about the time typography was invented ,illustration ,,when ,,books ,,were ,,written ,to many persons the words 8,printing0 and 8,typography0 are synonymous4 ,the ,standard dictionary1 in its leading definition of the word 8,printer10 says3 8,one engaged in the trade of typographical printing2 one who sets type or runs a printing press2 specifically a compositor40 ,but in these days there are so many kinds of printers 7lithographic printers1 steel- and copper-plate printers1 linotype printers1 textile printers1 etc47 that to define the sort of printer who does his work with type the use of the adjective 8typographic0 is necessary4 ,the word 8typography0 is derived from the ,greek typos1 or type2 and graphe1 or writing--type-writing4 ,typography1 then1 as ,i shall use it1 means printing from movable1 or separate1 types4 ,the origin of typography may be open to dispute1 but it is an undeniable fact that the art of printing with separate types was practiced at ,mainz1 ,germany1 during the years #adej-adee1 and from there spread over ,europe4 ,before that period books were written by hand or printed from crudely engraved blocks of wood4 99 99 99 99 99 ,the thousand years preceding the invention of printing 7the fifth to the fifteenth century7 are known in history as the ,middle ,ages1 and the first six centuries of this period 7the fifth to the eleventh7 are called the ,dark ,ages1 because during those years civilization in ,europe relapsed into semi-barbarism1 and scientific1 artistic and literary pursuits were almost entirely abandoned4 ,latin had been the language of intellectual ,europe up to the time of the fall of ,rome 7#dgf ,a4,d47 and one of the influences that led up to this benighted period was that ,southern ,europe was overrun by so-called barbarians from ,germania in the north--the ,angles and ,saxons1 who settled in ,britain2 the ,franks1 ,burgundians and ,goths1 who settled in ,gaul 7now ,france7 and ,germany2 the ,vandals who settled in ,spain1 and the ,lombards1 who settled in ,italy4 ,in ,italy1 ,spain and ,gaul the ,latin-speaking natives far outnumbered the invaders1 and the ,germanic conquerors were forced to learn something of ,latin4 ,the present languages of those countries are the result of that attempt4 ,the language of the ,germanic ,angles and ,saxons was used in ,britain after their invasion of that country1 but was modified by the ,french-speaking ,normans who conquered ,england in the eleventh century4 ,thus ,latin as a common language died4 99 99 99 99 99 ,altho dead to most of the population of ,europe1 ,latin was made the official language of the ,christian church1 and1 during that period of the ,middle ,ages when ,french1 ,spanish1 ,italian and ,english were in a state of evolution1 it afforded a means of keeping alive in written books the knowledge the world had gained before the dark curtain of ignorance was rung down4 ,manuscript books are so-called from the ,latin words manu scripti1 meaning 8written by hand10 and the initials of these two ,latin words are frequently used for the word manuscript1 i4e41 8,,ms40 ,the materials upon which books were written have at various times been clay1 stone1 wood1 lead1 skin1 papyrus and paper4 ,illustration3 ,,assyrian ,,clay ,,tablet ,showing the cuneiform 7arrow-shaped7 writing ,looking back six thousand years to the beginning of recorded time we find the ,chaldeans 7,babylonians and ,assyrians7 writing arrow-shaped characters with a sharp tri-pointed instrument upon damp clay1 which was then made permanent by baking4 ,in #ahde a library of baked clay tablets was discovered among the ruins of ,nineveh4 ,thousands of these tablets have been collected in the ,british ,museum1 the most interesting of which is one which had been broken in eighteen pieces1 containing an account of the ,flood4 ,twenty-five hundred years before the ,christian era1 when the great pyramids were being built1 the ,egyptians wrote upon papyrus1 a plant growing on the banks of the ,nile4 ,the inner portion of the plant was stripped1 the strips laid across each other1 pressed and dried4 ,the squares of material thus made were then joined together to form a long strip which was rolled around a rod4 ,upon papyrus is written one of the oldest 8books0 in the world1 8,the ,book of the ,dead10 now in the ,british ,museum4 ,this is a literary work of a semi-sacred character1 and copies were placed in the tombs with deceased ,egyptians1 whence its name4 ,a reproduction of a portion of this book is given on page three4 ,supposedly under the patronage of the ,egyptian ruler1 ,rameses ,,ii41 about thirteen hundred years before ,christ1 many books on religion1 law1 medicine and other subjects were written1 and a great library was accumulated4 ,the ,chinese wrote with a stylus or brush upon tablets of bamboo fiber4 ,it is impossible accurately to determine the antiquity of ,chinese methods1 as the extravagant and often unsubstantiated claims of historians antedate those of modern discovery4 ,ink1 paper1 and printing from blocks were all supposedly invented by the ,chinese early in the ,christian era1 and even the first use of separate types is credited to ,pi-,shing1 a ,chinese blacksmith4 ,it may be relevant to suggest that the old-time 8blacksmith0 joke and the printing-term 8pi0 are derived from this source4 ,dressed skins and palm leaves were used by the ,hindoos1 and writings in ,sanscrit were probably done in the temples by the ,brahmins1 the priests and philosophers of early ,india4 ,the ,vedas1 sacred writings as old as #bjjj ,b4,c41 formed a big portion of the ,hindoo literature4 ,the ,hebrews wrote upon stones and animal skins4 ,in this manner they preserved the ,old ,testament portion of the ,bible1 and gave to posterity one of the most wonderful books ever written4 99 99 99 99 99 ,the ancient ,phnicians were commercial people1 and being such did very little in producing literature2 yet it is to them that we owe the present ,roman alphabet4 ,the illustration on a following page shows how this transition probably came about4 ,there is a slight resemblance between some of the twenty-one characters in the ,phnician alphabet and certain picture writings of the ,egyptians1 whose hieroglyphic alphabet consisted of several hundred characters and was as cumbersome as is the ,chinese alphabet with its several thousand characters4 ,the ,greeks received their alphabet directly from the ,phnicians1 there being a tradition that one ,cadmus introduced it into ,greece4 ,some writers claim that 8,cadmus0 merely signifies 8the ,east0 and does not refer to an individual4 ,the names of the first two letters of the ,greek alphabet1 ,alpha and ,beta1 are similar to those of many other languages1 and the word 8alphabet0 is derived from these two words4 99 99 99 99 99 ,in ,greece1 especially at ,athens1 before manuscripts became numerous1 lectures and public readings were important features of intellectual life4 ,the poems of ,homer1 supposed to have been composed about #hhj ,b4,c41 were not put into writing until #efj ,b4,c41 and during this period of more than three hundred years they were retained in the memory of bards1 by whom they were sung or recited4 8,plutarch's ,lives10 one of the best known ,greek literary works1 was written in the second century1 ,a4,d4 ,the ,greek nation is generally acknowledged to have been one of the most intellectual of ancient times1 yet it is a peculiar fact that only the boys were given an education1 the intellectual development of women being considered unnecessary4 ,copying of manuscripts was often a labor of love4 ,demosthenes1 the great philosopher1 is said to have transcribed with his own hands the eight books of ,thucydides on the history of the ,peloponnesian ,war4 ,many of the ,greek manuscripts were written by scribes and copyists who were slaves1 and some of these slaves developed much talent of a literary kind4 ,the ,greeks imported papyrus as a writing material1 until one of the ,ptolemies1 in the interests of the ,alexandrian library1 decreed that no papyrus should go out of ,egypt4 ,this led to the development of parchment1 so named from the city of ,pergamus1 where it was first made4 ,parchment is the skin of calves1 goats or sheep1 cleaned and smoothed4 ,in the days of militant ,greece1 ,alexander the ,great conquered ,egypt1 and in the year #ccb ,b4,c4 founded ,alexandria4 ,when at his death ,alexander's empire was divided among his generals1 ,egypt fell to the lot of ,ptolemy1 surnamed ,soter4 ,thus began a dynasty of ,egyptian kings known as ,ptolemies1 ending in #cj ,b4,c4 with the death of ,cleopatra1 the last of the line4 ,the second ,ptolemy1 surnamed ,philadelphus1 founded the great ,alexandrian library1 which accumulated over five hundred thousand rolls of manuscript1 mostly brought from ,greece4 ,the length of the rolls varied from small ones of two hundred lines to massive scrolls of one hundred and fifty feet when unwound4 ,there is a legend that ,ptolemy ,philadelphus was so impressed with the appearance of a roll of parchment containing in gold letters the sacred scriptures of the ,hebrews1 that1 about #bgj ,b4,c41 he caused their translation to be made into ,greek4 ,this1 it is said1 was done in ,alexandria in seventy-two days by seventy-two learned ,jews from ,jerusalem4 ,hence the name 8,septuagint10 which has always been applied to that ,greek version of the ,old ,testament4 ,illustration3 ,,ancient ,,roman ,,reading ,a ,,manuscript ,,roll ,from a painting found at ,pompeii ,julius ,csar1 the ,roman conqueror1 whom ,shakespeare designated 8the foremost man of all this world10 about the year #cj ,b4,c4 visited the city of ,alexandria and became interested in ,cleopatra1 the ,egyptian queen4 ,this led to a war with ,king ,ptolemy1 and during a fierce battle ,csar set fire to the ,egyptian fleet4 ,unfortunately the flames extended to the ,alexandrian library and destroyed the greater part of its magnificent collection of manuscripts4 ,gradually after that1 ,rome superseded ,alexandria as an intellectual center1 as ,alexandria had previously superseded ,athens4 ,the conquest of ,greece1 over a hundred years before1 had been the cause of many ,greek scholars and philosophers taking up their abode in ,rome4 ,this1 with the fact that a great number of scribes and copyists had involuntarily come to the ,eternal ,city because of the fortunes of war1 helped to develop in the ,romans an interest in literature4 ,during the period of ,roman history identified with ,julius ,csar there were customs in manuscript making that are interesting in their suggestion of modern newspaper methods4 ,in fact1 ,csar is credited with having been the founder of the newspaper4 ,he introduced the daily publication of the news of the ,roman ,senate and ,people1 a radical change from the previous custom of issuing yearly news-letters known as the ,annals4 ,the acts of the senate were reported by trained writers known as tabularii1 or inscribers of tablets1 and were revised and edited before publication by a senator appointed to that duty4 ,abbreviated forms of writing were used in 8reporting10 a sort of short-hand which enabled the scribe to write as rapidly as a man could speak4 ,csar himself wrote his letters in characters which prevented them being read by his enemies4 ,illustration3 ,,roman ,,waxed ,,tablet ,the present method of binding flat books might have originated with these old tablets ,the 8,acts of the ,senate0 grew into a diary of general news1 known as the 8,acts of the ,city10 and it is likely that the educated slaves in the families of public men were called into service to duplicate copies for circulation4 ,altho the ,emperor ,augustus1 who reigned in ,rome at the beginning of the ,christian era1 discontinued publishing the ,acts of the ,senate1 he encouraged the writing and copying of books to such extent that the period is a memorable one in literature4 ,the classic authors1 ,virgil and ,horace1 wrote at that time1 and many other important manuscripts were produced4 ,slave labor was utilized for copying1 and large editions of manuscript rolls were produced with an ease that rivaled the later method of the printing press4 ,in such instances it was the custom for a reader to read aloud1 to1 say1 one hundred trained writers4 ,the possibilities of this process may be imagined4 ,horace allowed his slaves rations which were so meager that the entire cost of production1 including papyrus and binding1 of a small book was equivalent to about twelve cents in ,united ,states coin4 ,thus it will be seen that in the days of the ,roman ,empire books were plentiful and cheap because of slave labor1 just as they are cheap in modern times because of machinery4 ,for most of their books the ,romans1 as had the ,egyptians and ,greeks before them1 used rolls of papyrus wound about rods4 ,ordinarily these rods were made of wood1 but for highly-prized manuscripts1 rods made of ivory with gold balls at the ends were used1 and the writing in such cases was on purple-colored parchment1 elaborately decorated with gold or red ink4 ,the present style of flat sheet books might have originated with the use by the ,romans of tablets of wood or metal1 wax-coated1 on which memoranda were scratched with the stylus4 ,several tablets were hinged together and the wax surface was protected by raised edges in the manner of the modern school slates 7see illustration74 ,this led to the use of several leaves of vellum fastened together and enclosed by richly carved ivory covers1 a form that came into use about #cjj ,a4,d41 shortly before ,constantine removed the ,roman capital to ,constantinople4 ,constantinople naturally became the center of civilization1 and the work of transcribing manuscripts was taken up in that city4 ,in the eighth century the reigning emperor1 in order to punish the transcribers for insubordination1 caused the library at ,constantinople to be 8surrounded by vast piles of fagots1 which being fired at a given signal1 the whole building was totally destroyed1 along with its twelve scribes and chief librarian and more than thirty thousand volumes of precious manuscripts40 ,it seems to have been a favorite method of punishment during the ,middle ,ages for those in authority to destroy valuable manuscripts4 99 99 99 99 99 ,while1 as we have seen1 with the fall of the ,western ,empire of ,rome1 the drift of literature was toward the ,east1 there remained in the ,west a dim light that was kept burning thru the six hundred years so fittingly called the ,dark ,ages4 ,this light came from the monasteries of ,europe1 in which little bands of devoted men were transcribing and decorating the holy writings used by the ,christian church4 ,illustration3 ,,the ,,famous 8,,book ,,of ,,the ,,dead0 ,part of the seventeenth chapter of the 8,book of the ,dead10 showing hieroglyphics and illustrations4 ,this book was written upon papyrus1 and copies were placed by ancient ,egyptians in tombs with their dead ,the ,christian church as an organization became powerful after the ,roman ,empire declined1 and the monopoly of learning which the church possessed during the ,dark ,ages gave it such a superior knowledge and power that the ,church of ,rome granted authority to kings1 and took it away1 at its pleasure4 ,a memorable instance of this power took place in the eleventh century1 when ,hildebrand1 who as head of the church was known as ,pope ,gregory ,,vii41 forced ,henry ,,iv4 of ,germany1 who had offended him1 to seek pardon in a most humiliating manner4 ,henry stood barefoot in the snow for three days1 before ,hildebrand would pardon him4 ,on one occasion previous to the event mentioned above1 ,charlemagne 7,charles the ,great71 king of the ,franks1 who was crowned by ,pope ,leo ,,iii4 and saluted as ,emperor of the ,west1 was so mistakenly zealous in extending along with his own kingdom that of the ,lowly ,nazarene1 that he ordered the hanging of more than four thousand prisoners before the ,saxons would consent to be baptized and conquered4 ,illustration3 ,,evolution ,,of ,,the ,,alphabet ,this table shows how the present-day ,roman alphabet came to us from the ancient ,phnicians ,latin as a language is dead1 so far as the secular world is concerned1 but since the seventh century it has been the official language of the ,church of ,rome4 ,all manuscripts produced by monks after that time1 whether written in ,britain1 ,germany or ,italy1 are in ,latin1 and the services of the ,roman ,catholic ,church are conducted in that language even today4 ,in the year #ajhj1 the ,king of ,bohemia asked ,hildebrand1 the ,papal head of the church1 for permission to have the services performed in the language of the people4 ,this request ,hildebrand refused1 saying3 8,it is the will of ,god that his word should be hidden1 lest it should be despised if read by every one40 ,in #abbi a council of the church published a decree which not only strictly forbade the translation of the ,bible into a 8vulgar tongue10 but also forbade all but the clergy to have copies in their possession4 ,in spite of these mandates1 translations of various portions of the ,bible were made into common tongues1 but at great risk4 ,william ,tyndale set about to translate the ,bible into ,english1 vowing that ere many years he would cause the plough-boy to know more of the ,scriptures than did the priests4 ,by #aebf he had completed the ,new ,testament1 but his books were burned in the public squares as soon as completed4 ,ten years later ,tyndale was burned1 as had been his books4 ,in #aecd ,martin ,luther completed his wonderful translation into ,german of the entire ,bible1 and gave to the people what had previously been denied them4 99 99 99 99 99 ,we will now consider the making of manuscript books in the ,middle ,ages4 ,in the early days of the ,christian church1 persecution was so severe that ,christians lived in hiding1 or secluded themselves from the outer world to worship4 ,this condition led to the existence of a class of men known as monks 7from a ,greek word monos1 meaning 8alone074 ,at the beginning of the sixth century1 an earnest1 conscientious ,christian1 now called ,saint ,benedict1 set out to reform the evils then prevalent in monastic life4 ,one of his theories was that the monks should spend their time1 not in idleness1 but in manual labor1 in teaching the youth1 and in copying manuscripts4 ,the ,benedictine monks1 as the followers of ,benedict are known1 were the main agents in spreading ,christianity and keeping learning alive during the ,dark ,ages4 ,their mode of living became so popular that1 it is said1 there were at one time thirty-seven thousand monasteries or cloisters in existence4 ,illustration3 ,,capital ,,letters ,,of ,,the ,,ancient ,,romans ,from inscriptions carved in stone ,one of the occupations of the ,benedictine monks was that of copying manuscripts1 and in some monasteries a room known as the scriptorium was set apart for such work4 ,the office of scribe or copyist was one of great importance1 and stringent rules governed the work4 ,no writing was done by artificial light1 talking was prohibited1 and none but the scribes was allowed in the room4 ,the tools were quill pens1 knives to cut the quills1 pumice stone to smooth the surface of the parchment1 awls and rulers with which to make guide-lines1 and weights to keep down the pages4 ,parchment and vellum1 the former made of the skins of calves1 goats or sheep1 the latter of the skins of unborn lambs and kids1 were the materials written upon4 ,black ink was commonly used for the text of books2 and vermilion1 an orange-red ink made of red clay1 was used for titles and important parts of the text4 ,the portions in red were known as rubrics1 from rubrica 7red earth47 ,illuminating was done to some extent in the monasteries1 but illuminators other than monks were often called upon to assist in this work4 ,this practice led to queer combinations1 as sacred writings were frequently decorated with monkeys and other animals and birds1 which might have afforded appropriate decoration for an account of the ,flood4 ,illustration3 ,,uncial ,,letters ,,of ,,the ,,sixth ,,century ,these letters show the ,roman capitals assuming the shape of the later ,gothic1 or text1 letters ,after the parchment was prepared and before beginning to write the scribe would scratch his guide-lines upon it with an awl4 ,the position of the page and the lines of lettering were thus indicated1 the page guide-lines extending to the edge of the parchment4 ,the scribe's work was principally that of copying 7setting reprint1 printers would say7 from a book on the reading desk at his side4 ,he was supposed strictly to 8follow copy10 and his work was compared occasionally by a person known as a corrector4 ,the black writing finished1 the skins were passed to the rubricator or illuminator1 if the manuscript was to be elaborately treated4 ,the colored plate shown as a frontispiece is from an old print and pictures a scribe at work4 ,he is writing the text on a sheet of parchment held in place by a weight4 ,the book from which he is copying is in front of him1 above his writing desk1 and his copy is indicated by a guide such as printers still use4 ,ink pots and pens are in place and an elaborate library is evidently at his disposal4 ,the picture is defective in perspective but is withal rather interesting4 ,illustration3 ,,half-,,uncial ,,letters ,demonstrating the transition of ,roman capitals into small1 or lower-case1 letters ,the most beautiful and elaborate specimen of the illuminator's art now in existence is the famous 8,book of ,kells10 a copy of the ,gospels written about the seventh century4 ,it is notable because of the excellence of its decoration1 the endless variety of initial letters it contains1 and the careful lettering4 ,the scribes and illuminators of ,ireland have a lasting monument in this book1 as it is supposed to have been produced in the monastery of ,kells1 founded by ,st4 ,colombo4 ,gold1 red and blue were favorites with the illuminators1 the burnished gold leaf adding richness to the brilliancy of the effect4 ,manuscript books were ordinarily bound in thick wooden boards1 covered with leather1 but there are books yet preserved the boards of which are of carved ivory1 and others that are inlaid with precious stones4 ,the books associated with the ,middle ,ages most familiar to us are the ,missal 7mass-book71 containing the services of the celebration of the mass2 the ,psalter 7book of psalms71 containing the psalms used in church services2 the ,book of ,hours1 containing prayers and offices for the several hours of the day1 and the ,donatus1 a short ,latin grammar1 the work of lius ,donatus1 a ,roman grammarian of the fourth century4 99 99 99 99 99 ,illustration3 ,,gothic ,,letters ,,of ,,the ,,fifth ,,century ,also showing the decorative uncial-like initials used on manuscript ,missals ,when printing was invented the first types used were imitations of the current ,gothic lettering1 known to us as ,black ,letter1 ,old ,english1 etc4 ,a few years later1 when typography was introduced into ,italy1 the types were cut in imitation of the lettering selected for use by the scribes of the ,italian ,renaissance1 which lettering is familiarly known in our time as ,roman4 ,the capitals of this ,roman lettering are fashioned after those used in ancient ,rome1 and the small or lower-case letters are after the ,roman writing known as minuscule1 of the twelfth century4 ,the ancient ,roman writing was all capitals1 and as found on stamps and coins was of the character of the modern so-called 8gothic0 7plain strokes1 without the small cross strokes known as serifs74 ,the more carefully made ,roman capitals1 as carved on monuments and buildings1 are not unlike the present type-faces known as ,caslon and ,french old style4 ,the evolution of ,roman capitals into the small or lower-case letters of the present day is traced in the writing called uncial1 in which the letters ,a1 ,d1 ,e1 ,h1 ,m1 ,q are rounded and altered in appearance4 ,more changes developed the writing known as half-uncial1 in which only the ,n and ,f retain the appearance of ,roman capitals4 ,the small 7lower-case7 letters became known as minuscule1 as contrasted with majuscule1 or capital letters4 7,see reproductions on preceding pages47 ,from this point book writing developed in two directions3 one toward the heavy pointed stroke of the churchly ,gothic style1 and the other1 guided by ,charlemagne in the eighth century1 to the style of ,roman letter used by ,jenson and other printers of ,venice1 ,italy1 in their classic printing of the fifteenth century4 ,our old-style ,roman types are from this source4 ,another style1 called cursive1 was the carelessly executed handwriting used for ordinary purposes1 and in that respect may be likened to our own business script4 ,thus as the fifteenth century dawned upon ,europe we find literature and learning locked in the cells of the monks1 while outside1 the hosts of people who for ten centuries wandered in semi-darkness had reached an elevation which showed them a new existence coming with the intellectual awakening that was then already upon them4 ,illustration3 ,,lettered ,,page ,,from ,,the 8,,book ,,of ,,kells0 ,showing the beautiful writing of the ,irish scribes of the seventh century ,illustration3 ,portion of a page 7full size7 from ,fust and ,schffer's ,psalter of #adeg ,the first book with a printed date3 showing initials and decoration cut in wood ,illustration ,,the ,,origin ,,of ,,typography ,the invention of typography in the fifteenth century marked the beginning of a new civilization and the end of the medieval thousand years4 ,the ,middle ,ages may be said to have begun with the capture of ,rome by the ,vandals in #dee ,a4,d41 and to have ended with the production of what is considered the first printed book in #adee4 ,illustration3 ,,french ,,playing ,,card ,a block print of the fifteenth century ,as has been shown1 during most of the thousand years preceding the invention of typography1 ignorance and superstition reigned thruout ,europe1 despite the efforts of ,charlemagne and others to revive learning and encourage interest in books4 ,the popular mind had become so perverted that ability to read and write and love for art were considered proofs of effeminacy4 ,as the medieval period neared its close1 the brain of man became more active2 he began to reason and to understand much that before had been mystery4 ,interest was manifested in the problems of science and religion1 and notable things were accomplished by artists and craftsmen4 ,it seemed as if the intellect of mankind was awakening from a long sleep1 and civilization was being born again4 ,as the light of the new intelligence shone upon the earth and ,europe rubbed its dazzled eyes1 ,,typography1 the star that was to light the way to modern knowledge and achievement1 appeared4 ,printing with separate metal types1 while involving a new principle1 was to some extent a development of other methods4 ,the evolution from manuscript books to block books1 and from block books to books printed from types occurred quietly in the natural course of events2 so quietly1 indeed1 that there is mystery surrounding each change of method4 ,in the early part of the fifteenth century1 when writing was the only agency used for making books1 the demand for playing cards and sacred pictures necessitated a method of reproduction more rapid than the old2 and thus engraved wood blocks were introduced4 ,illustration3 ,,image ,,print ,,of #adbc ,the first block print with a date ,as the desire for knowledge outgrew the productive resources of the russet-gowned scribes1 men with a mechanical turn of mind began to engrave pages of books on wooden blocks1 a process which1 tho extremely tedious1 afforded a means of partly satisfying the need1 and which became the stepping stone to the invention of printing with separate types4 ,the block books1 as they were called1 sometimes contained whole pages of reading matter1 each letter cut in relief on the face of the wood1 and frequently the page included a large illustration carelessly drawn and crudely engraved4 ,the early method of printing block books was by placing the paper on the inked surface and rubbing the back4 ,only one side was printed and a brown distemper ink 7a kind of watercolor7 was used4 ,simply constructed presses1 prototypes of the modern hand press1 were employed by block-book makers in later years4 ,playing cards and image prints were popular products of the block-book period1 and after being printed were colored by means of stencils4 ,a ,french playing card of the fifteenth century is reproduced on the preceding page1 as well as a print illustrating the old legend of ,st4 ,christopher carrying the infant ,jesus across a river4 ,this last-mentioned print is dated #adbc1 is #h #aa inches in size1 and is the oldest dated specimen of printing4 ,the invention of printing really dates from the time books were printed from wooden blocks1 altho the more important invention1 that of typography 7printing with separate types71 is also known by the general word 8printing40 ,the first block books1 probably ,donatuses1 may have been printed in ,holland4 ,the 8,donatus0 is a ,latin grammar1 and received its name from its author1 lius ,donatus1 a ,roman grammarian of the fourth century4 ,it is a small book of not more than thirty-four pages printed on parchment1 and had a large sale4 ,illustration3 ,,bible ,,of ,,the ,,poor ,famous block book of the fifteenth century ,there is a morbid side to human nature1 and it has been with us since the beginning4 ,today it finds delight in perusing in the sensational newspapers detailed descriptions of murders1 train wrecks1 and other happenings in which blood is spilled4 ,during the ,middle ,ages it prevailed1 and is reflected in the pictures that have come down to us in the block books4 ,a doleful atmosphere is present in the block book1 8,ars ,moriendi0 7,art of ,dying71 whose illustrations show weeping angels and leering demons1 weird settings that are magnified by the crudeness of the engravings4 ,illustration3 ,,text ,,page ,,from ,a ,,block ,,book 8,ars ,moriendi10 printed in the fifteenth century ,the 8,biblia ,pauperum0 7 ,bible of the ,poor7 is another block book very popular in the days preceding the invention of typography4 ,it is a book of about forty pages1 consisting principally of illustrations of the important happenings as told in the ,scriptures4 ,the book was for the use of illiterate monks and those that did not have access to the elaborate manuscript ,bibles4 ,a book of similar purpose1 but more complete than the ,bible of the ,poor1 is called 8,speculum ,human ,salvationis0 7,mirror of ,human ,salvation74 ,this book literally presents the transition from block books to type-printed books1 for of the sixty-three pages in one edition twenty are printed from wood blocks and forty-three from separate types 7see reproductions herewith74 ,the printed page of the 8,mirror0 is a trifle larger than the page that is now being read4 ,almost every monastery in ,europe contained copies of the 8,speculum40 99 99 99 99 99 ,when1 where and by whom was typography invented8 ,it is surprising that there should be any real uncertainty about the facts connected with the invention of typography1 but some uncertainty does exist1 and various opinions and conclusions are set forth in books on the subject4 ,the new method of printing was invented in the midst of indifference and ignorance1 and for many years but few cared that it had come among them4 ,the inventor of typography1 whether ,coster or ,gutenberg1 was too modest to claim the credit in a substantial way1 as he failed to print his name on the first books done by the new method4 ,this modesty1 or whatever else it may have been1 opened the way for almost every ,european country to claim the honor of having been the home of the invention4 ,however1 all claims have been disproved excepting those of ,germany and ,holland1 and as the argument now stands the weight of the evidence is with ,germany4 ,c4 ,h4 ,timperley1 in his 8,dictionary of ,printing0 7#ahci7 says that of those who had written on the subject up to his time1 one hundred and nine favored ,mainz and twenty-four favored ,haarlem as the birthplace of typography4 ,there is indisputable evidence to prove that typography was practiced by ,gutenberg at ,mainz1 ,germany1 from #adej to #adee1 and that the art spread from that city to all parts of ,europe4 ,there is no doubt about that4 ,the only thing which can lose to ,gutenberg and ,germany the credit of the invention is proof that another man printed from separate types in another country previous to #adej4 ,certain investigators have attempted to supply this proof1 as we shall see4 ,illustration3 ,,page ,,printed ,,from ,,an ,,engraved ,,wood ,,block ,from the 8,mirror of ,human ,salvation0 ,by an unknown ,dutch printer ,illustration3 ,,page ,,printed ,,from ,,separate ,,metal ,,types ,from the 8,mirror of ,human ,salvation0 ,by an unknown ,dutch printer ,the pretensions of ,holland are that one ,laurens ,janszoon ,coster 7,lawrence1 son of ,john1 the sexton or sheriff7 printed with separate types about the year #adcj at ,haarlem4 ,the earliest testimony on the subject is a chapter in the 8,chronicle of ,cologne0 7#adii7 wherein the author speaks of information about the invention of typography received by him from ,ulrich ,zell1 who printed books at ,cologne1 ,germany1 as early as #adfd4 ,he states that the 8art was discovered first of all in ,germany1 at ,mainz on the ,rhine10 and that the 8first inventor of printing was a citizen 4 4 4 named ,junker ,johann ,gutenberg40 ,this statement is added to by the assertion that the new art 8found its first prefiguration in ,holland in the ,donatuses which were printed there before that time40 ,it has been argued that the last assertion refers to block books4 ,an extract from the ,cologne-,chronicle account may be of interest3 ,this highly valuable art was discovered first of all in ,germany1 at ,mainz on the ,rhine4 ,and it is a great honor to the ,german nation that such ingenious men are found among them4 ,and it took place about the year of our ,lord #addj1 and from this time until the year #adej1 the art1 and what is connected with it1 was being investigated4 ,and in the year of our ,lord #adej1 it was a golden year1 they began to print1 and the first book they printed was the ,bible in ,latin2 it was printed in a large letter resembling the letter with which at present missals are printed4 ,altho the art was discovered at ,mainz1 in the manner as it is now generally used1 yet the prefiguration was found in ,holland1 in the ,donatuses1 which were printed there before that time4 ,and from these1 the beginning of the said art was taken1 and it was invented in a manner much more masterly and subtle than this1 and became more and more ingenious4444 ,but the first inventor of printing was a citizen of ,mainz1 born at ,strassburg1 and named ,junker ,johann ,gutenberg4 ,from ,mainz the art was introduced first of all into ,cologne1 then into ,strassburg1 and afterwards into ,venice4 ,the origin and progress of the art was told me verbally by the honorable master ,ulrich ,zell1 of ,hanan1 still printer at ,cologne1 anno #adii1 by whom the said art came to ,cologne4 ,there was printed in the year #aefa an address to the town officers at ,haarlem by ,dierick ,coornhert1 an engraver1 in which he stated that he was often told in good faith that the useful art of printing books was invented1 first of all1 here in ,haarlem1 altho in a crude way1 as it is easier to improve on an invention than to invent2 which art having been brought to ,mainz by an unfaithful servant1 was very much improved there1 whereby this town1 on account of its first having spread it1 gained such a reputation for the invention of the art1 that our fellow-citizens find very little credence when they ascribe this honor to the true inventor4 4 4 4 ,and because ,i implicitly believe what ,i have said before1 on account of the trustworthy evidence of very old1 dignified and gray heads1 who often told me not only the family of the inventor1 but also his name and surname1 and explained the first crude way of printing1 and pointed with their finger the house of the first printer out to me4 ,it will be noticed that ,coornhert fails to mention the name of the alleged inventor1 the location of his house1 or the date of the invention4 ,the claim that 8the useful art of printing books was invented1 first of all1 here at ,haarlem1 altho in a crude way10 may refer to the printing of block books and not to typography4 ,the claims of ,holland were first presented definitely about #aeff in a history of the ,netherlands called 8,batavia10 the author of which was known in his own tongue as ,adrian de ,jonghe2 in ,english as ,adrian the ,younger1 and in ,latin as ,hadrian ,junius4 ,the story as written by ,junius has been dubbed the 8,coster ,legend0 and it reads in part as follows3 ,about one hundred and twenty-eight years ago there dwelt in a house of some magnificence 7as may be verified by inspection1 for it stands intact to this day7 in ,haarlem1 near to the market1 and opposite the royal palace1 ,laurentius ,joannes1 surnamed ditus1 or ,custos1 by reason of this lucrative and honorable office1 which by hereditary right appertained to the distinguished family of that name4 4 4 4 ,when strolling in the woods near the city1 as citizens who enjoyed ease were accustomed to do after dinner and on holidays1 it happened that he undertook as an experiment to fashion the bark of a beech tree in the form of letters4 ,the letters so made1 he impressed the reverse way1 consecutively1 upon a leaf of paper1 in little lines of one kind and another4444 ,thereupon he made1 by the addition of letters1 explanations for pictures on engraved wood4 ,of this kind of printing1 ,i myself have seen some stamped block books1 the first essays of the art1 printed on one side only1 with the printed pages facing each other1 and not upon both sides of the leaf4 ,among them was a book in the vernacular written by an unknown author1 bearing the title 8,spieghel onzer ,behoudenis0 ,dutch edition of the 8,mirror of ,salvation10 two pages of the ,latin edition of which are here shown4444 ,he subsequently changed the beech-wood letters for those of lead1 and these again for letters of tin1 because tin was a less flexible material1 harder and more durable4 ,to this day may be seen in the very house itself 444 some very old wine flagons1 which were made from the melting down of the remnants of these very types4 ,the new invention met with favor from the public and 444 attracted purchasers from every direction4444 ,he added assistants to his band of workmen1 and here may be found the cause of his troubles4 ,among these workmen was a certain ,john4 ,whether or not1 as suspicion alleges1 he was ,faust 444 or another of the same name ,i shall not trouble myself to ascertain4 ,this man1 altho bound by oath to the typographic art1 when he knew himself to be perfectly skilled in the operation of type setting1 in the knowledge of type founding1 and in every other detail appertaining to the work1 seized the first favorable opportunity 444 and flew into the closet of the types1 and packed up the instruments used in making them that belonged to his master1 and 444 immediately after slunk away from the house with the thief4 ,he went first to ,amsterdam1 thence to ,cologne and finally regained ,mainz4444 ,within the space of a year1 or about #addb1 it is well known that he published1 by the aid of the same types which ,laurentius had used in ,haarlem1 the 8,doctrinal0 of ,alexander ,gallus 444 and also the 8,treatises0 of ,peter1 of ,spain4444 ,i remember that ,nicholas ,gallius1 the preceptor of my boyhood1 a man of tenacious memory1 and venerable with gray hairs1 narrated these circumstances to me4 ,he1 when a boy1 had more than once heard ,cornelis1 an old bookbinder and an underworkman in the same printing office when not an octogenarian and bowed down with years1 recite all these details as he had received them from his master4 ,this is the strongest proof the friends of ,coster can present1 and it has been thoroughly dissected by investigators representing both sides of the controversy4 ,the weak points of the document appear to be3 7#a7 ,the date of the experiment with wood letters in the garden 7about #addj7 does not leave enough time for completion of the invention of separate metal types and the equipment of a large printing office until the theft which ,junius says occurred in #adda4 7#b7 ,the date of the theft of #adda does not reconcile itself with the fact that ,gutenberg in #adcf was probably experimenting with his invention at ,strassburg4 7#c7 ,the claim that a ,dutch edition of the 8,mirror of ,salvation0 was printed with separate types cut from wood seems doubtful1 because even the best modern machinery has not demonstrated that wood type can be made as accurately as is necessary for arrangement of small types in a massed page4 ,when it is considered that the size of types used on the edition mentioned was about fourteen point1 and the lines were printed in alignment1 the modern printer is sure to question the accuracy of the assertion4 ,four editions1 two in ,latin and two in ,dutch1 of the 8,mirror of ,salvation10 are known to exist1 all printed from types except twenty pages of the second edition1 which are printed from engraved blocks4 ,they are the work of some early printer of ,holland2 whether his name was ,coster or whether the books were printed before or after #adej will probably never be ascertained4 ,one ,peter ,scriverius in #afbh wrote a new version of the invention in which he says that 8,in the year #adbh1 ,laurens ,coster1 then a sheriff of ,haarlem1 strolled into the ,haarlem woods4 ,he took up the branch of an oak-tree1 cut a few letters in relief on the wood1 and after a while wrapped them up in paper4 ,he then fell asleep1 but while he slept1 rain descended and soaked the paper4 ,awakened by a clap of thunder1 he took up the sheet1 and to his astonishment discovered that the rain had transferred to it the impress of the letters10 etc4 ,junius had placed the date of ,coster's invention at about #addj2 ,scriverius put it at #adbh4 ,the date was again changed1 this time to #adbj1 by ,marcus ,boxhorn1 who wrote on the subject in #afdj4 ,in #agbb a statue of ,coster was erected in ,haarlem1 but no date was placed upon it4 ,a 8true and rational account of the invention0 was published at ,haarlem by one ,leiz in #agdb1 which gives in detail the supposed events of ,coster's life as a printer1 from the cutting of the wood letters on the tree bark in #adbh to his death in #adfg1 but does not reveal the source of information4 ,gerard ,meerman1 a learned but impractical writer of ,rotterdam1 in #agfe published a book1 8,origines ,typographical10 and comes to the conclusion that typography was invented by ,louwerijs ,janszoon1 known as ,laurens ,coster1 who was sheriff at various times between #adbb and #adcd1 and who died between #adcd and #addj2 he used separate wooden types about #adbh or #adcj1 and did not 7as ,junius had claimed7 use lead or tin types2 he was robbed on ,christmas night #addj by ,johann ,gensfleisch 7elder brother of ,johann ,gutenberg71 who carried the art to ,mainz2 he printed one edition of the 8,mirror0 from wooden types4 ,in the early part of the nineteenth century a scientific society of ,holland offered a prize for the best treatise on the subject of the invention and in #ahaf ,jacob ,koning was given the award for his essay1 8,the ,origin1 ,invention and ,development of ,printing40 ,koning was the first writer on the subject to make researches in the ,haarlem archives and in his book he claimed to have carefully collected from the registers1 account books1 and other official data all the entries that could throw light on the subject1 and to have got together all the documentary evidence to be found4 ,the investigations of ,koning1 as reported by himself1 corroborated some of the details of the stories of those who preceded him1 and he found that ,louwerijs ,janszoon lived at ,haarlem from #acgj to #adci1 when he died4 ,for many years the discussion stood as ,koning had left it and ,coster was universally given equal honors with ,gutenberg as the inventor of typography2 but for several years previous to #ahfi rumors of errors and defects in the ,haarlem claim were in circulation in ,holland4 ,dr4 ,anton ,van der ,linde took up the task of investigating these rumors and the results of his labors were given in a series of articles in the ,dutch ,spectator during #ahgj4 ,these articles were revised and issued in book form under the title1 8,the ,haarlem ,legend of the ,invention of ,printing40 ,van der ,linde showed how ,coster's cause had been bolstered by ,koning and others with misrepresentations1 evasions and even forgeries1 and ,holland practically surrendered its claims and altered its school books to meet the new conditions4 ,the town records revealed no mention of printing in connection with ,louwerijs ,janszoon1 the sheriff1 who died in #adci1 or with ,laurens ,janszoon ,coster4 ,van der ,linde went to ,germany as librarian of the royal library at ,wiesbaden1 became ,von der ,linde and in #ahgh published an enlarged edition of his former book under the title 8,gutenberg10 in which he argued that ,gutenberg was the inventor of typography4 ,in #ahgi ,j4 ,h4 ,hessels1 who had translated into ,english ,van der ,linde's first book1 was asked to write a review of the new book1 8,gutenberg10 and in doing this he became so interested in the subject that he began a careful investigation into the question4 ,he afterward declared in the preface of his book1 8,gutenberg0 7#ahhb74 8,had ,i myself been able to realize beforehand the time1 the trouble1 and the expense that this ,gutenberg study would cost me1 ,i should have abandoned the subject at the outset40 ,but the work was so infatuating that in #ahhg he published another book3 8,haarlem1 the ,birthplace of ,printing2 not ,mentz40 ,to demonstrate the fickle workings of the human mind it may be interesting to note that in his book of #ahhb ,mr4 ,hessels wrote1 8,i have never made any thoro examination of the ,haarlem question1 but such inquiries as ,i have made have led me to believe that the ,haarlem claim cannot be maintained40 ,contrast this with the title of his book of #ahhg3 8,haarlem1 not ,mentz10 and notice his change of base4 ,while ,mr4 ,hessels had come to believe in ,haarlem1 ,van der ,linde's faith in the cause of ,gutenberg was so strong he forsook his native land1 and in ,america ,theodore ,l4 ,de ,vinne in his book 8,the ,invention of ,printing0 7#ahgf7 had reasoned out the tangle in a way to satisfy himself and many others that ,gutenberg1 and not ,coster1 was the inventor of typography4 ,it is impossible here to go into detailed discussion of the points at issue1 and only because the burden of proof is upon the ,holland advocates has so much space been given to ,coster4 ,while there may be some truth in the ,coster story1 the proofs are weak1 and ,haarlem claimants do not seem able to agree as to the identity of the man ,coster4 ,gutenberg1 on the contrary1 is shown by records too numerous to here mention separately1 to have been a real1 tangible human being1 one who printed with separate metal types1 and the probable inventor of the art4 ,it is believed that ,gutenberg was born at ,mainz1 ,germany1 about the year #acii4 ,his parents were ,frielo ,gensfleisch 7goose-flesh7 and ,else ,gutenberg 7good-hill74 ,the boy ,johann took the last name of his mother1 in accordance with the ,german custom of perpetuating a name4 ,because of civil strife in ,mainz1 the ,gensfleisch family left that city about #adbj and took up residence presumably at ,strassburg4 ,there is a possibility that typography spent its infant days at ,strassburg4 ,gutenberg lived there in #adci and was practicing a secret art1 which resulted in a lawsuit4 ,the records of the case had lain1 with other records of the time1 in an old tower1 and were not found until about #agdj4 ,they were removed to the ,library of ,strassburg1 remaining there until the ,franco-,prussian ,war 7#ahgj71 when they were destroyed by soldiers4 ,this suit against ,gutenberg was brought by the relatives of ,andrew ,dritzehen1 one of his workmen1 whom ,gutenberg had agreed to teach certain things connected with the business in which he was engaged4 ,the testimony of the several witnesses includes references to secrets which ,gutenberg would not impart to his associates3 four pieces lying in a press 7which ,de ,vinne claims was a type-mould72 lead1 melted forms1 work connected with printing1 etc4 ,it is argued that ,gutenberg could not have printed in such a perfect manner at ,mainz in #adee if he had not devoted many of the years before to perfecting the new art1 and for this reason ,strassburg may reasonably claim to be the birthplace of typography4 99 99 99 99 99 ,gutenberg's greatest misfortune1 the seizure by ,fust of his printing office and the just completed edition of the famous ,forty-,two-,line ,bible1 furnishes a strong link in the chain of evidence that goes to prove him the inventor of printing4 ,the story has been often told how ,johann ,gutenberg1 in need of cash to finance his invention1 went to ,johann ,fust1 a citizen of ,mainz1 and obtained a sum of money for which he mortgaged his printing office4 ,this was in #adej4 ,five years later we find ,fust appearing before a public notary in the convent of the ,bare-,footed ,friars to enforce his claim4 ,fust evidently caught ,gutenberg unawares1 for the courts decided against the inventor1 and all types1 presses and books in the possession of ,gutenberg were taken to the house of ,johann ,fust4 ,the records of the agreement and lawsuit just mentioned are proof that ,johann ,gutenberg printed with separate metal types at ,mainz1 ,germany1 during the years #adej-adee4 ,while he did not print his name on any of the products of his printing office1 there are specimens of ,mainz printing such as ,indulgences1 ,donatuses1 etc41 which corroborative evidence shows to have been done before #adee4 ,the greatest achievement of ,gutenberg1 the culmination of his efforts in the new art1 was the famous ,forty-,two-,line ,bible4 ,there are a number of copies of this book in existence1 some printed on vellum1 some on paper4 ,it consists of almost thirteen hundred pages1 about twelve by sixteen inches1 two columns to the page1 the columns containing for the most part forty-two lines1 whence the name by which the book is known4 ,the types in size are equivalent to the present-day twenty-point1 and in style are a copy of the book-,gothic letters of the fifteenth century4 ,the reproduction of an illuminated page of the ,bible herewith is less than one-half the size of the original1 which is in the ,british ,museum1 but will give an idea of the style of treatment accorded what is probably the first type-printed book4 ,the text portion was printed in black ink only4 ,the illuminators put a dab of red on the initial beginning each sentence1 and filled all blank spaces with decoration1 with which the initials ,i and ,p are cleverly blended4 ,the smaller reproduction shows two pages from the copy that was sold for fifty thousand dollars in #aiaa4 ,johann ,gutenberg1 after his printing outfit was taken by ,fust1 did not entirely lose heart1 but again established himself as a printer1 altho he never afterward produced the equal of his great work1 the ,forty-,two-,line ,bible4 ,in #adfe he was appointed a gentleman of the court of the ,bishop of ,mainz1 as a reward either for his invention or for political activity4 ,gutenberg died about #adfh and his printing material and equipment went to one ,conrad ,humery1 who had some rights of ownership in them4 99 99 99 99 99 ,among ,gutenberg's workmen in #adee was a young man about twenty-five years of age named ,peter ,schffer1 who previously had copied books while a student at the ,university of ,paris4 ,he was a valued assistant to ,gutenberg1 and when ,fust took over the equipment forfeited by the inventor1 ,schffer assumed charge1 married ,fust's daughter and became a partner in the business4 ,two years later the new firm published a ,psalter1 which has become1 along with ,gutenberg's ,bible1 one of the great books of historic printerdom4 ,seven copies are known to exist4 ,the ,psalter consists of one hundred and seventy-five vellum leaves nearly square4 ,the ,psalms are in types of about forty-point body1 twice the size of those used on ,gutenberg's ,bible and of a similar style4 ,the features of the ,psalter are the large printed two-color initials1 generally credited to ,schffer1 altho some authorities have declared that they originated with ,gutenberg4 ,this ,psalter was the first book with a printed date1 the colophon at the end containing 8,august #ad1 #adeg40 ,the portion of a page shown in this connection1 being full size and in colors1 should convey an idea of the appearance of the ,psalter4 ,the four cross lines are for the music notes1 which were inserted by hand4 ,fust died about #adff from the plague while at ,paris arranging for the sale of books4 ,schffer continued to print1 and many books came from his presses4 ,the last book he printed1 just before his death 7about #aejb71 was1 a fourth edition of his ,psalter4 ,illustration3 ,,the ,,gutenberg ,,bible ,,of ,,forty-,,two ,,lines ,photographed by ,walter ,gilliss from the copy for which ,henry ,e4 ,huntington paid fifty thousand dollars at the sale of ,robert ,hoe's library in #aiaa ,illustration3 ,,the ,,gutenberg ,,bible1 ,,illuminated ,less than half the size of the original which is in the ,british ,museum4 ,not all pages in the book were decorated like this1 and copies in other collections are illuminated in a different style4 ,from ,humphrey ,illustration3 ,the ,venetian style of typography and decoration ,illustration ,,the ,,spread ,,of ,,typography ,the city of ,mainz is in the western part of ,germany1 on the banks of the river ,rhine1 and even at the present time is heavily fortified4 ,in the year #adfb1 seven years after ,gutenberg's first ,bible was completed1 it was the scene of a terrible conflict between two archbishops1 ,diether and ,adolph ,,ii41 who contended for the office of elector4 ,the elector had a vote in the selection of the king or emperor1 and ,mainz was one of seven principalities entitled to such an officer4 ,diether was the choice of a majority of the citizens of ,mainz1 but ,adolph had the support of the pope in his claims and made war to establish himself in the office4 ,one night in ,october1 #adfb1 there was an uprising of the followers of ,adolph within the city and hundreds of the inhabitants were murdered4 ,the soldiers of ,adolph then entered ,mainz and set it afire4 ,most of the citizens fled1 and industry and business were paralyzed4 ,gutenberg was not affected by these events1 as his new shop was outside of the city proper1 in the village of ,eltville1 a short distance away4 ,the printing office of ,fust and ,schffer1 however1 was burned1 and the workmen1 fleeing for safety from the distressed city1 took up residence in various parts of ,europe4 ,thus was the new art of typography spread and its secrets made common property4 ,as an introduction to the consideration of the spread of typography1 the accompanying table may be of value4 ,the information is as accurate as can be given after carefully consulting numerous authoritative books on the subject4 ,most writers disagree as to the years in which typography was introduced into many of the cities of ,europe1 and for that reason in cases where such doubt exists one of the later dates has been chosen for the purpose of this table4 ,in ,germany1 before the capture of ,mainz1 ,john ,mentel at ,strassburg and ,albrecht ,pfister at ,bamberg1 were printing books by the new process4 ,with this fact as a basis1 both ,mentel and ,pfister were once proclaimed inventors of typography by over-enthusiastic students of printing history4 ,of the printers driven from ,mainz by the sacking of the city1 ,ulrich ,zell is probably the best known1 because of his connection with the ,coster-,gutenberg controversy4 ,zell became rich as a printer and publisher at ,cologne1 conducting an office there for more than forty years4 ,during all that time he never printed a book in the ,german language4 ,he had as business competitors twenty-one other master printers1 one of whom1 ,arnold ,ter ,hoorne1 was the first to make use of ,arabic numerals4 ,gunther ,zainer began to practice typography at ,augsburg in #adfh and was the first printer in ,germany to print a book in ,roman characters4 ,he was also one of the first printers to encounter restrictions by labor unions4 ,zainer illustrated his books with woodcuts1 and this the block-printers' guild objected to4 ,they induced the magistrates to pass a law against typographers using woodcuts1 but this law was afterward modified to allow the use of woodcuts when made by regular engravers4 ,heinrich ,keffer printed at ,nuremberg about #adgj under the direction of ,john ,sensenschmidt1 who in #adha1 at ,bamberg1 published his famous ,missal1 printed with large ,gothic types of about sixty-point body4 ,keffer had been a witness for ,gutenberg in his law suit of #adee4 ,anthony ,koburger opened a printing office at ,nuremberg in #adgc1 and later also conducted offices at ,basel in ,switzerland1 and at ,lyons in ,france4 ,koburger was one of the most successful of the early printers2 he had twenty-four presses in operation at ,nuremberg alone and is said to have printed twelve editions of the ,bible in ,latin and one in ,german4 ,,city ,,and ,,country ,,year ,,the ,,by ,,whom ,,art ,,was ,,introduced ,mainz ,germany #adej ,johann ,gutenberg ,strassburg ,germany #adfj ,john ,mentel ,bamberg ,germany #adfa ,albrecht ,pfister ,cologne ,germany #adfd ,ulrich ,zell ,rome ,italy #adfe ,conrad ,schweinheim ,subiaco ,arnold ,pannartz ,basel ,switzerland #adfh ,bertold ,ruppel ,augsburg ,germany #adfh ,gunther ,zainer ,venice ,italy #adfi ,john de ,spira ,nuremberg ,germany #adgj ,heinrich ,keffer ,john ,sensenschmidt ,paris ,france #adgj ,ulrich ,gering ,martin ,crantz ,michel ,friburger ,florence ,italy #adga ,bernardo ,cennini ,utrecht ,netherlands #adgc ,nicholas ,ketelaer ,gerard de ,leempt ,bruges ,netherlands #adgd ,colard ,mansion ,london ,england #adgg ,william ,caxton ,westminster ,barcelona ,spain #adgh ,nicholas ,spindeler ,oxford ,england #adgh ,theodoric ,rood ,leipzig ,germany #adha ,marcus ,brand ,vienna ,austria #adhb ,john ,winterberger ,stockholm ,sweden #adhc ,john ,snell ,haarlem ,holland #adhc ,johannes ,andriesson ,heidelberg ,germany #adhe ,frederic ,misch ,copenhagen ,denmark #adic ,gothofridus de ,ghemen ,munich ,germany #aejj ,john ,schobzer ,edinburgh ,scotland #aejg ,androw ,myllar ,mexico ,city ,mexico #aedj ,john ,cromberger ,dublin ,ireland #aeea ,humphrey ,powell ,cambridge1 ,mass4 ,u4,s4 #afci ,stephen ,daye ,,the ,,spread ,,of ,,typography ,,from ,,mainz ,illustration3 ,,page ,,printed ,,by ,,koburger ,combination of woodcuts and typography in a book of #adic ,in ,italy the first printing done with separate types was in the year #adfe in the monastery at ,subiaco1 a village on the outskirts of ,rome4 ,the cardinal in charge of the monastery1 impressed with the importance of the new art and anxious to have it introduced into ,italy1 persuaded ,conrad ,schweinheim and ,arnold ,pannartz to come from ,germany for the purpose4 ,in #adfg these two printers removed to the city proper and there printed more extensively4 ,many classical works were produced1 but five years later they complained that a large portion of the product had not been sold and that they were in distress4 ,ulrich ,hahn was the first printer in the city of ,rome proper1 having opened an office there soon after ,schweinheim and ,pannartz began work at ,subiaco4 ,john de ,spira 7born in ,spire1 ,germany7 was the first typographer at ,venice1 the ,italian city famous for the excellence of its printed books4 ,setting up a press in #adfi1 his work was of such quality as to obtain for him exclusive right to print by the new process at ,venice4 ,de ,spira died in #adgj and the privilege was forfeited4 ,nicholas ,jenson1 who came to ,venice in #adgj1 is known as the originator of the ,roman type-face4 ,schweinheim1 ,pannartz1 ,hahn and ,de ,spira1 all had used type-faces based upon the letters of ,italian scribes1 but the types had ,gothic characteristics4 ,nearly all ,roman type-faces of the present day trace lineage1 as it were1 to the types of ,jenson4 ,with the exception of ,gutenberg1 ,fust and ,schffer1 and perhaps ,aldus1 who succeeded him1 ,jenson is the most conspicuous figure among the early printers4 ,the story of his introduction to the art is interesting3 ,charles ,,vii41 ,king of ,france1 in the year #adeh decided to send an emissary to ,mainz to learn the new art1 which was supposed to be a secret1 and ,jenson1 then an engraver and master of the royal mint at ,tours1 was selected for the mission4 ,three years later he returned to ,paris with a full knowledge of typography1 but found the king had died and that his successor was not interested in the matter4 ,this condition of affairs seems to have discouraged ,jenson1 for he did not begin to print until #adgj1 and then at ,venice1 ,italy4 7,a typographical error in a printed date of one of his books makes it read #adfa instead of #adga1 and encourages some writers to claim that ,jenson was the first ,venetian printer47 ,the death of ,john de ,spira opened the field for other printers in ,venice1 and ,jenson was one of the first to take advantage of it4 ,jenson cut but one set of punches for his ,roman type-face1 the cutting being done so accurately that no changes were afterward necessary4 ,the ,roman types1 being less decorative and more legible than the ,gothic letters of the ,germans1 allowed the use of capitals for headings4 ,a colophon1 the forerunner of the modern title-page1 was set by ,jenson entirely in capitals with the lines opened up by liberal space4 ,this colophon1 which was probably the first page of displayed type composition1 is reproduced below4 ,illustration3 ,,the ,,first ,,page ,,of ,,displayed ,,type ,,composition ,arranged by ,jenson at ,venice in #adga ,it is an interesting fact that the books of ,jenson do not contain the letters ,j1 ,u and ,w1 these characters not having been added to the alphabet until some years later4 ,to satisfy a demand he also cut and used a round ,gothic face4 ,the product of ,jenson's presses represents the highest attainment in the art of printing4 ,his types were perfect1 the print clear and sharp1 paper carefully selected1 and margins nicely proportioned4 ,jenson died in #adha1 honored and wealthy4 ,his printing office passed first to an association and then to one whose fame as a printer perhaps surpasses that of ,jenson4 ,aldus ,manutius was a learned ,roman1 attracted to printing about #adhi by the pleasures it afforded in the publishing of books4 ,he introduced the slanting style of type known as italic1 so named in honor of ,italy and fashioned after the careful handwriting of ,petrarch1 an ,italian poet4 ,italic at first consisted only of lower-case letters1 small upright ,roman capitals being used with them4 ,the reproduction below shows this combination and also the peculiar style of inserting a space after the capital letter beginning each line4 ,illustration3 ,a page 7actual size7 from the famous ,bamberg ,missal ,printed by ,sensenschmidt in #adha ,aldus also introduced the innovation of considerably reducing the size of books from the large folio to the convenient octavo4 ,the size of a folio page is about twice that of this one1 which is known as a quarto1 and an octavo page is half the size of a quarto4 ,aldus was the first to suggest the printing of a polyglot ,bible4 ,the word polyglot means 8many tongues0 and here refers to a book giving versions of the same text or subject matter in several languages4 ,the polyglot ,bible of ,aldus was to have been in ,hebrew1 ,greek and ,latin1 but got no further than a few specimen pages4 ,the first polyglot work ever printed was a ,psalter of eight columns1 each a different translation1 from the press of ,peter ,paul ,porrus1 at ,genoa1 ,italy1 in #aeaf4 ,this ,psalter was the literary work of ,augustin ,justinian1 a ,corsican bishop1 who later also arranged an entire ,bible on similar plans4 ,illustration3 ,,the ,,first ,,italic ,,type-,,face ,page printed by ,aldus at ,venice in #aead ,aldus is honored wherever books are known1 not only on account of the excellence of his productions1 but because of the sincerity of his purpose and his love of printing4 ,in the first book printed by him at ,venice he declares for himself and co-workers3 8,we have determined henceforth to devote all our lives to this good work1 and call ,god to witness that our sincere desire is to do good to mankind40 ,in the production of classical works ,aldus was assisted by many scholar-refugees from ,constantinople1 which city had been captured by the ,turks4 ,aldus's fame spread thruout ,europe1 and many visitors came to ,venice to see him4 ,this annoyed him to such an extent that he had a notice placed above the entrance to his printing office which in part read3 8,whoever you are that wish to see ,aldus1 be brief2 and when business is finished1 go away40 ,it can thus be seen that the present-day motto cards popular in business offices are not a new idea4 ,aldus's complete name was ,aldus ,pius ,manutius ,romanus1 the first word of which is abbreviated from ,theobaldus4 ,there were more than two hundred printing offices in ,venice before the year #aejj and two million volumes were produced4 ,these figures may surprise the average modern reader1 who is not inclined to concede extensive production to the past4 ,bernardo ,cennini1 a goldsmith1 introduced typography into ,florence1 ,italy1 in the year #adga4 ,it is claimed that he made his tools1 cast his types and printed without instruction from ,german typographers1 depending upon verbal reports of the process and examination of printed books4 ,cennini produced only one book4 ,johann ,numeister1 who had been a pupil of ,gutenberg1 after the death of his master journeyed toward ,rome1 but for some reason stopped at the little ,italian city of ,foligno and began to print there in #adgj4 ,he used both ,roman and ,gothic types4 ,in ,switzerland the new art was first practiced at ,basel about #adfh by ,bertold ,ruppel or ,rodt1 who had been one of ,gutenberg's workmen4 ,basel was an important printing center in the days when the art was young1 and gave to ,france its first typographers4 ,john ,froben1 who set up a press at ,basel in #adia1 is perhaps the best known of the printers of that city1 and because of his use of the then new italic letters was called the 8,german ,aldus40 ,in those days lived the famous ,dutch philosopher and theologian ,erasmus1 one of the brightest minds of ,europe4 ,erasmus1 having heard of ,froben1 came to ,basel to arrange for the printing of his books1 and thus began a friendship which lasted many years4 ,erasmus became a guest at the house of ,froben1 and his presence was a big factor in that printer's success4 ,erasmus once said of ,froben that he benefited the public more than himself1 and predicted that he would leave his heirs more fame than money4 7,a book of one of the works of ,erasmus1 printed by ,hieronymus ,froben1 son of ,john1 recently sold for fifteen hundred dollars at a sale in ,new ,york47 ,in ,france typography might have been introduced as early as #adfa had not the death of ,charles ,,vii4 interfered with the plans of ,jenson and caused him to go to ,venice4 ,as it was1 in the year #adgj ,ulrich ,gering1 ,martin ,crantz and ,michel ,friburger1 three ,german printers who had been working at ,basel1 ,switzerland1 settled at ,paris and began to print under the patronage of two members of the ,university of ,sorbonne4 ,the early books of this press were printed from a ,roman type-face4 ,the quality of the work of these printers is said not to have been good4 ,types were defective and presswork deficient1 many of the printed letters needing retouching by hand4 ,gering became rich and upon his death left much of his fortune to the university within whose walls he had first printed upon coming to ,paris4 ,in order to demonstrate the success of the early printers in decorating their books without the aid of illuminators1 a page is reproduced1 printed about #adhf by ,philip ,pigouchet for ,simon ,vostre1 a bookseller of ,paris4 ,the decorations were printed from wood blocks1 engraved in the style of the ,gothic period1 with stippled backgrounds1 and are interesting to the printer because they show early use of the pieced border1 a method now familiar4 ,illustration3 ,,specimens ,,from ,,the ,,first ,,two ,,pages ,,of ,,the ,,polyglot ,,bible ,,in ,,hebrew1 ,,latin ,,and ,,greek4 ,,printed ,,by ,,plantin ,,at ,,antwerp4 ,,about #aefi ,illustration3 ,,gothic ,,ornamental ,,pieces ,book of ,hours1 printed for ,simon ,vostre at ,paris in #adhf ,henry ,estienne settled in ,paris in #aejb and was the first of an illustrious family of typographers4 ,the ,estiennes flourished until #affd1 during that time printing many remarkable books4 ,a grandson of ,henry ,estienne was the first to apply the system of numbered verses to the entire ,bible4 ,robert ,estienne1 a son of ,henry1 was the best known and most scholarly of the ,estiennes4 ,he was patronized and favored by the ,king of ,france1 and his press may be said to have been the beginning of the celebrated ,greek ,press of ,paris4 ,robert ,estienne's ambition1 the printing of de-luxe editions of the classics1 was his undoing as well as his making4 ,the priests of the ,sorbonne1 upon the appearance of a polyglot ,bible in ,hebrew and ,greek from the ,estienne press1 became enraged and ,robert had to flee to ,geneva1 ,switzerland1 for safety4 ,there was little demand in that city for elaborate books1 but ,estienne patiently worked there until his death in #aeei4 ,his life had been spent in a labor of love1 for he had scorned money as a reward for his work4 ,in the ,netherlands typography was not practiced so far as is known until #adgc1 when a press was erected at ,utrecht4 ,while it is supposed that printing was done before that time at ,bruges1 there is no direct evidence to support the supposition4 ,it is known1 however1 that ,colard ,mansion printed at ,bruges in #adgd1 and that he taught typography to ,william ,caxton1 with him producing the first book printed in the ,english language4 ,there is a book with the date #adgb1 printed at ,antwerp by ,van der ,goes1 but this date is supposed to be a misprint1 as in the case of ,jenson's book of #adga4 ,christopher ,plantin1 a ,frenchman1 who began to print at ,antwerp in #aeee1 gave to that city the renown which it enjoys in the printing world4 ,plantin printed on a magnificent scale1 his luxurious notions extending to the casting of silver types4 ,his printing office was considered one of the ornaments of the city and is today used as a museum for the display of paintings and typographical work4 ,plantin retained a number of learned men as correctors of his copy and proofs1 and the story is told that his proof sheets1 after undergoing every possible degree of correction1 were hung in some conspicuous place and a reward offered for the detection of errors4 ,plantin's greatest work was his polyglot ,bible of #aefi1 a portion of which is reproduced above4 ,louis ,elzevir1 founder of the family of learned printers of that name1 first printed in #aeie at ,leyden4 ,the second ,louis ,elzevir opened an office at ,amsterdam in #afdj4 ,the product of the ,elzevirs was of such quality as to make them famous thruout ,europe as printers of the classics1 and their books were extensively imitated and counterfeited4 ,while ,haarlem is claimed to have been the birthplace of typography1 a book cannot be produced printed in that city with a date earlier than #adhc1 when ,johannes ,andriesson had an office there4 ,in ,england the name of ,william ,caxton is one to conjure with among typographers1 for ,caxton was the first to set type in that country1 the event taking place about the year #adgg4 ,perhaps the thing that endears ,caxton to the hearts of ,english printers is that he was born in ,england4 ,the first printers of ,italy1 ,switzerland and ,france were ,germans1 but ,caxton was ,english2 we have his own words to prove it3 8,i was born and lerned myn englissh in ,kente in the weeld where ,i doubte not is spoken as brode and rude englissh as it is in ony place in englond40 ,caxton had been apprenticed when a young man to a merchant1 and after his master's death took up residence at ,bruges in the ,netherlands1 with which city ,england did considerable trading4 ,there he prospered and as governor of the ,merchant ,adventurers had control over all ,english and ,scotch traders in the ,low ,countries4 ,the device later used by ,caxton for his imprint is supposed to have been copied from some trading mark of the ,bruges merchants4 ,caxton resigned as governor and entered the service of the ,duchess of ,burgundy1 who encouraged him in literary work4 ,under her patronage he translated 7#adfi-adga7 a 8,historie of ,troye40 ,the demand for this work was an incentive for ,caxton to learn how to print it4 ,this he did with the assistance of ,colard ,mansion who had started a printing office at ,bruges4 ,shortly afterward1 ,caxton returned to ,england and set up a press in the vicinity of ,westminster ,abbey1 then on the outskirts of ,london4 ,the first book with a date printed by him is 8,the ,dictes and ,sayinges of the ,philosophers10 completed in ,november1 #adgg4 ,his type-faces are copies of those of ,mansion1 who in turn imitated the letters of ,dutch copyists4 ,a type-face based on ,caxton's letter is now made by an ,american foundry4 ,illustration3 ,,page ,,by ,,england',s ,,first ,,printer ,how ,caxton arranged a book title in #adhc ,the product of ,caxton's press during his life is estimated at eighteen thousand pages1 nearly all of folio size4 ,caxton did not print de-luxe editions as did other of the early printers of ,europe1 but his productions were no less interesting4 ,on his first books the lines were not spaced to the full length4 ,this gave to the right side of the page a ragged appearance1 as in modern typewritten letters4 ,caxton did not devote a separate page to a book title until late in his life1 when he printed a title alone in the center of the first page4 ,the reproduction 7on the preceding page7 of a part of ,caxton's 8,fables of ,esope0 shows how the title was arranged at the page head4 ,wynken de ,worde1 a native of western ,germany1 was a workman under ,caxton and upon the latter's death1 about #adia1 succeeded to the business of his master4 ,he continued to print in ,caxton's house for several years1 afterward removing to 8,fleet-street at the sygn of the ,sonne10 in ,london proper4 ,old ,english black-letter1 which is now so popular1 was used by ,de ,worde to a great extent1 and he was the first printer to introduce the ,roman letter into ,england4 ,richard ,pynson1 another of ,caxton's workmen and friend of ,de ,worde1 set up a press in ,temple ,bar1 ,london1 about #adib1 and printed many useful books4 ,illustration3 ,,page ,,in ,,english ,,by ,,john ,,daye ,from ,fox's famous 8,acts and ,monuments10 ,london1 #aefj ,richard ,grafton is famous as a printer of ,english ,bibles during the troublous times of the ,reformation4 ,the church authorities believed it was not good for the people in general to read the ,sacred ,scriptures1 and the ,bible1 translated into ,english by ,william ,tyndale and ,miles ,coverdale1 and printed anonymously by ,richard ,grafton at ,antwerp1 was the object of much concern to the ecclesiastics4 ,the ,bishop of ,london complained that 8,some sons of iniquity have craftily translated the ,holy ,gospel of ,god into our vulgar ,english40 ,after a long imprisonment ,tyndale suffered death by strangulation and burning4 ,grafton was imprisoned in #aedj for printing a large folio ,old and ,new ,testament known as the 8,great ,bible40 ,this tremendous task of printing was accomplished by ,grafton in partnership with ,edward ,whitechurch at ,paris and ,london4 ,shortly after this the prejudice against an ,english translation was partly overcome1 and in #aedc ,parliament passed an act allowing the ,bible to be read by certain classes1 but forbidding women1 apprentices1 journeymen1 husbandmen or laborers to read it privately or openly4 ,illustration3 ,,the ,,first ,,psalter ,,in ,,english ,printed at ,london about #aefe by ,christopher ,barker ,john ,daye1 who first printed about #aedf1 was another ,english typographer to suffer imprisonment on account of activity in the ,protestant cause4 ,many important books were printed by ,daye1 and in character and accomplishments he has been likened to ,plantin who printed during the same period at ,antwerp4 ,the best known of the books printed by ,daye is ,fox's 8,acts and ,monuments10 on the subject of wrongs and persecutions in the days of the ,reformation4 ,dibden says it was 8a work of prodigious bulk1 expense and labor40 ,in ,scotland printing was introduced in #aejg at ,edinburgh by ,androw ,myllar1 in partnership with ,walter ,chepman1 under a patent granted by ,king ,james ,,iv4 ,in ,ireland a prayer book was printed by the new process in #aeea at ,dublin by ,humphrey ,powell4 ,in ,north ,america typography was first practiced in #aedj at ,mexico ,city1 ,mexico1 by ,john ,cromberger4 ,in the ,united ,states1 or rather the territory now included under that name1 typography was introduced in #afci at ,cambridge1 ,massachusetts1 by ,stephen ,daye4 ,illustration3 ,a title-page of many words and much type-display 7,actual size and color treatment7 ,illustration ,,typography ,,in ,,colonial ,,days ,typography has been an important factor in the development of modern civilization4 ,in the battle for civil and religious liberty1 in both ,europe and ,america1 the man with the pen and he of the composing-stick have been together on the firing line4 ,with ,paul they could well boast that they had been 8in perils of waters1 in perils of mine own countrymen1 in perils in the city1 in perils in the wilderness1 in weariness and painfulness1 in hunger and thirst40 ,william ,tyndale died at the stake1 ,richard ,grafton and ,john ,daye suffered imprisonment2 ,robert ,estienne became an exile from his own country2 ,jesse ,glover on his way to ,america found a grave in the waters of the ,atlantic2 ,stephen ,daye set type in a wilderness2 ,james ,franklin1 ,william ,bradford and ,john ,peter ,zenger were imprisoned1 and ,benjamin ,franklin suffered hunger and privation4 ,as ecclesiastical and political conditions in ,europe strongly influenced the practice of typography during the days of the ,american colonies1 ,i will briefly review the events of the sixteenth1 seventeenth and eighteenth centuries that the reader may better understand and appreciate the subject4 ,in the year #aeba1 when ,luther appeared before the ,diet of ,worms in ,germany1 the ,english people were ardent ,roman ,catholics4 ,henry ,,viii4 was ,king of ,england and the great ,cardinal ,wolsey was in high authority4 ,henry1 in the early part of his reign1 was exceedingly loyal to the ,catholic ,church2 he published a book in answer to the attacks of ,luther1 for which the pope gave him the title 8,defender of the ,faith40 ,however1 when ,henry wished to divorce his wife that he could marry ,anne ,boleyn1 the church authorities did not approve4 ,this so angered the king that he took from ,wolsey his office and possessions1 denied the authority of the pope over the ,church of ,england1 and had himself declared the supreme head of that organization4 ,the king was excommunicated by the pope and in return ,catholics were persecuted and put to death1 and their monasteries1 colleges and hospitals broken up4 ,henry repeatedly changed his religious opinions1 and for many years both ,catholics and ,protestants were put to death for differing with him4 ,for six years after ,henry's death in #aedg1 during the reign of his son ,edward ,,vi41 the ,protestants were in power4 ,then for five years under ,mary the ,catholics controlled the religious affairs of the country1 and the flesh of 8heresy0 was toasted at the stake4 ,illustration3 ,,the ,,first ,,book ,,printed ,,in ,,english ,,america ,by ,stephen ,daye at ,cambridge1 ,mass41 #afdj4 7,page slightly reduced7 ,illustration3 ,,title-,,page ,,of ,a ,,shakespeare ,,book ,printed in #afjj1 while ,shakespeare was in the midst of his literary labors ,elizabeth1 who began to rule in #aeeh1 was proud of the appellation 8,virgin ,queen0 and gave the name 8,virginia0 to the ,english colony in ,america4 ,she never quit spinsterhood1 but about the year #aegj considerable correspondence was carried on between the ,english and ,french courts regarding her intended marriage4 ,this resulted in the accumulation of over three hundred letters1 which eighty-five years later were collected and printed as a #ddb-page quarto4 7,the title-page is reproduced full size as an insert in this chapter47 ,a poor ,puritan named ,stubbs and a poor bookseller named ,page published a pamphlet against the marriage of ,queen ,elizabeth to the ,french king's brother1 and tho the queen herself had said she would never marry1 these unfortunate subjects were punished for their audacity by having their right hands cut off4 ,under ,elizabeth1 the 8,protestant0 religion was permanently established in ,england1 but the enactment of severe laws1 such as prohibiting any one attending the ministry of clergymen who were not of the established religion1 gave rise to dissenters derisively called ,puritans because they wished to establish a form of worship based on the 8pure0 word of ,god4 ,it was by these so-called ,puritans that printing was introduced into ,english ,america4 ,elizabeth reigned until #afjc and was the last of the ,tudor family of sovereigns4 ,the first of the ,stuart ,kings1 ,james ,i4 7son of ,mary ,queen of ,scots71 then ruled until #afbe1 when he was succeeded by his son ,charles ,i4 ,charles was a despot and claimed that the people had no right to any part of the government4 ,a civil war resulted1 ,charles was beheaded 7#afdi7 and a form of government known as the ,commonwealth was established4 ,oliver ,cromwell shortly afterward became ,lord ,protector with more power than the king had possessed4 ,cromwell was a ,puritan1 but of the radical element known as ,independents1 differing from another element of ,puritans known as ,presbyterians4 ,the ,independents have come to be known as ,congregationalists4 ,under ,cromwell's severe ,puritanic rule1 sculpture and painting were declared as savoring of idolatry and public amusements were sternly put down4 ,however1 ,cromwell encouraged printing and literature4 ,he was an intimate friend of ,john ,milton1 the blind author of 8,paradise ,lost0 7see title-page reproduced on a following page71 which book was published in #affg1 the year following the ,great ,fire4 ,milton was ,latin secretary to ,cromwell1 and published a book which argued against royalty1 for which1 on the accession of ,charles ,,ii41 he was arrested4 ,in #afeg 7the year before ,cromwell died7 was published the sixth and last volume of the ,london ,polyglot ,bible1 compiled by ,brian ,walton and printed by ,thomas ,roycroft4 ,in this ,bible there were used nine languages3 ,hebrew1 ,chaldee1 ,samaritan1 ,greek1 ,syriac1 ,arabic1 ,ethiopic1 ,persian and ,latin4 ,the work took four years in printing1 and was the first book ever published in ,england by subscription4 ,cromwell encouraged the undertaking by allowing paper to be imported into ,england duty free1 and by contributing a thousand pounds out of the public money to begin the work4 ,in those days the ,puritans presented a curious contrast to the ,royalists4 ,the ,puritan1 or 8,roundhead0 as he was also called1 wore a cloak of subdued brown or black1 a plain wide linen collar1 and a cone-shaped hat over closely-cut or long1 straight hair4 ,the ,royalist1 or 8,cavalier10 wore clothes of silk or satin1 a lace collar1 a short cloak over one shoulder1 short boots1 and a broad-brimmed beaver hat adorned with a plume of feathers4 ,the period designated as the ,restoration1 long celebrated by the ,church of ,england1 began soon after ,cromwell's death1 when in #affj ,charles ,,ii4 ascended the throne4 ,this period brought with it a reaction from the ,puritanic conditions that previously existed and all sorts of excesses were practiced4 ,cromwell's body was taken out of its grave in ,westminster ,abbey1 hanged on a gallows and beheaded4 ,it was during the reign of ,charles ,,ii4 7#affe7 that the ,great ,plague killed one hundred thousand people in ,london1 a terrible experience followed by one equally terrible the next year3 the ,great ,fire1 which consumed thirteen thousand houses4 ,in #afhh there was another revolution2 the people passed a ,bill of ,rights1 and set a new ,king 7,william ,,iii47 on the throne4 ,george ,i41 the head of the dynasty now represented in ,england by ,king ,george ,v41 came to the throne in #agad4 ,he was a ,german1 could not speak ,english1 and was the grandfather of ,george ,,iii41 the 8villain0 in the great drama of the ,american ,revolution4 ,in ,france the ,protestant ,huguenots were persecuted by ,cardinal ,richelieu1 whose strong personality dominated ,king ,louis ,,xiii4 from #afbb to #afdb1 and many of them left for ,america4 ,in #afdc ,louis ,,xiv4 became ,king of ,france and his long reign of seventy-two years is renowned because of the magnificence which found expression in sumptuous buildings1 costly libraries1 splendidly-bound books1 and gorgeous dress4 ,cardinal ,mazarin1 in whose library was later discovered a copy of ,gutenberg's ,forty-,two-,line ,bible1 acted as advisor while ,louis ,,xiv4 was under age4 99 99 99 99 99 ,in the seventeenth and eighteenth centuries many mechanics in ,england worked for a shilling a day2 their chief food was rye1 barley and oats2 and one-fifth of the people were paupers4 ,teachers taught their scholars principally by means of the lash1 masters beat their servants and husbands their wives4 ,superstition was strong and children and grown folks were frightened with lugubrious tales into being 8good40 ,this spirit is especially noticeable in the chap-books that were sold during the seventeenth and eighteenth centuries4 ,a title to one of these chap-books 7dated #agba7 reads3 ,a ,timely ,warning to ,rash and ,disobedient ,children2 being a strange and wonderful ,relation of a young ,gentleman in the ,parish of ,stepheny in the ,suburbs of ,london1 that sold himself to the ,devil for twelve years to have the ,power to be revenged on his ,father and ,mother1 and how his ,time being expired1 he lay in a sad and deplorable ,condition to the ,amazement of all ,spectators4 ,illustration3 ,,the ,,first ,,issue ,,of ,,the ,,london 8,,times0 ,,under ,,that ,,title4 #aghh ,the heading mentions that logotypes were used in the composition of this newspaper ,children in those days were either devilishly bad or ridiculously good4 ,read this title-page3 ,the ,children's ,example2 shewing how one ,mrs4 ,johnson's ,child of ,barnet was tempted by the ,devil to forsake ,god and follow the ,ways of other ,wicked ,children1 who us'd to ,swear1 tell lies1 and disobey their ,parents2 ,how this pretty innocent ,child resisting ,satan1 was ,comforted by an ,angel from ,heaven who warned her of her approaching ,death2 ,together with her dying ,speeches desiring young ,children not to forsake ,god1 lest ,satan should gain a ,power over them4 ,illustration3 ,,first ,,edition ,,of 8,,pilgrim',s ,,progress0 ,title-page 7actual size7 of ,bunyan's well-known book1 ,london1 #afgh ,jack the ,giant ,killer1 the hero of our childhood days1 was a favorite subject for chap-book exploitation4 ,there is shown on the following page the title of such a 8history40 ,chap-books are poor representatives of the art of typography in ,colonial days because they were to the book industry then what reprint books are to the trade in our time4 ,today it is customary for some publishing houses to buy up old electrotype plates of obsolete editions of dictionaries and other popular books4 ,the plates having already been put to extensive use1 are battered and worn1 and impressions from them cannot be accepted as criterions for determining the quality of modern printing4 ,neither are the chap-books true printing representatives of their times4 ,the woodcuts1 crudely drawn in the first place1 were also worn and battered by repeated use4 ,illustration3 ,,page ,,from ,a 8,,chap-,,book0 ,probably a ,dicey product of the eighteenth century ,in the early part of the seventeenth century chap-books were #hvos4 7sixteen pages of about #e #h inches71 but later were reduced to #abmos4 7twelve or twenty-four pages of about #d #f inches74 ,the stories were condensed to fit these small penny books1 which were peddled by chapmen4 ,a chapman is described in a 8,dictionarie0 of #afaa as 8,a paultrie ,pedlar1 who in a long packe1 which he carries for the most part open1 and hanging from his necke before him hath ,almanacks1 ,bookes of ,news1 or other trifling ware to sell40 ,many of the chap-books of the eighteenth century were printed and published at ,aldermary-,church-,yard and ,bow-,church-,yard1 ,london1 by ,william and ,cluer ,dicey1 afterward ,c4 ,dicey only4 ,the ,dicey books were better productions than those of their imitators4 ,it is not possible to determine the exact year in which the majority of chap-books were printed1 as many title-pages merely read 8,printed and sold in ,london10 etc41 or 8,newcastle2 printed in this present year10 without the formality of the date4 ,there were also other cheap productions known as broadsides1 single sheets about #ab #ae inches1 in most cases printed broadwise of the paper and on one side only4 ,on ,december #ba1 #afbj1 there landed at ,plymouth ,rock1 in what was afterward the colony of ,massachusetts1 a band of ,puritans from ,england4 ,these non-conformists1 unable conscientiously to obey the laws of their native country1 had come to ,america to worship ,god in their own manner4 ,ten years later ,governor ,winthrop with one thousand ,puritans landed at ,charlestown1 and in the following year these immigrants began to settle ,cambridge and ,boston4 ,a building for an academy 7now ,harvard ,university7 was erected at ,cambridge in #afch1 and in #afci ,stephen ,daye began to print there4 ,for the establishment of this1 the first printing office in what is now the ,united ,states1 ,rev4 ,jesse ,glover1 a ,puritan minister of some wealth1 was chiefly responsible4 ,himself contributing liberally1 he solicited in ,england and ,holland sufficient money to purchase a press and types1 and ,june #g1 #afch1 entered into a contract with ,stephen ,daye1 a printer1 to accompany him to the new country4 ,rev4 ,glover 7with his family1 ,stephen ,daye and the printing outfit7 embarked on a vessel for ,new ,england1 but on the voyage across the ocean he was taken ill and died4 ,illustration3 ,,page ,,from 8,,description ,,of ,,trades40 ,,london1 #agdg ,showing use of decorative bands to separate subjects ,the press and types having reached ,cambridge were finally placed in charge of ,stephen ,daye and printing was begun in #afci4 ,the first work produced was 8,the ,freeman's ,oath10 probably a single sheet1 and the first book 7#afdj7 was the 8,booke of ,psalmes10 familiarly known as the 8,bay ,psalm ,book40 7,the reproduction on the first page of this chapter is from one of these books preserved in the public library1 ,forty-,second ,street1 ,new ,york47 ,this book of ,psalms is a revision of ,ainsworth's version of #afab1 and was in use in ,new ,england for upwards of a century1 more than fifty editions having been published4 ,the size of the type-page of the first edition is #c #f inches4 ,in quality of presswork this first book of ,stephen ,daye affords a decided contrast to the ,bible of ,gutenberg1 near which it lies in the cases at the public library4 ,the print on the pages of the ,psalm ,book is uneven in color and impression1 while that on the pages of the ,bible is dense-black and firmly and evenly impressed4 ,the reproduction of the title-page of the ,psalm ,book does the original no injustice4 ,it is difficult to determine whether the shoulders of the border printed the angular lines1 or whether these are a part of the design4 ,it is interesting to note how in the word 8,whole10 ,daye formed a ,w by combining two ,vs1 his font of types being one evidently intended for ,latin work only4 ,illustration3 ,,french ,,specimen ,,of #agdb 7,actual size7 ,daye continued in charge of the printing office for about ten years4 ,jesse ,glover's widow had married ,henry ,dunster1 the first president of ,harvard ,college1 and ,dunster1 for his wife and as president of the college1 managed the printing office and received such profits as were made4 ,for some reason ,daye in #afdi ceased to be master printer and ,dunster appointed ,samuel ,green to the position4 ,green had come from ,england in #afcj with ,governor ,winthrop1 but was not a printer at that time4 ,the commissioners of the united colonies1 who had in charge the propagation of ,christianity among the ,indians1 added another press to the one already at ,cambridge1 together with types1 etc41 for the purpose of printing the ,bible and other books in the ,indian language4 ,in #affb ,green gave to the commissioners the following 8account of utensils for ,printing belonging to the ,corporation30 ,the presse with what belongs to it with one tinn pann and two frisketts4 ,item two table of ,cases of letters with one ode ,case4 ,item the ffont of letters together with ,imperfections that came since4 ,item one brasse bed1 one ,imposing ,stone4 ,item two barrells of ,inke1 #c ,chases1 #b composing stickes1 one ley brush1 #b candlestickes one for the ,case the other for the ,presse4 ,item the frame and box for the sesteren4 ,item the ,riglet brasse rules and scabbard the ,sponge #a galley #a mallett #a sheeting sticke and furniture for the chases4 ,item the letters that came before that were mingled with the colledges4 ,illustration3 ,,caslon ,,types ,,and ,,ornaments ,from the specimen book of ,w4 ,caslon and ,son1 ,london1 #agfd ,in #afgj the commissioners presented this equipment to ,harvard ,college4 ,green continued to print until he was very old1 and upon his death in #agjb the printing office was discontinued4 ,before #agdj more printing was done in ,massachusetts than in all the other colonies4 ,printing was not introduced into the colony of ,virginia until about #agbg1 principally because the authorities deemed it best to keep the people in ignorance4 ,pennsylvania was the second ,english colony in ,america in which typography was practiced4 ,the charter of this colony was granted to ,william ,penn in #afha and in #afhg ,william ,bradford at his printing office 8near ,philadelphia0 printed an almanac4 ,this was a sheet containing the calendar of twelve months 7beginning with ,march and ending with ,february1 as was customary in the seventeenth century74 ,in ,england1 ,bradford had worked for a printer who was intimately acquainted with ,george ,fox1 founder of the ,society of ,friends 7,quakers74 ,this influenced ,bradford to adopt the principles of that sect and he was among the first to emigrate to ,pennsylvania in #afhb4 ,illustration3 ,,first ,,edition ,,of 8,,paradise ,,lost0 ,title-page 7slightly reduced7 of ,milton's famous book1 ,london1 #affg ,bradford became involved in a quarrel among the ,quakers of ,philadelphia and in #afib was arrested for printing a pamphlet4 ,the sheriff seized a form of type pages to be used as evidence1 and it is said that ,bradford later secured his release because one of the jurymen in examining the form pushed his cane against it and the types fell to the floor1 8pied0 as it is technically expressed4 ,the trouble into which ,bradford found himself in ,philadelphia very likely influenced him in #afic to leave that city and establish a printing office in ,new ,york 8at the sign of the ,bible0 7the site at #ha ,pearl ,street is now marked by a tablet71 his being the first printshop in ,new ,york and the only one for thirty years4 ,he was appointed in #afic official printer to the government4 ,in #agbe1 when ,bradford was sixty-one years old1 he began the publication of the first newspaper in ,new ,york 7the ,gazette74 ,no review of ,colonial printing would be complete without an account of ,benjamin ,franklin1 whose birthday 7,january #ag7 is each year widely celebrated4 ,franklin's father was an ,englishman who came to ,new ,england about #afhe1 and ,benjamin was born in ,boston in #agjf1 the youngest but two of seventeen children4 ,he came near being a minister1 a seaman1 a tallow-chandler or a cutler1 but love of books caused him finally to be indentured to his brother1 ,james ,franklin1 who had opened a printing office in ,boston4 ,benjamin was twelve years of age when indentured and was to serve as apprentice until his twenty-first birthday4 ,making an arrangement with his brother to be allowed to furnish his own board1 ,franklin provided himself with meals 8often no more than a biscuit or a slice of bread1 a handful of raisins1 or a tart from the pastry cook's and a glass of water10 using the money thus saved for the purchase of books4 ,in #agba ,james ,franklin began to print a newspaper 7the ,new ,england ,courant7 and ,benjamin tells how some of his brother's friends tried to dissuade him from the undertaking1 8one newspaper being1 in their judgment1 enough for ,america40 ,some articles in this newspaper giving offense to the ,assembly1 ,james ,franklin was imprisoned for a month1 and on his discharge was forbidden to publish the ,courant4 ,to evade this order ,benjamin's name was substituted for that of ,james ,franklin as publisher4 ,a short time afterward 7#agbc7 the brothers disagreed1 and ,benjamin left ,boston1 coming by ship to ,new ,york4 ,here ,franklin offered his services to ,william ,bradford1 then the only printer in the city1 but he could give him no work4 ,however1 he suggested that ,franklin go to ,philadelphia where ,andrew ,bradford1 his son1 had a shop4 ,franklin did not succeed in getting work with ,andrew ,bradford1 but was more fortunate with ,samuel ,keimer4 ,the printing house of ,keimer1 as described by ,franklin1 consisted of an old damaged press1 a small worn-out font of types1 and one pair of cases4 ,here ,franklin worked until he left for ,england to select an equipment for a new printing office to be established by him in ,philadelphia4 ,at that time there was no type foundry or press manufactory in the ,united ,states4 ,franklin had been encouraged by ,governor ,keith with promises of financial assistance1 but the trip to ,london proved a fool's errand and ,franklin went to work in a printing office there as a journeyman1 first at the press1 later in the composing-room4 7,it is told that forty years afterward when ,franklin was residing in ,great ,britain1 he went into this printing office and with the men there drank 8,success to printing407 ,he returned to ,philadelphia1 worked as a foreman for ,keimer1 and then with a partner1 ,hugh ,meredith1 opened a printing office4 ,one of the first jobs done by the new firm was forty sheets of the history of the ,quakers1 set in pica and long primer4 ,franklin tells how he 8composed a sheet a day and ,meredith worked it off at press2 it was often eleven at night1 and sometimes later1 before ,i had finished my distribution for the next day's work4 ,but so determined ,i was to continue doing a sheet a day that one night1 when1 having imposed my forms1 ,i thought my day's work over1 one of them by accident was broken and two pages reduced to pi1 ,i immediately distributed and composed it over again before ,i went to bed40 ,in #agcb 7for the year #agcc7 ,franklin first published 8,poor ,richard's ,almanack40 ,for this purpose he used the name of ,richard ,saunders1 an ,english astrologer4 ,this almanac continued to be published by ,franklin for twenty-five years1 nearly ten thousand copies being sold annually4 ,the two pages here reproduced are full size1 and as it is likely that ,franklin gave close attention to the typography it will be interesting to study their arrangement4 ,they are good examples of title-page and tabular composition of ,colonial days4 ,franklin considered this almanac a proper vehicle for spreading instruction among the common people1 and filled the little spaces that occurred between the remarkable days in the calendar with proverbial sentences4 ,these proverbs1 which contained the wisdom of many ages and nations1 were latter gathered together as a harangue of a wise old man under the title 8,the ,way to ,wealth10 and the familiar phrase 8,as ,poor ,richard says0 is often repeated therein4 ,in #agdh ,franklin took as a partner ,david ,hall1 the firm name being ,franklin ,hall until #agff1 when ,hall became sole proprietor4 99 99 99 99 99 ,illustration ,quaintness is the chief characteristic of ,colonial typography4 ,while the treatment lacks the artistic quality1 the refinement1 and the dainty finish of the productions of ,aldus1 ,froben and other printers of classics1 it has natural simplicity1 human interest1 and an inexpressible something that makes it attractive to the average printer of today4 ,illustration3 ,,two ,,pages ,,from 8,,poor ,,richard',s ,,almanack0' ,printed by ,benjamin ,franklin in #agcb ,the title-page of the 8,compleat ,ambassador10 showing the actual size of the original1 is constructed in a severely plain manner1 a style known as the 8long and short line10 with catchwords4 ,the 8,midsommer ,nights ,dreame0 title-page is one of the most artistic of ,colonial pages1 printed when ,shakespeare was in the midst of his famous literary labors 7#afjj74 ,to get contrast the compositor alternated lines of roman with lines of italic4 ,the spacing material could not have been accurate1 and two capital ,v's were used for a ,w1 as in the ,daye title-page4 ,the 8,paradise ,lost0 title-page is a poor specimen of composition and presswork4 ,it was common in ,colonial days to surround the type-page with a double rule border1 and in this specimen the rules are bent and battered4 ,printed in #affg1 it is a part of the first edition of ,milton's famous book4 ,the ,london ,times heading is interesting1 representing as it does the first number1 under the new name1 of a newspaper which has since become world-famous4 ,the heading mentions that the ,times was printed 8logographically40 ,logotypes 7two or three letters cast together7 were being experimented with to facilitate type composition1 but did not prove successful4 ,illustration3 ,,italian ,,specimen ,,of #aggf ,showing use of decoration ,the printers 8,at the ,peacock in the ,poultrey near ,cornhil0 surely were good workmen4 ,the 8,pilgrim's ,progress0 title-page is a finished bit of printing4 ,the custom of using decorative border units to make printed books attractive was seemingly practiced thruout ,europe4 ,the ,italian page of #aggf is an example of this1 as is also the ,french specimen of #agdb4 ,the page from the ,colonial book1 8,description of ,trades10 exhibits the use of the decorative band for dividing subjects1 which idea has possibilities in the direction of general job printing that make it worthy of experiment4 ,because ,caslon types and ornaments were extensively used by ,colonial printers ,i have reproduced on a previous page specimens of types and ornaments from the type-specimen book of ,w4 ,caslon ,son1 printed in #agfd4 ,the ,caslon type-face was original in the sense in which the type-face cut by ,jenson was original2 both had characteristics which identified them with their designers1 but both also had a general resemblance to type-faces previously used4 ,the ,roman face cut by ,caslon bears a marked similarity in its capitals to the type-faces used by ,thomas ,newcomb on the title-page of the 8,compleat ,ambassador0 7see insert74 ,there are shown here two specimens of type-faces designed by ,bodoni1 which were the first of the so-called 8modern0 romans4 ,the letters reveal a thinning of the lighter lines and a thickening of the heavier lines4 ,the serifs are straight and sharp4 ,the design of the letters was such as to afford the typefounders of the nineteenth century a model upon which to base their efforts at mechanical accuracy in the cutting of type-faces4 ,as a result of the introduction of ,bodoni's new type-face there was not a type foundry in the world in #ahje making the old-style roman type-faces4 ,giovan ,battista 7,john ,baptist7 ,bodoni was a printer-typefounder of ,parma1 ,italy4 ,the illustrations in this chapter were in most instances photographed from originals in the ,new ,york ,public ,library1 the library of the ,new ,york ,typothet1 and the private library of ,the ,american ,printer4 ,illustration3 ,pages from ,bodoni books of #aghi and #ahjf1 showing the first 8modern0 type-faces ,illustration3 ,title-page of the 8,historyes of ,troye0 designed by ,morris and engraved on wood ,illustration3 ,first text page of 8,the ,story of the ,glittering ,plain0 showing the 8,golden0 type ,the ,morris style of typography and decoration ,illustration ,,typography ,,in ,,the #aith ,,century ,it was near the close of the nineteenth century when ,william ,morris1 the distinguished exponent of strength and simplicity in art1 declared that 8no good printing has been done since #aeej40 ,according to this statement one hundred years after its invention typography forfeited its place among the esthetic arts1 and then for three hundred years remained below the standard set by its inventor4 ,by setting his date at #aeej ,morris overlooked the achievements of such eminent printers as ,plantin and the ,elzevirs1 but his arraignment probably had some justification4 ,posterity had defaulted in its administration of the legacy left by ,gutenberg4 ,the first book printed from separate types1 as an example of artistic arrangement and careful workmanship1 is a remarkable testimony to the genius of the inventor1 especially when the completeness of the invention is compared with the initial productions of later inventors4 ,the first cylinder press and the first linotype machine were both crudely constructed4 ,typography attained its highest point toward perfection in ,italy in the days of ,jenson and ,aldus4 ,the ,italian style of lettering and decoration differed greatly from the ,german4 ,there were dignity1 refinement1 a dainty neatness1 in the printed pages of the ,venetians1 and their type-faces were precise and of a dark-gray tone4 ,the ,german page1 with its bold ,gothic letters arranged in masses of black1 was characteristic of the religious fidelity and sturdiness of the dwellers on the banks of the ,rhine4 ,as the art of printing spread1 the ,german and ,italian styles became mingled1 finally resulting during ,colonial days in a style of typography which represented the ,italian modified by the ,german just enough to make it interesting4 ,but typography as an art was in a state of deterioration4 ,even ,franklin1 called by the printers of ,america their 8,patron ,saint10 as a typographer lacked the artistic perception of ,aldus and ,plantin1 altho he was a superior mechanic and a shrewd business man4 ,the beginning of the nineteenth century found the practice of typography leaning more than ever toward utility and away from art4 ,william ,nicholson1 an ,englishman1 had planned a cylinder printing press1 and ,dr4 ,kinsley1 of ,connecticut1 had constructed a model of one4 ,a roman type-face on severe1 mechanical lines had been designed1 and picturesque old romans such as the ,caslon were going out of use4 ,ornaments and borders were being discarded1 and the style of typography was getting uninteresting and losing the personal element4 ,illustration3 ,,pleasing ,,border ,,arrangement ,letterpress imitation of the decoration of double-column pages on early books4 ,from the 8,book of ,common ,prayer10 ,london1 #ahad ,to illustrate this transition there are reproduced four representative title-page arrangements4 ,the first is that of a book on printing published in #ahaj1 containing several lines of the then new roman type-face4 ,in arrangement this page is similar to the 8,queen ,elizabeth0 page inserted in the chapter on ,colonial typography which is perhaps the source from which came the 8long-and-short-line0 and 8catch-word0 style of the average title-page of the nineteenth century4 ,the second example of the group shows a displayed page of #ahdg similarly treated1 and the third is a reproduction of the title-page of a printer's manual of #ahgb4 ,this last-mentioned example is the product of a prominent type foundry of that time and very likely was arranged in the style then accepted as good typography4 ,a more uninteresting page could hardly be conceived1 especially in a book intended for printers4 ,illustration3 ,,design ,,made ,,with ,,brass ,,rule ,executed in #ahgi1 it is one of the best specimens of the rule-curving period ,the fourth example is a reproduction of the title-page of ,mac,kellar's well-known manual1 8,the ,american ,printer0 7now out of print71 and presents what to the head of the most prominent ,american type foundry was probably an ideal arrangement4 ,while revealing the long-and-short-line characteristics of the previously mentioned pages1 as a whole the effect is more interesting to printers4 ,in this page may be noticed the trend toward delicate1 characterless typography4 ,a printer1 ,charles ,whittingham1 of the ,chiswick ,press1 and a publisher1 ,william ,pickering1 of ,london1 ,england1 furnish an example of effort made in the middle of the nineteenth century to raise the practice of typography to a more artistic standard4 ,these men1 both lovers of books1 and artists in temperament1 had become intimate friends1 and together endeavored to introduce into their publications simplicity1 appropriateness1 and other artistic qualities4 ,desiring to use an old-style face on one of their books1 ,whittingham inquired of the ,caslon type foundry if any of the punches cut by the first ,william ,caslon were in existence4 ,the original punches being recovered after years of disuse1 fonts of type were cast and used on a book1 8,the ,diary of ,lady ,willoughby10 printed in #ahdd4 ,the title-page of this book is reproduced on a following page1 and it will be seen that ,whittingham arranged the typography in the ,colonial style to harmonize with the literary motive of the book4 ,so well was this done that one has to look twice at the date to satisfy himself it is not #afdd4 ,other typography from these men is not quite so radically different from that of their contemporaries1 but is more refined1 artistic and tasteful1 as may be seen by the 8,friends in ,council0 page further on in this chapter4 ,an innovation by ,whittingham was the omission of punctuation marks excepting where needed to make clear the significance of the wording4 ,whittingham and ,pickering1 in the field of artistic typography1 were fifty years ahead of their time1 as printers in general were not ready to accept the good things offered them4 ,the modern renaissance came later4 99 99 99 99 99 ,job printing as a distinct department is of modern development4 ,typographers of old were primarily book and pamphlet printers1 and in many cases interest was chiefly centered in publishing newspapers or almanacs2 job printing was incidental4 ,this caused similarity in the typography of newspaper1 book and job work1 a condition that today exists only in a small degree4 ,now these three classes of work are generally separated into departments1 each with its own rules1 styles and practices1 job composition being less restrained by customs and rules than any of the other departments4 ,illustration3 ,,title-,,page ,,of #ahaj ,illustration3 ,,title-,,page ,,of #ahdg ,illustration3 ,,title-,,page ,,of #ahgb ,showing the development during the nineteenth century of a severe and uninteresting style ,attractiveness is as necessary to the typography of the general job of printing as dignity and legibility are to a law brief1 but1 endeavoring to get attractiveness into their work1 job printers often go astray4 ,they wrongly labor under the impression that to have a job distinctive it must be made freakish4 ,typography is not good unless based upon art foundations4 ,ideas in plenty could have been plucked by the printer of the nineteenth century from old books1 especially from those printed for religious organizations1 such as the 8,book of ,common ,prayer40 ,a handsome edition of a book of this kind was printed in ,london by ,john ,murray in #ahad4 ,each pair of pages is different in decoration and typography1 the designs being by 8,owen ,jones1 architect40 ,the decorative treatment of the page of ,psalms reproduced from this book is worthy of study and adaptation4 ,illustration3 ,,the ,,trend ,,toward ,,daintiness ,title-page of ,mac,kellar's manual1 8,the ,american ,printer10 #ahhb ,about the time of the ,civil ,war the job printer was less fettered than ever by the customs of the book printer4 ,while title-pages of books were being composed without ornamentation in severe-looking modern romans1 the job printer1 influenced by the typefounder1 took a liking to fancy typography1 for the production of which there were shaded1 outlined1 rimmed and ornamental letters1 in imitation of the work of the copperplate engraver4 ,the business card on the next page1 and the 8bill of fare0 here shown1 are specimens of such work4 ,illustration3 ,,banquet ,,program ,as arranged in ,boston in #ahfe ,the changing styles of typography as applied to commercial headings are well set forth by the group on the fifth page of this chapter4 ,the first specimen is a 8plain0 billhead of #ahgj4 ,the second is a billhead of #ahic1 when the compositor was taught to corral all excess wording in an enclosure of rules at the left side of the heading proper4 ,in this specimen there is a touch of ornamentation and a showing of seven different type-faces1 one of which is the then conventional script for the date line4 ,the third specimen of the group1 a letterhead which won first prize in a contest held in #ahig1 reveals further development of simple typography4 ,only one face of type is used 7,tudor black7 and there is no ornamentation excepting a few periods on each side of the word 8,the40 ,during the nineteenth century no type foundry did more toward influencing the typography of the general job printer than the one known at the time of its absorption by the ,american ,type ,founders ,company as ,mac,kellar1 ,smiths ,jordan1 of ,philadelphia4 ,the reproduction of a few clippings from its specimen book of #ahhe may recall memories to the printer now of middle age4 ,the ,free ,press business card has peculiar interest to the author4 ,it was set and printed by him during dull hours about the year #ahhi1 when his thinking apparatus was controlled by influences from the underworld of typographic practice4 ,there is another phase of late nineteenth-century typography which should be mentioned4 ,it seems that printers had developed a longing for pictures1 color and decoration4 ,the process of photo-engraving not having been perfected1 job printers shaped brass rule into representations of composing-sticks1 printing presses1 portraits and architectural designs1 and cut tint blocks from patent leather and other material4 ,the skill exhibited by many printers is remarkable2 beautiful combinations of tints were produced4 ,it will be difficult for many persons to believe that the 8,boston ,type ,foundry0 design 7shown on a preceding page7 was originally constructed with pieces of brass rule1 but such is the fact4 ,it was composed by ,c4 ,w4 ,l4 ,jungloew in #ahgi1 and is truly a wonderful example of the work of the printer-architect4 ,the perspective obtained by the designer is a feature4 ,black1 gold1 and several tints were used in the printing4 ,illustration3 8,,in ,,the ,,good ,,old ,,days0 ,from a specimen book of #ahhe ,interesting as are these wonders of the curved-rule period1 they are not artistic in the true sense of the word2 examples of skill indeed1 but not art as it is today understood4 99 99 99 99 99 ,we now come to one of the most interesting periods in the history of printing1 a period which may well be termed the 8,modern ,renaissance40 ,as was intimated earlier in this chapter1 the invention of printing machinery served to lead typography away from art4 ,the printers of that time thought they were doing artistic work when they set their jobs in fancy type-faces1 twisted brass rule1 or printed in many colors4 ,they did not know that art-printing was simplicity--and something else4 ,the apprentice was taught to set type as was his journeyman instructor before him4 ,any inspiration he received came from the typefounders1 and even that was often interpreted wrongly4 ,ten years before the close of the nineteenth century display typography was in a chaotic state so far as art was concerned4 ,printers who before had not doubted the appropriateness and quality of their own typography1 began to realize that it lacked something they were not able to supply1 and were ready to follow a ,moses who could lead them to better things4 ,then began to form a curious chain of events that was to have a revolutionary influence upon commercial typography as well as upon commercial art4 ,the first link in this chain was the establishing of the ,kelmscott ,press in ,england by ,william ,morris4 ,william ,morris was an artist1 a poet1 a designer and a craftsman4 ,partiality for things medieval showed itself early in his life1 and before he took up printing he manufactured artistic house furnishings in the ruins of an old abbey4 ,years ago if the average ,american citizen were asked what great thing ,benjamin ,franklin did1 his answer might have been1 8,he invented the ,franklin stove40 ,the average person of today would connect the name of ,morris with the ,morris chair4 ,as the application of art principles to typography has caused the compositor to turn from rule curving1 to set his lines straight1 and to seek paper and ink without luster1 so the influence of ,morris led to a distaste for gilt and polish and trimmings1 and created a demand for subdued colors and straight lines in home furnishings4 ,he who can influence others to think and act in manner different and better than they have done before1 is truly great4 ,morris lived in a picturesque old manor-house in ,kelmscott on the ,thames in ,england1 and it was there at the age of fifty-seven years that he began to print4 ,he was not a printer by trade1 but before a type was set he studied the art from the beginning4 ,he even learned to make a sheet of paper himself4 ,kelmscott ,press paper was made by hand of fine white linen rags untouched by chemicals4 ,morris as a handicraftsman had an abhorrence for machinery4 ,it is doubtful if he would have used even a hand-press if results equally good could have been obtained without it4 ,morris's idea seems to have been to take up good typography where the early printers left off4 ,when he wanted types for the new printshop he had enlarged photographs made of the type pages of ,jenson1 ,koburger and other printers of the fifteenth century1 and from these photographs designed his type-faces1 arranging the details of the letters to conform to his own ideas4 ,his roman type-face he called 8,golden10 probably because of its use on the 8,golden ,legend40 ,this type-face was afterward reproduced by foundries in ,america as ,jenson1 ,kelmscott1 and other type-names4 ,morris was wont to say that he considered the glory of the ,roman alphabet was in its capitals1 but the glory of the ,gothic alphabet was in its lower-case letters4 ,he also designed a type-face characteristic of the ,gothic letters used by ,koburger and other fifteenth-century printers1 and1 probably because of its use on the 8,historyes of ,troye10 called it ,troy4 ,this type also was reproduced by type foundries1 and printers knew it as ,satanick and ,tell ,text4 ,the space ordinarily assigned to the page margins ,morris covered with foliage decoration in the manner of the early ,italian printers1 large decorative initials blending with the borders4 ,these initials and borders1 with few exceptions1 were drawn by himself and engraved upon wood by ,w4 ,h4 ,hooper4 ,compare the right-hand page of the two pages here reproduced with the ,venetian specimen in the chapter on 8,the ,spread of ,typography40 ,illustration3 ,,business ,,card ,as displayed in #ahfe ,one of ,morris's books1 an edition of ,chaucer1 was additionally enriched by upward of a hundred illustrations by ,burne-,jones1 a noted ,british artist4 ,in both ,england and ,america ,morris was the subject of much criticism4 ,men who as art printers were not fit to touch the hem of his garment were loud in condemnation of his work4 ,others1 more fair1 pointed out the excellence of his printing1 but claimed that neither his type-faces nor his style of typography would be used many years4 ,this last prediction has proved partly true4 ,the ,jenson1 or ,kelmscott1 type-face was used so frequently and so generally that despite its virtues it finally tired the public eye1 and is now seldom seen4 ,satanick1 the 8,troy0 type-face1 as made by the ,american ,type ,founders ,company1 is not now displayed in that company's specimen book4 ,illustration3 ,a ,,business ,,card ,,of #ahhi ,one of the author's early attempts at artistic 787 printing ,however1 the work of ,william ,morris1 tho not accepted as the model for general use1 was the cause of a revolution in modern typography4 ,instead of the delicate and inartistic type-faces and ornamentation of #ahij1 the contents of type-foundry specimen books revealed strong1 handsome1 artistic letters and common-sense art borders and ornaments4 ,morris's experience as a printer did not cover five years1 yet his name will always live because of the good he did typography in the nineteenth century4 ,decorative artists were wielding a big influence in the revival taking place in the field of typography4 ,contemporary with ,morris in ,england was a young artist1 ,aubrey ,beardsley1 prominent in a new school of art which saw merit in the flat masses of color as found in the seemingly grotesque designs of the ,japanese4 ,here in ,america the work of ,morris and ,beardsley found favor in the eyes of ,will ,bradley1 who was destined to lead the forces in the typographic revolution on ,american soil4 ,bradley had been a country printer2 as apprentice1 journeyman and foreman he had tasted both the joys and sorrows of practical work in the printshop4 ,however1 ,bradley was more than printer2 he had artistic tendencies which finally influenced him to go to ,chicago to study art4 ,there he frequented the art galleries and public libraries1 and developed into a poster artist of exceptional merit4 ,there were those who called him the 8,american ,beardsley40 ,the year #ahif found ,bradley with a studio at ,springfield1 ,mass41 where his love of printing influenced him to open a printshop which he called the 8,wayside ,press40 ,in ,may of the same year he issued the first number of 8,bradley3 ,his ,book10 a unique publication for artists and printers4 ,the type-faces used were ,jenson1 ,caslon and ,bradley1 and almost every page contained decoration4 ,there were many odd color combinations and ,bradley must have stood close to his presses when this first number was printed4 ,purple-brown and orange1 olive-green and orange-brown1 orange-yellow and chocolate-brown1 purple-red and green-blue--these were some of the color harmonies4 ,the ,christmas number of 8,bradley3 ,his ,book0 was set entirely in ,satanick1 the ,american copy of ,morris's 8,troy0 type1 and bright vermilion was nicely contrasted with dense black print4 ,while ,morris was a medievalist1 and received his inspiration from the printed books of the fifteenth century1 ,bradley was inspired by both past and present4 ,printers know him particularly because of his adaptations of the styles of the seventeenth and eighteenth centuries4 ,he demonstrated how ,colonial printers could have done their work better4 ,in presenting the ,colonial specimens which are here reproduced from the ,november1 #aijf1 8,bradley3 ,his ,book10 ,bradley wrote3 ,antique and deckle-edge papers enter so largely into the making of books today that printers cannot do better than to study the styles of type-composition that were in vogue when all books were printed upon hand-made papers4 ,a knowledge thus gained should prove of great value1 especially in the setting of title-pages4444 ,the only face of ,roman type which seems appropriate to antique paper is that which is known as ,caslon4 ,when types were fewer1 and the craft of printing less abused than it is now1 this was the only type used in bookwork2 and some of the title-pages in our earlier books are extremely interesting and suggest motifs which may well be carried out today4 ,taking suggestions from these books we have set a few pages1 using as subjects the titles of some modern works4 ,there seems to be an unwritten law which we are supposed to follow in this class of composition2 and yet one should be a little brave and daring1 purely for the joy of getting out of the old beaten track4 ,illustration3 ,stationery composition of #ahgj ,illustration3 ,the panel as used in #ahic ,illustration3 ,a neat letterhead of #ahig ,,the ,,changing ,,styles ,,of ,,commercial ,,headings ,the type foundries helped the spread of the new typography by supplying a series of ,bradley's decorations1 known as 8,wayside ,ornaments40 ,bradley discontinued the ,wayside ,press in #ahih and combined his printshop with that of the ,university ,press at ,cambridge1 ,mass4 ,there a battery of presses was kept busy during the continuance of the extraordinary interest in ,bradley booklets4 ,in #aije ,bradley impaired the strength of his following by attempting for the ,american ,type ,founders ,company the introduction of a new style of typography1 the prominent feature of which was profuse ornamentation4 ,while this effort supplied job printers with many valuable ideas in type arrangement and color treatment1 happily the style as a whole was not adopted by printers generally or typographic conditions might have become as unfortunate as they were previous to #ahij4 ,frank ,b4 ,berry1 associated with ,bradley during his engagement with the ,american ,type ,founders ,company1 tells in these words of the construction of a thirty-two-page pamphlet of specimens entitled 8,the ,green ,book of ,spring03 8,starting in on this about half-past ten one morning ,bradley made up a dummy1 prepared the copy and laid out the work--specifying the size and style of type to be used1 the form of display and designating the exact position of each ornament with the required spacing4 ,this was in effect practically furnishing reprint copy for the compositors4 ,then1 to #8give good measure1' as he expressed it1 copy was prepared for the cover1 and the work was ready for the printers before half-past one40 ,illustration3 ,,an ,,interesting ,,title-,,page ,by ,charles ,whittingham1 ,london1 #ahdi ,in the few years succeeding the establishment of the ,wayside ,press1 ,bradley's style of typography was closely followed by many printers1 and all the printshops of ,america were more or less influenced by it1 but at this date his ideas and ,morris's ideas are merged more or less with those of ,de ,vinne1 ,jacobi1 ,updike1 ,rogers1 ,cleland1 ,benton1 ,kimball1 ,goudy1 ,goodhue1 ,winchell and others4 ,from ,germany1 too1 have lately come suggestions in decoration that are visibly influencing general typography4 ,illustration3 ,,title-,,page ,,in ,,the ,,colonial ,,style ,by ,charles ,whittingham1 ,london1 #ahdd4 ,the first use in the nineteenth century of the ,caslon type-face ,in recent years ,bradley devoted his talents to the make-up of magazine pages4 ,his characteristic decoration has added interest to the text sections of several leading magazines4 ,he dictated the make-up and drew the cover design and department headings for the twenty-fifth anniversary number of ,the ,american ,printer issued ,july1 #aiaj4 ,this versatile artist-printer also accomplished the unique task of applying business and industrial methods to the making and selling of art work4 ,he had a staff of working artists1 one of whom acted as foreman4 ,bradley had a book in which he pasted his sketches of decorative borders1 ornaments and illustrations4 ,these were classified and numbered1 and when a design was to be drawn he gave instructions to the working artist indicating which sketches were to be worked up4 ,in this manner he eliminated the manual labor so far as he was concerned and was able to accomplish much more than if he had attempted to do everything himself4 ,he also planned a series of decorative units and illustrations and offered a quick art-service to advertisers and printers4 ,fred ,w4 ,goudy1 who designed such type-faces as ,pabst1 ,powell1 ,forum1 ,kennerley and ,goudy ,old ,style1 has influenced printing styles in the direction of classic effects4 ,goudy as a student of ,roman architecture and letter-carving has dignified the printing industry and enriched typographic art4 ,this lesson would not be complete without a tribute to the work of ,theodore ,l4 ,de ,vinne1 who had the distinction of being the only printer but one in ,america to receive a college degree for accomplishments as a printer4 ,illustration3 ,bradley's adaptation of the ,colonial style as produced by him at the ,wayside ,press in #ahif ,de ,vinne's introduction to typography was as an apprentice in a country printshop4 ,he went to ,new ,york in #ahdg and worked at the case and press in several offices before accepting a position as job compositor with ,francis ,hart4 ,upon the death of ,mr4 ,hart in #ahgg1 ,mr4 ,de ,vinne took charge of the business1 which is now known as the ,de ,vinne ,press4 ,as a writer on printing subjects1 perhaps his greatest work is 8,the ,invention of ,printing10 published in #ahgf4 ,i have examined and read most of the books on the subject of the invention1 and ,de ,vinne's book is the most reasonable1 fair and understandable of all4 ,de ,vinne had always been an exponent of the sane1 conservative and dignified in typography4 ,the work of his shop was precise1 exact and thoro4 ,while giving credit to ,morris and ,bradley for their accomplishments1 he had little sympathy for the styles of either4 ,de ,vinne properly claimed that a writer's words are of more importance than the decoration of a designer4 ,morris intended his books for the shelves of the book collector2 ,de ,vinne looked upon a book as something to be read4 ,however1 there need be no conflict between the styles of ,morris1 ,de ,vinne and ,bradley4 ,the typographer should learn to discriminate1 to choose wisely when selecting a style for a book or a piece of job work4 ,for editions de luxe in limited numbers1 and for booklets on art or literary subjects1 the ,morris style is appropriate4 ,for books on scientific or legal subjects1 and for booklets of conservative and dignified nature1 there is nothing better than the ,de ,vinne style4 ,for booklets which are to attract attention and for job work that is to be distinctive1 ,bradley shows the way4 ,illustration3 ,a ,,jacobi ,,page ,,of #ahib ,arranged in squared groups in the form of a letter ,z ,with ,de ,vinne beckoning to us from the point of conservatism and ,bradley from the point of radicalism1 the typographer anxious to do work properly must decide for himself how to treat it4 ,i have seen a jeweler's booklet cover so filled with ornamentation by ,bradley that it was almost impossible to read the wording1 and ,i have also seen a children's ,bible typographically treated by the ,de ,vinne company in a style as severe as if it were a book of legislative acts4 ,illustration3 ,a ,,bradley ,,page ,as produced at the ,wayside ,press1 #ahif ,de ,vinne had always been a leader in the perfecting of modern methods4 ,he was one of the pioneers in the use of dry paper and hard press-packing1 and gave much thought to modern type-faces4 ,the type-face known as ,century was designed after his suggestions as a model roman letter4 ,de ,vinne did much in persuading printers to group the wording of title-pages instead of equally separating the type lines as was done in the middle of the nineteenth century4 ,charles ,t4 ,jacobi1 of the ,chiswick ,press1 ,london1 as an instructor and writer on printing subjects has done much for typography in ,england4 ,he is not wedded to a particular style of typography1 but advocates the adaptation of any style that is good when by so doing clients are pleased and the principles of art are not violated4 ,the title-page reproduced in this connection is unusual in arrangement4 ,the type groups and the device are all squared and their angularity is enhanced by the exclusive use of capitals4 ,realizing that a page or design is defective if it presents the appearance of disjointed sections1 ,mr4 ,jacobi has avoided such results in this instance by arranging the page in the form of a letter ,z4 ,with this chapter the history of typography is brought down to the twentieth century4 ,the modern typographer has great responsibilities4 ,upon him depends the solution of the problem whether or not our beloved calling is to be ranked with the esthetic arts4 ,shall the product of the village printer be only of the standard of that of the village blacksmith8 ,every typographer1 regardless of the nature of the work that is his to do1 should cultivate a love for the artistic and enlarge his knowledge of the things that make for good printing4 ,the chapters that follow will help to this end4 ,because printing as now practiced is in a great degree dependent upon principles and styles developed during the early days of the art1 the student should not neglect carefully to read and digest the historical facts and reproductions that have been presented4 ,too many typographers underrate the value of a knowledge of history4 8,i do not care what printers of old did2 ,i want to know what the printer of tomorrow is going to do40 ,this is almost a literal quotation of the remark of a printer who prides himself on his progressiveness1 and he is only one of many who imagine that to be up-to-date it is sufficient to use new type-faces1 ornaments and borders1 caring little if the resulting jobs lack appropriateness1 harmony1 color1 tone1 and other elements that are essential to perfect typography4 ,illustration3 ,a ,,bradley ,,page ,as produced at the ,wayside ,press1 #ahif ,illustration3 ,a ,,de ,,vinne ,,page ,this probably presents ,de ,vinne's idea of title-page arrangement ,he who labors without a knowledge of history is much like the young man who started to work on a job press4 ,he was allowed to make ready a form1 and after a while the pressman went over and examined the work4 ,on the back of the form he found something that looked like an underlay1 but could discover no reason for its use4 ,mystified1 he inquired what it was all about1 and was told that the apprentice was doing only what he had seen the pressman often do before--cut out several pieces of paper and place them under the form4 ,it had never occurred to the young man to ask why this was done4 ,thus it may be with the typographer4 ,he arranges a job of type composition in the style of something good he has seen1 but fails to get the quality of the original because he does not comprehend just what has served to produce that quality4 ,morris was a student of ancient printing4 ,his thoughts were back in the fifteenth century with ,jenson1 ,aldus and ,koburger1 and when he began to print1 he printed understandingly4 ,there was a well-defined plan1 and there was harmony in ornament1 type1 ink and paper4 ,when the 8up-to-date0 printer began to imitate ,morris he did it with the same degree of comprehension possessed by the young man who made the 8underlay40 ,will ,bradley would not today be as famous as he is in printing circles if he had labored under the false idea that it was useless to know history4 ,bradley knows printing history and loves old books1 and this knowledge and affection are expressed in his work4 ,the printer who succeeds is the one who looks upon all knowledge as valuable and has a good reason for everything he does4 ,,part ,,two ,illustration3 ,,example #af ,layout sketched with colored crayons for a catalog cover ,illustration3 ,,example #ag ,the cover printed as indicated by layout sketch ,illustration ,,the 8,,layout0 ,,man ,how does the work of the typographer of the twentieth century compare with productions of the past8 ,in the belief of some the good typographer1 like the good ,indian1 is dead4 ,the truth is that much of the printing done during the first four hundred years was not well done4 ,while the same proportionate result still prevails1 the ancient did not have the excuse of the modern--lack of time2 nor has the modern the excuse of the ancient--lack of facilities4 ,however1 while poor work in any century or any industry is explainable1 it is not excusable4 ,illustration3 ,,example #a ,booklet cover page laid out with pencil and crayon on gray stock ,someone said1 8,the man who attained his ambition did not aim high enough40 ,perfection is not attainable1 but it should be the goal in our race4 ,many typographers are doing good work1 altho each is doing it differently4 ,no one is producing perfect typography2 but when perfection is the pacemaker no result can be commonplace4 ,the good typographers of the past had the spirit of the master craftsman and their product was inspired4 ,the modern printer to succeed needs only the inspiration that comes of study1 hard work and love of his trade4 ,inspired work1 however1 is generally the result of preparation4 ,artists and advertising men realize the necessity of careful preparation for the process of printing1 but typographers as a class evidently do not4 ,if they did they would do even better work and make bigger profits possible4 ,every printshop should have a 8layout0 man4 ,in spite of the fact that much good printing is done today1 fully nine-tenths of the product is partially unsatisfactory because of lack of preparation4 ,when a business man decides to erect an office building he does not immediately go to a building contractor and tell him to build it4 ,he first consults an architectural engineer1 examines drawings and exchanges opinions1 and when the building contractor starts his work everything has been planned and specified4 ,should printing be done in a less thoro manner8 ,is not the making of a book1 catalog or business card each proportionately as important and as well entitled to proper attention as the larger undertaking8 ,good typography cannot be produced if preparation is slighted4 ,quality printing is not accidental4 ,shops famed for the artistic excellence of their product have maintained their 8shop style0 despite changes in the force of workmen and executives1 and this individuality1 or 8shop style10 as it is termed1 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 7artist1 ad-writer or typographer7 who understands shop preferences in the matter of style4 ,it is the 8institutional idea40 ,in printshops extensive enough to allow of the expense1 one or more layout men should be employed1 and in the smaller concerns the head job compositor or foreman could do the work4 ,solicitors1 when artistically fitted1 could in special cases lay out their own jobs of printing1 as personal contact with the customer peculiarly fits them to do it satisfactorily4 ,the important thing1 anyway1 is to please the customer4 ,while the art side of the practice of typography is important1 it is not all important4 ,typography is also a business4 ,if the customer's tastes and prejudices were ascertained beforehand1 many of the changes now made after jobs are in type1 frequently causing inharmonious arrangements1 could be avoided4 ,the average printer rarely parallels the experiences of a few fortunate printing concerns which1 when receiving an order for a booklet or catalog1 are told the amount of the appropriation and given carte blanche4 ,illustration3 ,,example #c ,,example #b ,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 position4 ,the headings are roughly sketched with pencil ,orders for much of the better class of work are obtained thru 8dummies0 submitted by printers or solicitors4 ,the customer advises a certain number of such persons that he is in the market for a booklet and would like to receive suggestions4 ,each competitor prepares a 8dummy0 on the stock and in the binding intended for the completed booklet4 ,the cover design is roughly sketched or otherwise indicated and the inside pages prepared to represent the finished job4 ,let us imagine ourselves in a printshop of medium size1 which cannot afford the regular services of an artist4 ,from the composing-room force take the most artistic and practical job compositor and install him at a desk4 ,if there is not sufficient desk work to occupy his full time1 arrange with him to fill in spare time at the case4 ,in selecting a man for the position it should be remembered that few typographers have qualifications combining artistic perception and thoro workmanship4 ,it is in a great measure true that a nervous1 artistic temperament unfits a typographer for thoro1 finished work at the case or stone1 while on the contrary1 a calm1 precise1 methodical disposition is often accompanied by lack of imagination4 ,each workman should have opportunity to do that which he can do best4 ,he of the artistic temperament should lay out the jobs1 and he of the mechanical turn of mind should construct them4 ,illustration3 ,,example #e ,illustration3 ,,example #f ,ascertaining color combination by means of crayons4 ,the colder color should predominate ,illustration3 ,,example #d-;a ,after pasting in illustration and counting the lines for machine composition4 ,reduced from the original ,the proprietor or other person in authority should discuss with the layout man the subject of shop style in typographical arrangement4 ,the matter of type equipment should also be gone over1 as nothing hinders the layout man so much as to be compelled to use type-faces selected by another having ideas widely different4 ,it is important that the type equipment be appropriate and sufficient for the class of work done4 ,an equipment of a half dozen harmonizing faces of type is far better than one of two dozen ill-assorted faces4 ,good typography is to a large extent dependent upon the type-faces used4 ,illustration3 ,,example #d-;b ,instructions to operator ,the layout man should make a study of the personality and tastes of a customer4 ,he should meet all such that come into the office1 and arrange to call once upon each of the regular customers4 ,he must keep in close touch with conditions in the composing-room1 so that in the discharge of his duties he does not call for type-faces already set out of the cases1 or not a part of the equipment4 ,the mechanic and the artist1 to do satisfactory work1 must have a certain working outfit4 ,the layout man is no exception2 while he could perhaps manage with only a lead pencil and foot rule1 it would be foolish to do so4 ,his work will be expedited if he has an assortment of good crayons2 hard1 medium and soft lead pencils2 a pair of shears1 a ,t-square1 a gelatine triangle1 a type-line gage1 a table for giving the number of words to an inch in the various size type bodies2 and a library of books and periodicals on printing1 especially of those showing examples of type designs4 ,to provide him also with a set of water colors1 a jar of ,chinese white1 a bottle of gold paint1 a bottle of india ink and several brushes would not be extravagance4 ,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 drawer4 ,book papers could be cut in quarters1 cover papers in halves1 and cardboard in various convenient sizes1 all ready to be used at an instant's notice4 ,several each of ruled headings1 cut cards and other standard goods should also be included4 ,in laying out jobs1 especially large runs1 he should make them of such size as will cut from the sheet with little or no waste4 ,if an order is to be rushed1 he should ascertain if the stock may be had without delay4 ,,words ,,to ,,the ,,square ,,inch ,,sizes ,,of ,,type--,,solid ,,square #e #f #g #h #i #aj #aa #ab ,,inches ,,point ,,point ,,point ,,point ,,point ,,point ,,point ,,point #a #fi #dg #ch #cb #bh #ba #ag #ad #b #ach #id #gf #fd #ef #db #cd #bh #d #bgf #ahh #aeb #abh #aab #hd #fh #ef #f #dad #bhb #bbh #aib #afh #abf #ajb #hd #h #eeb #cgf #cjd #bef #bbd #afh #acf #aab #aj #fij #dgj #chj #cbj #bhj #baj #agj #adj #ab #hbh #efd #def #chd #ccf #beb #bjd #afh #ad #iff #feh #ecb #ddh #cib #bid #bch #aif #af #aajd #geb #fjh #eab #ddh #ccf #bgb #bbd #ah #abdb #hdf #fhd #egf #ejd #cgh #cjf #beb #bj #achj #idj #gfj #fdj #efj #dbj #cdj #bhj #bb #aeah #ajcd #hcf #gjd #faf #dfb #cgd #cjh #bd #afef #aabh #iab #gfh #fgb #ejd #djh #ccf #bf #agid #abbb #ihh #hcb #gbh #edf #ddb #cfd #bh #aicb #acdf #ajfd #hif #ghd #ehh #dgf #cib #cj #bjgj #adaj #aadj #ifj #hdj #fcj #eaj #dbj #cb #bbjh #aejd #abaf #ajbd #hif #fgb #edd #ddh #cd #bcdf #aeih #abib #ajhh #ieb #gad #egh #dgf #cf #bdhd #afib #acfh #aaeb #ajjh #gef #fab #ejd ,,sizes ,,of ,,type--,,leaded with #b-point leas ,,square #e #f #g #h #i #aj #aa #ab ,,inches ,,point ,,point ,,point ,,point ,,point ,,point ,,point ,,point #a #ej #cd #bg #bc #ba #af #ad #aa #b #ajj #fh #ed #df #db #cb #bh #bb #d #bjj #acf #ajh #ib #hd #fd #ef #dd #f #cjj #bjd #afb #ach #abf #if #hd #ff #h #djj #bgb #baf #ahd #afh #abh #aab #hh #aj #ejj #cdj #bgj #bcj #baj #afj #adj #aaj #ab #fjj #djh #cbd #bgf #beb #aib #afh #acb #ad #gjj #dgf #cgh #cbb #bid #bbd #aif #aed #af #hjj #edd #dcb #cfh #ccf #bef #bbd #agf #ah #ijj #fab #dhf #dad #cgh #bhh #beb #aih #bj #ajjj #fhj #edj #dfj #dbj #cbj #bhj #bbj #bb #aajj #gdh #eid #ejf #dfb #ceb #cjh #bdb #bd #abjj #haf #fdh #eeb #ejd #chd #ccf #bfd #bf #acjj #hhd #gjb #eih #edf #daf #cfd #bhf #bh #adjj #ieb #gef #fdd #ehh #ddh #cib #cjh #cj #aejj #ajbj #haj #fij #fcj #dhj #dbj #ccj #cb #afjj #ajhh #hfd #gcf #fgb #eab #ddh #ceb #cd #agjj #aaef #iah #ghb #gad #edd #dgf #cgd #cf #ahjj #abbd #igb #hbh #gef #egf #ejd #cif ,,example #g ,table for ascertaining the number of words to square inches4 ,use of this table in laying out booklets and catalogs will not only save time but will minimize the chance of a miscalculation ,illustration3 ,,example #h ,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 booklet4 ,a little questioning brings out the information that the customer desires something attractive1 refined1 and of good quality4 ,he does not want a cheap job1 and neither has he money to spend upon expensive de luxe booklets4 ,the layout man looks over his sample papers and finds that there is on hand a ten-cent white antique paper #be #ch inches in size4 ,taking a quarter sheet he folds it repeatedly until the leaf appears to be about the proper size4 ,measuring it he finds it to be #d #f inches4 ,the leaf is then trimmed to #d #e inches 7thus allowance should always be made for trimming the edges after binding74 ,for the cover the layout man selects from his samples a medium gray antique stock of good quality4 ,the cover stock should harmonize in finish with the paper on the inside4 ,in this instance an antique finished stock is selected to cover the antique finished paper on the inside4 ,many are the booklets that would have been improved by attention to this rule of harmony4 ,however1 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 paper4 ,the cover stock selected in this instance is #bj #be inches in size1 and an eighth of this sheet folded once gives a leaf #e #f inches4 ,deciding to have the cover lap three-sixteenths of an inch over the edges of the inside leaves1 it is trimmed to #d-i_/af #f inches4 ,illustration3 ,,example #aj ,label as set without instructions ,on one of the inside leaves a page is penciled off1 the layout man judging how much of the paper should be covered by print4 ,for cheap work it is generally necessary to crowd the matter into the least possible number of pages1 and in such case narrow margins are allowed4 ,for the better quality of work1 liberal margins are necessary to proper results4 ,a page should set toward the top and binding edges1 the margins at these places being each about the same4 ,the margin at the right edge should be a little more than at the top and back1 and the margin at the bottom should be a little more than at the right edge4 ,for the booklet now supposed to be in course of preparation1 #b #d inches has been determined as the proper size of the type-page4 ,each page thus requires eleven square inches of type-matter4 ,the layout man refers to the table 7,example #g7 which gives the number of words to a square inch and ascertains that eleven square inches of ten-point type1 the lines separated by two-point leads1 should accommodate one hundred and seventy-six words4 ,multiplying this number by six1 allowing two pages at the front of the booklet for the title1 etc41 he finds the booklet will take #a1jef words1 about the number of words in the copy supplied4 ,illustration3 ,,example #i ,business card as set without instructions ,for a booklet of this kind the type should be no smaller than ten-point4 ,instead of stinting margins and sacrificing legibility1 as is often done in endeavoring to force copy into a limited number of pages1 additional leaves should be added4 ,the cover and inside papers having been prepared in the proper size and number of leaves1 the dummy is stitched with wire or sewed with silk floss as may be desired4 ,the arrangements of the title-page1 the first text-page and a page entirely text matter are indicated in proper position by means of pencil and crayon2 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 dummy1 getting by this means the customer's approval of both type-face and general effect4 ,the appearance of the printed page may be anticipated by pasting in position a type-page cut from another booklet already printed4 7,examples #b and #c47 ,in a shop where much booklet work is done1 it would be a convenience to the layout man if a number of specimen pages1 set in the available body type 7both solid and leaded71 were printed for use in preparing dummies4 ,these specimen pages should be about #e #g inches1 a size that would make them usable for most purposes4 ,the cover arrangement was sketched on the gray stock 7,example #a71 the border being represented by the gray lines of a hard lead pencil4 ,the type line was indicated by means of a soft black lead pencil and an orange crayon4 ,ornaments are not specified because they are better omitted on booklets where dignity is the principal feature4 ,the dummy booklet thus completed is submitted to the customer and when approved goes to the workrooms with the copy4 ,the compositor1 make-up man1 stockman1 pressman and binder have no excuse for any misunderstanding1 as1 generally speaking1 they have merely to duplicate the dummy4 ,the labor of the estimate man1 too1 is lessened1 as the dummy booklet affords a substantial basis upon which to figure the cost4 ,the plan of making a dummy booklet1 just explained1 can be adapted to many jobs1 but of course it should be varied to suit special requirements4 ,illustration3 ,,example #ab ,business card as laid out ,in cases of periodicals and voluminous catalogs1 dummy sheets should be printed with the outlines of the page indicated by light-faced rule4 ,with such sheets the layout man is enabled quickly to paste in position prints of the illustrations and text matter from the galley proofs4 ,getting his instructions in such methodical manner the make-up man can do his work without confusion of orders1 and the proofreader's task is made easy4 ,when illustrations are provided to be incorporated in the text matter there is more or less trouble in making up the pages4 ,to center all illustrations so as to avoid changing the width of the type lines is easy but not always artistic4 ,it is economical to have plates made the full width of type matter1 but the printer is seldom consulted until after the plates are made4 ,however1 various sizes of illustrations may be attractively grouped on facing pages and the type-matter filled in around them4 ,this method may appear difficult because the text matter is often composed on machines2 but it is not difficult if prepared in this manner3 ,take the prepared body-type sheets1 cut them to the required page size1 paste them to the dummy sheets1 and upon the pages of text matter thus presented fasten the prints of the illustrations in proper positions4 ,the body-type sheets need not be used on pages for which there are no illustrations2 in such instances merely the number of lines to a page is ascertained4 ,example #d-;a demonstrates how the print of the illustration is placed over the body-type page1 and the 8step0 shape of the pencil lines shows how the boundaries of the type lines are made to fit the outline of the illustration4 ,the length of type lines should always be ascertained with the pica 7twelve points7 as the unit of measurement4 ,illustration3 ,,example #aa ,notehead as laid out for compositor4 ,the three specimens on this page are related in design ,supposing ,examples #b1 #c and #d to be dummies of pages1 the composition of which is to be done on the linotype or monotype machine1 the layout man with his pica measure starts at the initial letter ,t and measures and counts the lines1 noting the results in the margins4 7,see ,example #d-;a4 ,the page as shown is slightly reduced1 hence the lines do not measure as set forth47 ,the figures are copied from the margins onto a slip and will then appear as shown in ,example #d-;b4 ,this plan emphasizes the necessity of a layout man as a member of the executive staff in the modern printshop4 ,it may be a simple procedure to reset run-around matter at the moment it is needed by the make-up man1 but it is an expensive habit4 99 99 99 99 99 ,illustration3 ,,example #ac ,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 importance4 ,this condition leads to unsatisfactory results and the customer is the sufferer2 his stationery as a whole is likely to be not only inartistic but a patchwork of typographic styles and arrangements4 ,to illustrate this3 ,a dealer in artists' materials orders at various times letterheads1 business cards and package labels1 and the copy is sent to the workrooms with no instructions about style4 ,assuming that a different compositor gets each order1 the jobs are composed as shown in ,examples #h1 #i and #aj4 ,these specimens are above the average in arrangement1 but are faulty in that they have no relation to each other in appearance2 have nothing distinctive in their typography that identifies the business card with the letterhead or the label4 ,illustration3 ,,example #ad ,layout of a cover-page1 with instructions in detail as to material to be used4 ,reduced from original ,illustration3 ,,example #ae ,cover-page as set from the instructions4 ,reduced from original ,how different the results had an artistic layout man prepared each order before it was given to the compositor4 ,examples #aa1 #ab and #ac1 roughly sketched with pencil and crayon1 demonstrate what could have been done4 ,with stationery thus harmoniously treated a business house would be given credit for individuality and progressiveness4 ,in a printshop doing a good class of work 7every printshop should endeavor to do that7 the layout man ought to make a study of color harmony4 ,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 rays2 charts and tables which help to solve the color problem are easily obtainable4 ,after a little study and practice he will learn that while red1 yellow and blue 7the primary colors7 harmonize with each other1 mixtures of two or all three give shades that are more pleasing4 ,olive-green 7an art shade7 substituted for blue1 in combination with orange1 produces an artistic blend in place of the gaudiness which otherwise would prevail4 ,this because olive-green is a mixture of blue and orange2 a relationship in color composition is established and contrast lessened4 ,a black page increases in interest with the addition of a touch of red1 and for this purpose vermilion is recommended4 ,the vermilion shade of red is approximated by mixing white with orange-red4 ,the colored crayons with which the layout man should be supplied are exceedingly useful in determining color combinations4 ,the eye is a reliable guide in this matter1 if it is carefully trained to recognize color harmonies4 ,it should be easy to distinguish the right from the wrong color treatment in ,examples #e and #f4 ,the colder color should always predominate2 backgrounds of bright red and bright yellow are difficult to harmonize with any color of ink excepting black4 ,from the insert 7,examples #af and #ag7 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 roller4 ,when the page is set in type it is well to have the proofs in the colors and on the stock to be used1 but it is unnecessary to separate the design into several forms to do so4 ,for a job such as ,example #ae1 for instance1 two proofs may be pulled1 one in black and one in orange1 and the initial cut out of the sheet printed in orange and pasted in position on the sheet printed in black4 ,another and a more satisfactory way is to ink the entire page with black1 then clean the black from the initials1 and ink them with orange by means of a finger4 ,it may be relevant to suggest that the human skin is ideal for inking purposes1 and that a printer's composition roller is an imitation of its qualities4 ,the layout man1 in addition to the study of ink harmony1 should learn to blend colors and tints of paper stock4 ,he should know that a buff or cream inside paper reflects the color of a yellow-brown cover stock1 and hence makes a prettier combination than white inside paper and brown cover stock4 ,another important point is the color blending of a tipped-on illustration and the stock acting as a background4 ,the prevailing shade in a color illustration should be matched by the background or by a surrounding border1 or by both4 ,when laying out advertisements or other display pages the size of the type-face should be written in the margin 7,example #ad74 ,practice will enable the layout man intuitively to approximate the size needed4 ,illustration3 ,,example #bj ,an architectural subject appropriately treated ,illustration ,,harmony ,,and ,,appropriateness ,in music there is that which the ,germans call 8,leit-motif0--the guiding theme in the construction or interpretation of musical compositions4 ,the 8,leit-motif0 finds a parallel in the central idea or motive governing the composition of a building1 a painting1 a book or a job of printing4 ,if ,gothic is selected as the style of architecture for a building1 every detail from the arches to the smallest bit of ornamentation is kept in harmony with the central idea of construction4 ,if the building is to be ,colonial1 every detail is made appropriate to the ,colonial motive4 ,illustration3 ,,example #ah ,to obtain ,harmony it is frequently necessary to use but one series of type1 and either all capitals or all lower-case ,the person is legion who undervalues the importance of harmony and appropriateness4 ,houses are furnished without regard to a general plan and furniture is added because it strikes the fancy at the moment of purchase4 ,a ,morris chair in dull-finished wood1 a ,louis ,,xv table with dainty curves and gilt luster1 and a mahogany or ebony piano case are gathered in motley discord on an oriental rug4 ,and when this same person has printing done1 or does it himself1 there is again revealed an utter disregard for the things that make for harmony4 ,what is appropriate8 ,there are times when it is difficult to give an unprejudiced answer1 especially when an idealistic art interpretation of the appropriate is combatted by the homely reasoning of a tiller of the soil4 ,as a finishing touch to the classic architecture of the agricultural building at ,washington the words ,fructus1 ,cereales1 ,forestes and ,flores were carved in suitable places on the structure4 ,the secretary of agriculture noticed the ,latin words and forthwith ordered the architect to have them recarved in the ,english--,fruits1 ,grains1 ,woods and ,flowers4 ,now there are those who say the words as modified suggest a sign on a country store4 ,the architect probably reasons that the words as originally carved were purely decorative1 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 sausages4 ,it requires a discriminating judgment to distinguish between the appropriate and inappropriate4 ,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 ,socrates1 ,horatius1 ,poseidon1 ,aphrodite1 ,pericles and ,seleucus4 ,names such as ,wall ,street1 ,broadway1 ,bowery and ,fifth ,avenue are unobjectionable1 but ,seleucus ,street and ,pericles ,street--6 ,typographers frequently go wrong in the use of the old ,roman ,v4 ,the ,v as part of the words ,,pvblic ,,library on a stone building excites no comment2 it seems appropriate and in good taste2 but as part of the words ,,pvre ,,milk on a grocer's letterhead it tempts the risibility in our natures4 ,after all1 good judgment is one of the most valuable assets a man can possess4 99 99 99 99 99 ,harmonious and appropriate results in printing are brought about by discreet selection and use of these three elements3 type1 ink1 paper4 ,it is one thing to ink the type and pull an impression on paper1 and it is another thing to do it properly4 ,it makes a difference what type is used1 what ink is used1 and what paper is used4 ,there are hundreds of type-faces1 many colors and qualities of inks1 and a variety of finishes and qualities of papers4 ,as to type-faces3 ,printers of law briefs and legal blanks need the formal1 legible modern romans4 ,printers making a specialty of commercial stationery1 wedding invitations and calling cards need scripts and engravers' romans4 ,printers whose chief product is high-class announcements and booklets cannot do without old-style romans1 italics and text faces4 ,when everything in printing from the diminutive calling card to the massive catalog is solicited many styles of type-faces are needed4 ,illustration3 ,a ,harmony4 ,the heavy line and the light line are found in the construction of both border and type-face4 ,illustration3 ,b ,harmony4 ,the black1 pointed characteristic is a peculiarity of both type-face and border4 ,illustration3 ,c ,harmony4 ,type-face is made of strokes of one width2 border is composed of one line of similar width4 ,illustration3 ,d ,harmony4 ,the two type faces are of the same design2 one is stronger in tone4 ,illustration3 ,e ,harmony4 ,the two type faces are of similar design2 one is slanted and slightly altered to obtain contrast4 ,illustration3 ,f ,near-harmony4 ,type faces are sufficiently similar in design to blend if contrasting sizes are used4 ,illustration3 ,g ,incongruous4 ,border has no characteristics that can be found in the italic type-face4 ,illustration3 ,h ,incongruous4 ,there is no relation in the style of these two type-faces2 one has serifs1 the other none4 ,illustration3 ,i ,incongruous4 ,letters not related in design3 one is condensed1 the other extended4 ,,example #ai--;,harmonious combinations1 and combinations that are incongruous ,illustration3 ,,example #ba ,a booklet cover1 the coloring and typography of which is suggestive of the subject ,as to inks3 ,there are inks ground in strong varnish for bond papers1 inks ground in soft varnish for coated papers1 and heavy opaque inks for dark cover papers1 and it makes a deal of difference if they are not used appropriately4 ,and then1 in the matter of harmony of colors there is a subject for much study4 ,the wise printer will use good black inks and enliven his jobs with mere touches of orange or vermilion4 ,black and orange are always pleasing in combination and look well on most papers4 ,there are pitfalls in the use of numerous colors1 and until the subject of color harmony is understood by the printer he will wisely adhere to black and orange4 ,as to papers3 ,wove and laid antique papers1 white and buff tinted1 are appropriate for announcements and booklets in combination with old-style type-faces and black and orange inks4 ,dainty papers of linen finish in combination with delicate engravers' type-faces1 are appropriate for milliners1 florists1 jewelers and others catering to the esthetic tastes of women4 ,dull-finished coated papers are considered more artistic than highly enameled ones1 and there are those who prefer it as being more restful to the eyes4 ,illustration3 ,,example #bc ,an old lock-plate ,it is a stupendous undertaking1 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 typography4 ,there are many printers doing good work and each of them has probably arrived at his point of attainment by a different route4 ,there is no royal road to learning4 ,the student may be assisted1 but whether he succeeds depends to a great degree upon himself4 ,he must have an open mind1 good judgment1 and a liking for simplicity4 ,simplicity is synonymous with good typography and its path is a straight and narrow one4 ,he who would do worth-while typography must decide wisely when accepting the good things offered by his friends1 the paper man1 type man and ink man4 ,they are generous in their offerings and willingly assist the doubting one in deciding2 but confidence in his own judgment is a necessary qualification for the typographer who would attain success4 ,illustration3 ,,example #bd ,inscription on a ,roman arch ,the ideal printshop is that one which contains only harmonious type-faces1 ink colors and paper stock4 ,this ideal condition being impossible except in a small shop1 the best alternative is to have all type-faces as nearly harmonious as possible4 ,it would be wise to build upon the body type as a foundation4 ,choose a body face that will be suitable for most purposes1 and then select a series or family of display types that harmonize with it4 ,if ,caslon ,old ,style is chosen as the body letter1 ,caslon bold1 ,caslon italic and ,caslon text will afford variety in display while retaining harmony4 7,of course the large display sizes of the ,caslon ,old ,style should be included47 ,the ,cheltenham family probably provides the greatest variety of harmonizing faces4 ,scotch ,roman is a dignified and legible letter1 and supplemented by its italic and the larger display sizes is a satisfactory face for many purposes4 ,old ,style ,antique is a useful letter where a black tone is desired and is pleasing in its original form4 ,there are many artistic letters now to be had that give the effect of hand-lettering1 which are admirable for distinctive advertising literature4 ,illustration3 ,,example #bb ,type-design for catalog cover suggested by the old lock-plate ,while harmony of type-faces is essential1 yet a certain amount of contrast is desirable4 ,at one time it was customary to alternate a line of capitals with one of lower-case4 ,this arrangement gave contrast1 but not harmony4 ,the best results are obtained by the use of either all capitals or all lower-case4 ,as explained in the chapter 8,when ,books ,were ,written10 our alphabet in its original ,roman form consisted of capital letters only4 ,lower-case letters1 also known as minuscules1 are the result of evolution1 and in form differ materially from the capitals4 ,custom decrees that a capital letter be used to begin an important word otherwise in lower-case1 but with this exception either kind is better used alone4 99 99 99 99 99 ,example #ai illustrates harmonious combinations of type-faces and borders and also presents several incongruous features4 ,section ,a is an all-capital scheme enclosed in a border of heavy and light rule4 ,a border such as this owes its origin to the panels used by the ,romans to surround inscriptions on stone1 and as these inscriptions were in capital letters only1 the appropriateness of the treatment is manifest4 ,as the letter is also formed of heavy and light strokes the harmony is enhanced4 ,in section ,b there is harmony from both the historic and artistic viewpoints4 ,the black text face1 representing as it does the direct result of the evolution from capital letters1 is appropriately used only in its lower-case form4 ,the use together of text capitals is objected to on the ground of illegibility4 ,this black text face 7correctly called ,gothic7 is historically associated with ecclesiastical printing1 and the border1 consisting of pointed crosses of black tone1 blends with the pointed black letters of the type-face4 ,illustration3 ,,example #be ,cover-page for a catalog of books1 using type imitations of woodcut initials and borders ,section ,c shows a plain letter of modern cut known erroneously as gothic4 ,containing no serifs1 it lacks a feature which has always been considered necessary to beauty in type-faces4 ,as a harmonious border for this face there is nothing better than a plain rule of the width of the type strokes4 ,the next three panels demonstrate such harmony as may exist between type-faces of different series3 ,d4--,this panel shows ,caslon bold in combination with ,caslon roman1 and demonstrates the close harmony existing between type-faces of the same family4 ,e4--,another demonstration of the harmony of the family types4 ,f4--,harmonious1 to a certain extent4 ,the type and rule in the next panel do not harmonize for these reasons3 ,g4--,the border is too black and square in form4 ,italic1 because of the slant of its letters1 looks better not surrounded by a border1 but when one is used it should be light and contain some of the characteristics of the italic4 ,in all cases where ornamental borders are used more finished results are obtained if a rule separates the border from the type1 as in ,section ,b4 ,the next two panels present the 8horrible examples10 which are defective for these reasons3 ,h4--,the type-face of the upper group has nothing in common with that of the lower group4 ,that of the upper group is a distinctive old-style roman1 with serifs1 and is set in lower-case1 while that of the lower group is a plain black modern letter1 without serifs1 and is set in capitals4 ,the main display should never be lighter in tone than the less important type matter4 ,illustration3 ,,example #bf ,a plain page without ornament or decorative types1 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 condensed4 ,the shape of the letters of a type-face should conform to the shape of the page1 and so far as possible to the shape of the companion letter1 when one is used4 ,condensed letters should be avoided except for pages that are long and narrow1 and an extended letter should not be used except on a wide page4 99 99 99 99 99 ,there are more typographic sins committed thru violation of the laws of appropriateness than in any other way4 ,in this regard it would not be difficult to make out cases against the best of typographers1 whose sins are washed away by good work in other respects4 ,as in architecture1 where one part of a building bears relation to all other parts1 so in typography there should be a motive that blends all elements in serving one well-defined purpose4 ,the phrase 8,is it appropriate80 prominently displayed above the type cabinets1 over the presses1 in the stock-room1 and over the layout man's desk1 would help to keep in mind this important requirement4 ,an architectural motive was suggested by the copy for ,example #bj1 and type-face and decorative border were selected that the motive should be emphasized4 ,the architecture of the ,romans was frequently embellished with inscriptions 7see ,example #bd71 and in modern architecture the panel of ,roman lettering is a feature2 the lettering is generally all capitals of the same size1 of a style near that of the ancient lettering2 and the panel is outlined with molding1 plain or decorative4 ,serving a purpose equivalent to the architect's panel molding1 the type or rule border is a valuable addition to a page of type4 ,a page of display type or a halftone not surrounded by a border is like an oil painting without a frame4 ,the egg-and-dart border around ,example #bj is historically associated with architecture4 ,the type-face is a ,roman capital letter designed by ,fred4 ,w4 ,goudy from an inscription found in the ancient ,forum at ,rome4 ,illustration3 ,,example #bg-;a ,treatment appropriate for a church program1 in style based upon old ecclesiastical manuscript books4 7,see specimen below47 ,illustration3 ,,example #bg-;b ,portion of a page of an old manuscript missal ,bismarck was called the 8,iron ,chancellor0 because of his great strength of character and unbending will4 ,strength instantly associates itself with the mention of iron or steel1 hence the motive for the construction of ,example #bb4 ,it may be interesting to know that the design of this page was further suggested by the old lock-plate 7,example #bc74 ,a printer with imagination can absorb ideas from many sources4 ,the lock-plate is not literally reproduced in type1 but a few of its features1 including the key-hole1 were borrowed and conventionalized4 ,an artist-designer does not copy his models closely2 they serve the purpose of suggesting shape and treatment and his imagination does the rest4 ,illustration3 ,,example #bh ,cover-page for a catalog of decorative materials1 suggesting festive gatherings1 music and waving flags ,for the cover of a small catalog listing rare books1 a typographic motive is found in the woodcut borders and initials of the early printers4 ,example #be shows what may be done with type-foundry material on such a cover4 ,the border is of black tone and the type and initials are given the strength that harmonizes with it4 ,old books suggest discolored leather1 dusty shelves and plain men1 and it is an abrupt change to the subject of millinery1 with its bright colored feathers1 ribbons and delicate finery4 ,the milliner ornaments his salesroom with vines and flowers and dainty colors1 and the printer gets his typographic motive from such sources4 ,example #ba illustrates a booklet cover treated thus appropriately4 ,the page size is unconventional1 the coloring is dainty1 and the type lines are neatly diminutive4 ,as a millinery store is unlike an office in which are maps and blue prints and legal documents1 so typography for these two purposes should be unlike4 ,example #bf is a page severely plain and non-sentimental4 ,the types are merely to tell something in a blunt manner4 ,there is needed no touch of decoration or color to interest the reader1 because those who read it would do so whatever the treatment4 ,this is the only example in the present chapter in which the advertising element is unimportant4 ,the page may be commonplace because it need not be anything else1 altho it is well to do good work even here4 ,from the surveyor's office our journey of instruction takes us into a church during an elaborate ,easter service4 ,light filtered of its brightness by stained glass windows2 high-placed ,gothic arches pointing toward the sky2 soft organ-music--all these create an atmosphere of solemnity and harmony4 ,a program or pamphlet for use during a church service should be as appropriate to the environment as a ,book of ,common ,prayer or ,bible4 ,typographic treatment good as shown in ,examples #bb1 #bf or #bh would be ridiculous for a church program4 ,example #bg-;a shows a page historically appropriate4 ,the type-face is peculiarly fitting because of its pointed form1 and also for the reason that a letter of similar design was used by medieval scribes on ecclesiastical books 7see ,example #bg-;b74 ,the crossed rules1 which should be printed in orange-red1 are adapted from the guide lines as made by the scribes for marking the position of a page on the sheet4 ,illustration3 ,,example #cj ,title-page in semi-,colonial style1 appropriate for use with a cover design such as ,example #bi ,when a holiday crowd is gathered1 dignity is put aside and all enter into the festive spirit of the occasion4 ,here is the motive for the typographic treatment of a booklet or catalog of decorative materials as presented by ,example #bh4 ,it would be excessive emphasis of appropriateness to print such a page in a combination of bright red and blue4 ,the colors should be softened4 ,the page would look well printed in a deep blue with a flat blue tint overprinting the star border4 ,there is room for improvement in the support typographers give artists in the production of booklets and catalogs4 ,in many cases title-pages are constructed with no regard to the motive suggested by the design on the cover4 ,bibliophiles judge a book not only by the excellence of its execution1 but by the harmonious unity that may be expressed in every detail1 from the literary contents to the last bit of tooling worked on the cover4 ,the type1 ornamentation1 paper1 ink1 margins1 leather1 the arrangement of the title-page and the cover treatment1 all must be selected and utilized in expression of a dominant central motive4 ,the same rule presents the key to good typography in job work4 ,example #bi shows the ,colonial arch adapted as the border of a booklet cover4 ,the artist gives this treatment to the cover because of the motive suggested by the name 8,colonial ,trust ,company10 and when the title-page is set it would be a mistake not to use some ,colonial arrangement4 ,example #cj blends with ,example #bi and is modified from the old ,colonial title-page treatment just enough to give it a modern appearance without sacrificing the old-time atmosphere4 ,the border suggests both the widely-spaced rules of the ,colonial printers and the architectural pillars of ,example #bi4 ,no letter spacing is used1 despite the temptation offered4 ,illustration3 ,,example #bi ,the ,colonial arch 99 99 99 99 99 ,discussion of the subject of harmony and appropriateness could be extended much further than is allowed by these limits4 ,pages could be filled with descriptions of instances in which the compositor had erred in treating typography and ornamentation inharmoniously or with an unimaginative appropriateness4 ,the use of angelic ornaments on ,y4 ,m4 ,c4 ,a4 printing1 where something more substantial is desirable2 the double-meaning that may be read into the use of a horseshoe ornament on a printer's letterhead2 the placing of illustrations of live fish1 lobsters and animal food on banquet programs--these are a few of the things that might be mentioned4 ,high-class catalogs have been marred by the use of stock decorative initials which were at variance with the other decoration4 ,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 moment4 ,hundreds of dollars are spent on the work and then for the sake of saving thirty cents 7the cost of a harmonious initial or ornament7 many dollars in effectiveness are sacrificed4 ,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-headings4 ,in order to secure complete harmony even the lettering on the cover should blend in style with that used for the title-page1 sub-headings and text pages4 ,altho strict adherence to the laws of harmony and appropriateness is necessary in the production of good work in any field of endeavor1 ,americans seem to be really proud when they violate such laws4 ,we all know the person who dresses in a slouchy manner because he read somewhere that ,horace ,greeley dressed that way4 ,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 so4 ,there are also house-organ publishers who use inharmonious and inappropriate type-faces and decoration because ,elbert ,hubbard thus treats the cover of the ,philistine4 ,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 admiration4 ,as there is art in tailoring and in the selection of clothes1 there is also art in printing1 and he who investigates will find that the great natural laws of beauty apply even to typography1 which some by their work seem to think requires no more thought than ditch-digging4 ,illustration3 ,,example #dc ,uniform tone in classic typography4 ,page by ,bruce ,rogers ,illustration ,,tone ,,and ,,contrast ,this chapter is a story of the alpha and omega of color--white and black4 ,since the creation of the world1 when light first illumined the darkness1 these two colors 7if ,i may call them colors7 have been emblematic of extremes--white1 the symbol of purity and goodness1 black of impurity and evil4 ,white and black represent extremes in color4 ,mixing of all the color rays of the solar spectrum produces white1 and mixing of all the colors in the solid form of printing ink produces black4 ,from this contrast of white and black maybe drawn a lesson in color4 7,example #ca47 ,light represents warmth1 darkness cold4 ,as the colors are toward light they are warm2 as they are toward darkness they are cold4 ,red becomes warmer as it takes on an orange hue1 and colder as it takes on a purple hue4 ,a warm color should be contrasted with a cold color--as orange with black4 ,the further in tone the color is from black the more it contrasts with the black4 ,as an illustration3 ,orange is more pleasing than a deeper shade of red as a companion color for black4 ,blue1 purple or green1 selected to be used with black1 must be lightened with white ink to get the desired contrast4 ,illustration3 ,,example #ca ,contrast in color and tone ,white and black as a combination are and ever have been popular with writers1 printers and readers4 ,fully nine-tenths of the newspapers1 books1 catalogs and other forms of reading matter are printed with black ink on white stock4 ,it is coincident that optical necessities require for best results in reading a black-and-white combination1 and black ink and white paper are more cheaply and easily produced than other colors of ink and paper4 ,illustration3 ,,example #cb ,an example of uniform tone and contrast of black and white4 ,page by ,f4 ,w4 ,kleukens1 ,darmstadt ,this chapter is also an illustrated sermon on uniformity of tone or depth of color1 in which is pointed out the necessity of bringing many spots of black or gray into harmonious relation4 ,the esthetic importance of uniformity of tone is universally recognized4 ,choirs are robed in white and black2 fashion has its uniform clothing for the hours and functions of the day and night2 theater choruses and the soldiery are living masses of uniform tone and color4 ,as uniformity is important in these things1 so is uniformity important in the tone of a page of printing4 ,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 irregularly2 while on the contrary a type-page of uniform tone and arrangement maybe likened to a uniformly equipped regiment of soldiers marching with rhythmic tread4 ,a page of display typography composed of a mixture of irregular gray and black tones is inexcusable in the sight of the art-loving reader4 ,as combinations of inharmonious type-faces are wrong1 equally so are combinations of incongruous tones4 ,for the sake of contrast and variety in typography1 art principles are too often ignored1 the printer confessing to ignorance or lack of ingenuity4 ,contrast is necessary1 but it may be had without sacrificing uniformity4 ,again making use of a military simile3 soldiers are marched in platoons1 companies1 battalions and regiments that the monotony of solid formation may be broken2 type is arranged in groups and paragraphs for similar reasons4 ,while an absolutely solid page of type may present a pleasing tone1 a slight break in the regularity is desirable for reading purposes4 ,thus art makes concession to utility1 but such concession should always be granted reluctantly4 ,there is classic authority for the arrangement of the type lines in ,example #bj of the preceding chapter1 but on the majority of printing jobs it is necessary to compromise with utility and emphasize important words1 as in ,example #ai-;a of the same chapter4 ,the secret of producing artistic typography in these practical times is to pilot the ideas of the customer into artistic channels2 emphasize the words he wants emphasized1 but do it in a way that will result in creditable typography4 ,there is a right way and there is a wrong way of arranging type1 and too many typographers arrange type the wrong way and unjustly blame the customer for the result4 ,illustration3 ,,example #cd 99 99 99 99 99 ,the effectiveness of uniformly black tone on a background of white is well illustrated on the beautiful book title shown as ,example #cb1 in which even depth of color is consistently maintained4 ,there is not a weak spot on the page2 border1 ornament and lettering are of equal tone1 and the white background is reflected thru the black print in agreeable contrast4 ,the ,germans are masters in their treatment of contrast and uniform tone1 and he who bewails the limitations of black and white printing should ponder over the results shown by this specimen from over the sea4 ,here is a practical demonstration of the workings of the theory of uniform tone in typography4 ,example #cc displays four ornaments1 each of a different tone or depth of color4 ,one of the customs when constructing a booklet cover-page to be ornamented1 is first to select an ornament that is appropriate in design and of proper proportions4 ,upon this ornament the page is constructed1 and it dictates the characteristics of the border and of the type-face2 its tone determines the tone of the entire page4 ,this is also true of a trademark furnished by the customer1 altho such plates are frequently so inartistic that a compromise is necessary4 ,illustration3 ,,example #ce ,assuming that a cover-page is to be designed and that ornament ,a has been selected for use on the page1 a rule border is chosen with triple lines approximating the strength of those in the ornament4 7,example #cd47 ,the lines are very thin1 and white space is a large factor in producing a tone that is light and dainty1 in keeping with the subject of the illustration4 ,a perfect result would be obtained with a type-face of very thin strokes1 yet ,caslon capitals1 slightly separated to let in white space1 give good results4 ,illustration3 ,,example #cc ,four ornaments1 each of a different depth of tone1 used in the construction of the four pages shown as examples #cd1 #ce1 #cf and #cg ,illustration3 ,,example #cf ,the ornament shown as ,b has been formed of lines darker than those used in the first ornament1 and a mass of white forms a spot of contrast4 ,rules of the proper tone are selected and a border unit adopted that reflects the spot of white in the ornament4 7,example #ce47 ,cheltenham capitals maintain the tone scheme4 ,in this case1 as in others1 the type-face is a trifle stronger in tone than ornament and border4 ,this is well4 ,type-lines on a cover are usually of more importance than the decoration4 ,illustration3 ,,example #cg ,illustration3 ,,example #ch4 ,dark tone--solid ,illustration3 ,,example #ci4 ,light tone--spaced ,two extremes of tone on book pages4 ,the same type-face is used on both pages2 the spacing between words and lines alters the tone ,illustration3 ,,example #dj ,a page by ,j4 ,h4 ,kehler1 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 blacks4 ,a border is made of a light line and a dark one1 and the ,bodoni type-face1 containing light and heavy strokes in contrast with a white background1 assists in producing a decidedly pleasing medium black tone 7,example #cf74 ,this combination of ornament1 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 background4 ,the dense black tone of ornament ,d is duplicated in the dark-line border filled with black decorative units 7,example #cg74 ,the black-printing ,chaucer ,text reflects not only the tone but the decorative characteristics of ornament and border4 ,the tone of this example approximates that of the ,german page 7,example #cb74 ,these four examples afford an interesting study in uniform tone4 ,as the tone or depth of color increases from the light gray of ,example #cd to the dense black of ,example #cg1 it will be observed that the contrast between the print and the paper background also increases4 ,this leads to the subject of contrast4 ,what amount of contrast is needed on the ideal job of printing8 ,there is conflict between art and utility on this question1 but there need be none4 ,art demands that the print be a part of the paper upon which it is impressed1 much as the plant is a part of the earth in which its roots are buried1 and utility demands that the print shall be strong and clear that reading may be made easy4 ,the artist-printer lessens the contrast between print and paper by printing with gray ink on gray stock1 brown ink on light brown stock1 and so forth4 ,the utility printer gets the maximum of contrast by printing with black ink on white stock4 ,as printing is both art and business some compromise must be made1 and it is this3 ,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 tone4 ,black print on white paper is made artistic by impressing the print firmly on antique paper4 ,this roots the print to the paper1 and the result is more idealistic than that presented by the print daintily set upon the surface of glossy1 enameled papers4 ,illustration3 ,,example #da ,the spotted black tone of the border is reflected in the treatment of the text4 ,the tone is made uniform by printing the border in a light color4 ,page by ,university ,press1 ,cambridge ,lack of artistic feeling among typographers and customers is responsible for unpleasant contrasts in tone4 ,a dense black illustration or initial will be set in a page of light gray reading matter1 or type of black tone will be used on a page with an illustration of light lines4 ,great contrast in any detail of typography is not art but eccentricity2 this statement may be made plain by a comparison4 ,one winter's day when the conventional folk of ,new ,york were wearing clothing of a somber hue1 they were startled by the appearance among them of ,mark ,twain in a suit of white4 ,six months later the humorist's garb would have excited no comment1 but the black clothed mass of humanity around him emphasized the whiteness of his attire1 and the conspicuousness thus produced separated him from his surroundings and made him an object of curiosity4 ,such things are done by great men to show their disregard for custom and by others because they are foolish or are advertising something2 but it is common-sense right from ,cervantes to do when in ,rome as the ,romans do 7meaning that printed work which both attracts and repels by its gaudy1 unconventional appearance is not nearly so good or desirable as the more conventional printed work which tastefully and quietly presents its message in subdued tones74 ,one man will become widely known because he has dived from a big bridge or gone over ,niagara ,falls2 another because he has painted a great picture or modeled a great statue4 ,the one thrills1 the other impresses4 ,it may be easier to produce typography which attracts attention by contrast1 but such results do not bring the lasting satisfaction that comes from typography thoughtfully and artistically designed4 ,illustration3 ,,example #dd ,a study in uniformity of tone as found in combinations of type and decoration ,illustration3 ,,example #db ,the tone of the illustration and type-face is here blended4 ,card by ,school of ,printing1 ,boston1 ,mass4 ,several other points are suggested by ,examples #cd to #cg4 ,a page for a cover should be of darker tone than a page to be used as a title inside the book2 this where the body-type of the inside pages is of the customary gray tone4 ,a cover placed upon a book to protect it suggests strength1 and the typography of the cover should conform to this suggestion4 ,the reason for the uniform tone presented by each of the four examples above mentioned is another important point4 ,were the border darker than the ornament and type lines1 the ornament darker than the border and type lines1 or the type lines darker than the ornament and border1 there would not be uniformity of tone1 and a consequent loss in the effectiveness that comes from tone harmony4 99 99 99 99 99 ,the tone of a massed page is of vital importance in the typography of a book1 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 protest4 ,examples #ch and #ci show the manner in which the tone of a page may be controlled by spacing4 ,in ,example #ch the page is moderately spaced between words and lines and in ,example #ci the page is liberally spaced1 presenting two extremes and vividly picturing the manner in which spacing influences the page tone4 ,the tone of the pen-and-ink outline illustration in ,example #dj is admirably duplicated in the typographical treatment accorded the page4 ,the result would not have been so satisfactory if there had been no quad lines to break the solidity of the page4 ,the spotted black tone of the decorative border in ,example #da is reflected in the typography of the page1 a result obtained by using a bold-faced body-type and separating the words with a liberal amount of space4 ,however1 the tone would not be equal printed in one color1 but by printing the border in a lighter color the tones are equalized4 ,here is a suggestion for obtaining even tones4 ,where one portion of the page is bolder than the other1 print it in a lighter shade of ink1 or if any part of a type-page must be printed in a lighter color1 set that part in a type-face of darker tone 7,example #dg74 ,job printers should be interested in ,example #db1 as it is a good presentation of the theory of uniform tone4 ,the effect of the open-line illustration is duplicated in the spaced ,jenson capitals and cross lines4 ,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 less4 ,example #dc1 on the insert1 is a classic interpretation of uniform tone4 ,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 border4 ,example #dd 7insert7 is a pleasing blend of tone and characteristics4 ,the delicate light-gray tone of the ,camelot type-face is closely matched in the decoration and border1 and altogether this is an almost perfect exemplification of the subject of this chapter4 ,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 instance4 ,illustration3 ,,example #de ,in which the tone of the initial and headpiece is lightened to near that of the text portion4 ,page by ,heintzemann ,press1 ,boston ,initials and headpieces should approach closely the tone of the type-page of which they are parts4 ,example #de shows such a combination1 with the tone of the decoration just a trifle darker than that of the text portion4 ,an initial has other duties to perform than merely to look pretty2 it must direct the eye to the beginning of the reading matter4 ,in the manuscript books of the ,middle ,ages1 written without paragraphs1 the starting point of a new thought was denoted by an initial more or less elaborate4 ,the utilitarian purpose thus served by the initial is reason for making it a trifle darker than the remainder of the page4 ,however1 if there is great contrast in tone1 the page will be difficult to read because of the initial claiming too much attention4 ,the effect would be much like attempting to listen to one speaker while another is calling and beckoning4 ,illustration3 ,,example #df ,illustration3 ,,example #dh ,display lines in tone should match the border ,every rule has its exception and ,i wish to record one in the matter of uniform tone4 ,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 lines1 considerable contrast being necessary in such cases to make reading easy4 7,example #dh47 ,notwithstanding this exception in the case of reading matter1 uniform tone should be retained between display lines and border4 ,illustration3 ,,example #dg ,if a catalog is illustrated 7and the majority are7 it is important to have the illustrations prominent on the page1 sacrificing tone to utility if necessary4 ,sometimes the illustrations are printed in dense black and the remainder of the page in gray or brown4 ,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 read4 ,in advertising composition it is seldom possible to have an even tone on the entire page4 ,the ,new ,york ,herald advertising pages are unique in this respect4 ,outline type-faces are used1 and all illustrations are redrawn in outline before they are published4 ,this serves to give a uniformly gray tone to the pages1 but the advertisers are not enthusiastic over the effects4 ,while other newspapers may not be able to maintain uniform page tone1 it is possible at least to have each advertisement present a tone uniform in its displayed parts and border1 and the good typographer will secure such effects4 ,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 used4 ,illustration3 ,,example #di ,equal spacing is necessary to obtain uniform tone ,irregular letterspacing has been the cause of many pages of unsatisfactory tone4 ,in a displayed page where one line is spaced between letters1 all lines should be similarly spaced4 ,example #di presents a decidedly unconventional letterhead by reason of the letterspacing1 and it illustrates the point that all lines should be spaced equally4 ,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 arrangement1 and it should be used sparingly4 ,unconventional treatment1 even tho good along the lines of the style chosen1 is not always appreciated4 ,illustration3 ,,example #eh ,in which the ornament1 the border and the type-face are in proportion ,illustration ,,proportion1 ,,balance ,,and ,,spacing ,symmetry is necessary to beauty4 ,this law of esthetics is as applicable to typography as to sculpture and architecture4 ,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 printing4 ,why should the printer worry about esthetics--about symmetry8 ,what has art to do with printing1 anyway8 ,questions such as these find too frequent voice in the printing trade1 coming from the employee whose interest and ambitions end when he 8gets the scale10 and the employer who is satisfied merely to deliver so many pounds of paper and ounces of ink for so much money4 ,pity the man whose work is drudgery and who denies that art and beauty are meant for him4 ,he has his antithesis in the man who1 appreciating the higher blessings1 neglects to give value to the more common and practical things4 ,illustration3 ,,example #ej ,one method of determining the page length4 ,the page should measure diagonally twice its width ,there have always been two opposing classes--in religion1 politics1 art1 music1 business4 ,on all questions one portion of humanity is 8for0 and the other 8against10 mostly because of the influence of environment upon tastes and interests4 ,mozart's and ,beethoven's music charms and enthuses and also lulls to sleep4 ,one class should try to understand the other4 ,each has good reasons for its preferences1 but none at all for its prejudices4 ,the painter ,rubens1 gathering inspiration in the courts of royalty1 portrayed luxury and magnificence4 ,millet1 painting in a barn1 pictured poverty1 sorrow and dulled minds4 ,what pleased one found little sympathy in the other4 ,during the ,middle ,ages learned men talked1 wrote and thought in ,latin1 and when it was proposed to translate the ,scriptures into the language of the masses these men held up their hands in horror4 ,not so many years ago the book printer looked upon the job printer as the ,roman patrician looked upon the plebeian1 but the job printer has absorbed dignity and typographic taste from the book printer4 ,while the book printer's highest ideal is a volume with uncut leaves ornamenting the book shelves of the collector1 the job printer's mission is to be all things to all men4 ,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 8too numerous to mention40 ,there should be more sympathy between the book printer and the job printer1 and also between the printer who regards his calling as a business and the printer who regards it as an art4 ,the employer and employee who consider printing only a means to an end and that end money1 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 check4 ,the first starve their souls1 the last their bodies4 ,illustration3 ,,example #ea ,another method of determining the page length4 ,the length of the page should measure fifty per cent more than its width4 ,these examples also present proportionate margins1 the foot margin in each instance being the largest ,the printer who does things artistically in an economical manner 8strikes twelve0 7in the slang of ,elbert ,hubbard74 ,printing need not be shorn of beauty to be profitable to both printer and customer1 tho beauty too conspicuous turns attention from the real purpose of the printed job--which1 in the case of a booklet1 is the message the words convey4 ,an equestrian statue of ,napoleon should feature the great conqueror1 not the horse1 but would be impossible with the horse left out4 ,art is essential to printing2 so are ,uncle ,sam's specimens of steel engraving4 ,the more art the printer absorbs the larger should grow his collection of these engravings4 ,study of art arouses ambition2 ambition brings better and harder work4 ,it reveals in the typographer the difference between mere lead-lifting and the artistic selection and arrangement of types4 ,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 it4 ,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 not1 will be surprised and gratified at the new world that unfolds itself as he studies4 ,he will find that altho having eyes1 he has really seen only as he has appreciated4 ,there is no easy road to the appreciation of the beautiful4 ,art does not consist merely of a set of rules to be observed2 there are few beacon lights placed by those who have trod the road4 ,beyond a certain point the novice must depend upon intuition or 8feeling40 ,great painters have been asked their method of producing masterpieces1 and have been unable to explain4 99 99 99 99 99 ,illustration3 ,,example #ec ,in which vertical lines predominate ,in introducing the subject of 8,proportion0 it is well first to dispose of book pages4 ,in olden times the sizes of books were known by the number of folds to a sheet of paper about #ah #bd inches4 ,a book made from such sheets1 folded once into two leaves1 was known as a folio volume and measured about #ab #ah inches4 ,folded twice into four leaves1 a quarto1 measuring #i #ab inches4 ,folded three times into eight leaves1 an octavo1 measuring #f #i inches4 ,paper is now made in a variety of sizes1 which allow of individual preferences being satisfied4 ,for the sizes of catalogs #i #ab and #f #i are becoming standard4 ,the sizes do not depart far from the rule of proportion which holds that the width of the page should be two-thirds its length4 ,examples #ej and #ea illustrate two widely-used methods of determining page lengths4 ,by the first method 7,example #ej7 the page should measure diagonally twice its width4 ,in this instance the width being eight picas1 the diagonal measurement is sixteen picas4 ,by the second method the length of the page should measure fifty per cent more than its width4 ,here the width being eight picas1 the length is twelve picas4 ,these measurements may or may not include the running titles or folios4 ,illustration3 ,,example #ed ,compare with ,example #ec ,if only small margins are possible1 the page 7exclusive of running title7 should be about centered1 with a slight inclination toward the head and back4 ,but when margins are reasonably ample the page should set liberally toward the head and back2 the margins of the head and back 7exclusive of the running title7 should be about the same1 the outer side margin should be fifty per cent more than the back margin1 and the foot margin one hundred per cent more than the back margin4 ,various explanations of this rule have been put forward1 a few of which are3 ,the old book-owner making marginal notations as he read1 needed wide margins for the purpose4 ,early manuscript books were bound on wood1 and this wood was extended at the foot and used to hold the book when reading4 ,two pages being exposed to view were treated as one page1 much as double columns are now treated4 ,as book illuminators required room for their handiwork the margins may have thus originated4 ,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 written4 99 99 99 99 99 ,the job printer1 it is reasonable to suppose1 is more interested in proportion as it refers to display typography4 ,he asks3 ,what relation has type1 in the shape of its face1 to the page of which it is a part8 ,and the answer is3 ,a type-face should conform in the proportion of its letters to the proportion of the page4 ,let us thoroly understand this4 ,in ,example #eb there are shown three widths of type--condensed1 medium and extended4 ,the type of medium width is more used than the condensed or extended kind1 and most pages have a proportion such as ,example #ee4 ,from viewpoints of both economy and art1 the type-face of medium width should be given preference when selecting type equipment4 ,condensed types are properly proportioned for use as headings in the narrow columns of newspapers and for narrow folders and booklets4 ,illustration3 ,,example #ee ,the conventional page shape1 with type and ornament in proportion ,illustration3 ,,example #eb ,three widths of type-faces ,illustration3 ,,example #eg ,compare with ,example #ef ,many of the laws that are necessary to good typography also govern the other arts4 ,as an instance1 in architecture it is requisite that a tall and narrow building contain a preponderance of vertical lines1 a feature most noticeable in church buildings of ,gothic style 7,example #ed74 ,because the extent of vertical lines is greater than that of horizontal ones in a condensed type-face1 such a face is proper for a long and narrow page 7,example #ec74 ,the proportion of page shown by ,example #ee is about that met with most frequently in printing production4 ,here the vertical lines are in a slight majority1 but it is interesting to observe that in ,example #ef where the page is more wide than long1 horizontal lines are more numerous than vertical ones4 ,illustration3 ,,example #ef ,in which horizontal lines predominate ,it is not always possible to follow out in every detail the requirements of proportion4 ,architects must sacrifice much in the interests of utility and in deference to the wishes of their clients4 ,printers must do likewise1 but as a rule they travel farther from true art principles than do architects4 ,consider the contrasting proportions of the structures in ,examples #ed and #eg4 ,in ,example #ed notice that the openings have been made to conform to the general proportions1 and that vertical lines have been multiplied to emphasize narrowness and hight4 ,as a contrast1 in ,example #eg observe the width of the openings2 how it blends with the general proportion of this structure4 ,now to ascertain that typography parallels architecture compare ,example #ec with #ed1 and #ef with #eg4 ,illustration3 ,,example #ei ,illustration3 ,,example #fj ,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 #fb 7see insert7 and #fc4 ,the vertical lines of ,example #fb run with the length of the page as smoothly as a canoe floating down stream4 ,the horizontal lines of ,example #fc are irritating in their disregard of proportion4 ,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 circus4 ,examples #ei and #fj also illustrate this point4 ,i have prepared in ,example #eh 7see insert7 a page in which not only are ornament1 type-face and page-design in proportion1 but the characteristics of the ornament are reflected in the border1 and the tone is uniform4 ,irregularity of form is valuable in breaking monotony1 and in some forms of art may be essential1 but as contained in ,example #fa this feature is inharmonious4 ,before experimenting with variety or becoming agitated about monotony the typographer should perfect himself in the things that make for regularity4 ,when he learns to set a page that is harmonious and in proportion then it may be well to introduce irregularity--in homeopathic doses4 99 99 99 99 99 ,there is much uncertainty manifested among typographers as to the proportionate strength of display lines on a page4 ,a type line is proportionately large or small as it contrasts with its environment4 ,gulliver was a giant when among pigmies4 ,the foremost citizen of a country town is considerably reduced in importance when he rubs elbows with the big men of the cities4 ,the homely adage that 8a big frog in a small puddle is a small frog in a big puddle10 is applicable to typography4 ,a display line surrounded by other type lines 7,example #fd7 must be made larger or by strengthened strokes made bolder than when alone on the page 7,example #fe74 ,the old ,city ,hall in ,new ,york is claimed to be the most beautiful work of architecture in the city1 but is ridiculously out of proportion with the towering office buildings surrounding it4 ,illustration3 ,,example #fc ,horizontal lines are not suitable for a vertically narrow page 7,see ,example #fb1 insert7 ,illustration3 ,,example #fa ,type-faces and borders are mismated ,examples #ff1 #fg and #fh are studies in the proportion of a type-face to the page of which it is a part4 ,in ,example #ff the page is largely covered with type1 treatment that is necessary on poster1 dodger and other printed matter that must force its presence upon the public4 ,in ,example #fg the page consists mostly of blank space1 the type standing modestly and apologetically in the midst of that space4 ,this treatment is proper on dainty works of poetry or when the demands of extreme refinement are to be satisfied4 ,example #fh is the 8happy medium10 the compromise--a strength of display that will be satisfactory in almost every case4 ,this method of arriving at correct treatment emphasizes the need in the typographer of a judicial as well as an artistic temperament4 ,the wise judge knows that truth is about midway between the claims of opposing counsel4 ,illustration3 ,,example #fd ,illustration3 ,,example #fe ,a display line surrounded by other type lines must be made larger than when alone on the page1 to obtain proportionate emphasis 99 99 99 99 99 ,balance is another important subject1 as it has a big share in making typography good or bad4 ,the builder works with plumb-line and spirit-level that his walls may be in perfect balance1 tho sometimes he is tempted1 as the printer is tempted1 to work away from the center of gravity4 ,in ,italy there is a building1 an architectural curiosity--the leaning tower of ,pisa 7,example #gc7 in the construction of which gravity has been defied to the limit1 and in ,canada only recently a bridge in course of construction on this gravity-defying principle1 fell in a mass into the river4 ,in typography1 safety from blunder lies in type lines horizontally centered4 ,typographic experts experimenting with out-of-the-center balance1 both succeed and fail4 ,compositors imitating them generally fail4 ,example #gf is an out-of-the-center arrangement that is fairly successful4 ,balance is saved by the type-lines in the upper left corner and by the border surrounding the page4 ,examples #fi and #ge show out-of-center balance adapted to a business card and a booklet cover4 ,illustration3 ,,example #fi ,out-of-center balance1 adapted to a business card ,while horizontally the center is the point of perfect balance1 vertically it is not4 ,stick a pin thru the very center of an oblong piece of cardboard and twirl the card2 when movement ceases the card may not hang uprightly4 ,mark off the card in three equal sections and stick the pin thru the horizontal center of the line separating the upper two thirds4 ,after being twirled the card will cease to move in a perfectly upright position4 ,example #ga shows a word placed in exact center1 yet it appears to be low4 ,example #gb shows a line above center at the point of vertical balance4 ,on a title-page1 business card1 and on most jobs of printing the weight should come at this point4 ,the principal line1 or group1 should provide strength necessary to give balance4 ,example #gj presents a page with type group and ornament placed unusually high4 ,the typographer responsible was undoubtedly testing balance to the limit4 ,illustration3 ,,example #ff ,type proportionately too large for the average page ,illustration3 ,,example #fg ,type proportionately too small for the average page ,illustration3 ,,example #fh ,this proportion is about right for the average page ,illustration3 ,,example #fb ,in which the lines of the design run in the proper direction4 ,arranged by ,will ,bradley ,illustration3 ,,example #gj ,in which the upper type group is unusually high4 ,page by ,d4 ,b4 ,updike ,sometimes the customer gets a notion he wants a type-line placed diagonally across the page in a manner like ,example #gd4 ,such arrangements generally show lack of imagination and are crudely freakish4 ,there are so many orderly ways of arranging type that such poorly balanced specimens are deplorable4 ,illustration3 ,,example #gd ,a disorderly arrangement ,spacing is seemingly one of the little things--merely incidental to the mechanical practice of typography4 ,when the apprentice compositor is told to divide his spaces evenly among all the words in a line2 not to thin space one line and double-thick space another2 to transpose a two-point lead1 or make some other what to him may appear to be trivial alteration in spacing1 he judges his instructor to be over-particular4 ,yet the proper apportionment of space on a page determines the tone and the balance and aids in giving proportion and emphasis4 ,in type-making1 when a font of type is designed1 not only is each letter considered separately1 but in combination with every other letter of the alphabet1 that when the letters are assembled into words space may be evenly distributed4 ,the designers of the best type-faces have given attention to this feature and have demonstrated that legibility is increased with proper space distribution4 ,because of the excessive open space it contains1 the capital ,l gives the most trouble of any letter used as an initial4 ,as part of the word 8,millinery0 the irregularity of spacing is particularly prominent 7,example #gi-;a74 ,partly to overcome this irregularity the companion letters should be spaced as shown in #gi-;b4 ,when the letters ,a ,t occur together1 and the space between them should be decreased1 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 ,t4 ,illustration3 ,,example #ga ,a word placed in exact center appears to be low ,illustration3 ,,example #gb ,showing the point of vertical balance ,with roman type-faces1 important words are usually emphasized by italics or small capitals4 ,the ,germans1 using for body purposes a text letter which has no italic or small capitals1 space the letters to get emphasis 7,example #hj-;a74 ,letter-spaced words thus used are perhaps as neat as italic1 and the idea may well be adapted to roman types 7,example #hj-;b74 ,illustration3 ,,example #gc ,balance out of center ,illustration3 ,,example #ge ,the ornament balances the design4 ,page by ,school of ,printing1 ,boston ,illustration3 ,,example #gf ,out-of-center balance4 ,page by ,will ,bradley ,the relation of lines to proportion1 as illustrated by ,examples #fb and #fc1 is also to be considered in the composition of plain reading pages4 ,example #gg shows how the effect of horizontal lines is given by narrow spacing between the words and wide spacing between the lines4 ,this gives a result1 like that of ,example #fc1 contrary to the principles of proportion4 ,how this may be overcome is illustrated in ,example #gh1 which contains the same amount of space between the words as is between the lines4 ,this treatment not only gives better proportion1 but improves the tone of the page4 ,illustration3 ,,example #gg ,the effect of horizontal lines is given by narrow spacing between the words and wide spacing between the lines ,illustration3 ,,example #gi ,other letters must be spaced because of the open appearance of the letter 8,l0 ,illustration3 ,,example #ha ,the erroneous and obsolete practice of spreading the lines over the page ,adapting this principle to display composition1 ,examples #ha and #hb are enlightening4 ,example #ha shows the manner in which some years ago display lines were erroneously distributed over the entire page1 presenting in effect the faults of ,example #gg4 ,the manner of rectifying these faults is demonstrated in ,example #hb1 where main lines are grouped at the point of balance in the upper part of the page4 ,the narrow measure to which these words are set necessitates letterspacing4 ,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 otherwise4 ,illustration3 ,,example #gh ,the effect of horizontal lines is avoided by having the space between the words approximate that between the lines ,illustration3 ,,example #hj ,emphasis obtained by letterspacing1 in lieu of italics and small capitals ,illustration3 ,,example #hb ,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 them4 ,in ,new ,england there is a printer who1 in the opinion of those fortunate to have viewed his work1 is producing typography classically perfect2 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 eye4 ,the artist's ideal always eludes him and the chase seems a hopeless one1 yet he continues on lest he lose sight of it altogether4 ,it is a good sign when one recognizes imperfections2 it means that he is gaining ground on success4 ,illustration3 ,,example #abe ,illustrating the significance of ornamentation1 as applied to a booklet4 ,design by the ,matthews-,northrup ,works1 ,buffalo1 ,n4 ,y4 ,illustration ,,ornamentation ,offer a child the choice of two toys1 alike excepting that one has a flower painted upon it1 and he will doubtlessly select the ornamented one2 proving that the human race has a natural liking for ornamentation4 ,when the old-time trader visited savage countries1 he took with him colored glass and brought back gold4 ,the glass soon after ornamented the somber bodies of the savages1 and the gold became rings and bracelets worn by the whites4 ,there are those in this day who love the trees and the flowers and hear music in the brooks1 but more find pleasure in artificially ornamented ball-rooms with music blown and sawn and hammered from brass and catgut and sheepskin4 ,illustration3 ,,example #hc ,the egg-and-dart ornament ,illustration3 ,,example #hd ,the bead ornament ,man was created in a garden of flowers and trees pleasant to the sight1 yet he has ever been yearning for a new ,eden of pure gold1 garnished with precious stones1 forgetting that ,solomon in all his glory was not arrayed like the lily of the field4 ,nature is the great artist1 and man's ornamentation at best is a poor imitation of natural things4 ,the trees of the forest gave the motive for the stone columns and ornamental capitals of architecture1 and the plant and animal world furnished themes for talented calligraphers in the days when books were literally written4 ,the blue vault of the skies inspired ,michelangelo to plan the great dome of ,st4 ,peter's at ,rome1 as the sun furnished a model for the ,indian while decorating his tepee1 and the flowers of the field have provided inexhaustible color harmonies4 ,illustration3 ,,example #he ,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 existence1 and it has been only within recent years that the average man has given thought to art4 ,many a one has thrown off his lethargy to discover beautiful things all about which he had never before noticed4 ,art galleries and libraries all over the ,united ,states are aiding greatly in the cultivation of taste for art1 and the printer to whom these privileges are accessible1 yet who does not avail himself of their advantages1 is much like the man who was lost in the ,adirondacks1 not knowing he was but a half-mile from a railroad4 ,china1 who could conquer the world if she only knew her power1 has been sleeping for centuries1 while a little handful of intelligent people on a small island of ,europe wields an influence that is felt wherever the sun shines4 ,illustration3 ,,example #hf ,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 acquainted4 ,if one knows just enough to 8make a living0 he will never make more than a living4 ,a study of art1 of history1 of the larger things in the printing business1 will result in the good things of the earth being added4 99 99 99 99 99 ,is ornamentation necessary to art-typography8 ,ask one good printer and he will answer1 yes4 ,ask another and he will answer1 no4 ,one of the meanings of ornament as given by the ,standard dictionary is3 8,a part or an addition that contributes to the beauty or elegance of a thing40 ,a paper may be so pleasing in texture as to give beauty or elegance to an otherwise plain page of printing2 in fact1 it is sometimes a mistake to use type ornaments or other embellishment on a richly finished hand-made paper4 ,on the contrary1 a stock poor in quality or color had better be covered with decoration to divert attention from the paper4 ,illustration3 ,,example #hg ,conventionalized papyrus plant 7,egyptian7 ,illustration3 ,,example #hh ,the winged ball1 an ornament much used by the ,egyptians ,illustration3 ,,example #hi ,the acanthus leaf1 much used by the ,greeks and ,romans in ornamentation ,illustration3 ,,example #ij ,palm-like ornament1 used by ,greeks and ,romans ,illustration3 ,,example #ia ,plain and dignified4 ,the ,doric pillar ,illustration3 ,,example #ib ,slightly ornamental4 ,the ,ionic pillar ,illustration3 ,,example #ic ,elaborately ornamental4 ,the ,corinthian pillar ,there are printshops in which all ornaments are kept under lock and key2 a compositor wishing to use decoration must present good reasons before he gets it4 ,customers have become suspicious of type ornamentation because of the peculiar use to which printers sometimes put it4 ,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 ideas4 ,when one proof after another came from the customer with ominous blue marks upon the cherished ornaments1 he realized the necessity of revising his ideas of art4 ,for fully a year after that he worked without voluntarily using an ornament1 meanwhile developing all the possibilities of good type-faces and appropriate paper stocks and color combinations4 ,it has been claimed that fasting has a beneficial effect on the body2 be that as it may1 our friend certainly improved his artistic taste by his abstinence4 ,when he again began using ornaments it was with discrimination and after study of their significance and appropriateness4 99 99 99 99 99 ,this leads to the subject of motive or reason in ornamentation4 ,the styles of typography may be generally divided into two classes1 one dominated by ,roman or ,italian influence and the other by ,gothic or ,german influence4 ,during the ,middle ,ages the ,gothic influence was felt chiefly because the pointed style of architecture and embellishment was sanctioned by the ,christian church4 ,as art was practically dead outside the church1 the art-workers absorbed the ,gothic style4 ,illustration3 ,,example #id ,ornamentation as used by the ,romans on an entablature and a ,corinthian pillar1 showing egg-and-dart1 bead1 and acanthus ornaments ,when typography was invented ,gutenberg's first book was based upon the ,gothic style--the type-face a pointed black letter1 such as was then used on manuscript books1 and the ornamentation pointed foliage 7done by hand74 ,it was some years after this that typography came under the influence of the ,italian ,renaissance1 and both type-faces and decoration assumed the ,roman style4 ,in the old days there was sympathy between the various arts and crafts1 and it worked for harmony in effects4 ,building-decoration1 metal-carving and wood-engraving were governed by the same artistic motive1 and were often done by the same man1 much as the printer at one time was compositor1 pressman1 binder1 typefounder1 ink-maker and paper-maker1 all in one4 ,now1 many a piece of printing goes wrong because the ideas of several people1 inharmonious from lack of relation1 are injected into the work during the several stages necessary for its production4 ,the relation of typography to architecture is plainly shown in the formation of the ,roman and ,gothic alphabets4 ,the letters of the ,roman alphabet1 dignified in their straight strokes and symmetrical in their rounded lines1 suggest features of ,roman architecture 7,example #ajf2 also see ,example #dc of a previous article74 ,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 period4 7,example #ajg47 ,illustration3 ,,example #ih ,dainty1 elaborate rococo ornament1 as applied to a program title-page4 ,compare with the chair1 ,example #ig ,ornamentation is both inventive and imitative4 ,an ornament purely inventive or one purely imitative is seldom artistic4 ,a child may make a jumble of lines that altho original means nothing2 when it is older it may draw a flower so realistic and imitative that little is left to the imagination4 ,when a flower or plant is used as a model in designing an ornament it is 8conventionalized10 that is1 it is blended with its environment4 ,a flower in a garden surrounded by other vegetation should be as the other flowers1 but as an ornament on the flat surface of paper it should be without perspective4 ,example #ajh-;a shows how commonplace an ornament looks when its details are carefully shaded in perspective4 ,examples #ajh-;b and #ajh-;c show how more decorative an ornament is when either outlined or filled in4 ,sometimes shadows are merely suggested1 as on the fruit basket and book ornaments in ,example #aac4 ,illustration3 ,,example #ie ,square-lined1 ornamentless furniture ,illustration3 ,,example #ig ,dainty and elaborate rococo ornament1 as applied to furniture4 ,compare ,example #ih ,illustration3 ,,example #ajj ,slightly ornamental typography4 ,compare with chair opposite4 ,design by ,will ,bradley ,in the conventionalized decorative art of all ages may be found traces of the things which have inspired the decorator4 ,the lotus leaf1 and the papyrus plant 7which once gave writing material to the world7 thousands of years ago influenced ,egyptian design 7,example #hg74 ,religion dictated many of the decorative forms in ancient art4 ,the winged-ball-and-asps 7,example #hh7 was a favorite device in ,egyptian decoration and has come to us by way of ,roman mythology as the winged staff of the herald ,mercury1 the ribbons on the staff supplanting the ,egyptian asps1 but later evolving into serpents as in the decorative border of ,example #abe4 ,the work of the best artists is full of meaning4 ,the ,egyptians considered certain animals sacred1 and they were reproduced numerously in the picture-writing and ornamentation of the time4 ,the sacred beetle as conventionalized was much used4 ,in ,example #abe the cog-wheel of commerce is conventionalized as the rim of the ball1 which also contains a seal4 ,the anchor and rope1 hour glass1 wreath1 torch1 acanthus leaves1 all are conventionalized and blended pleasingly in outline drawing4 ,the tone of the border approximates that of the type matter it surrounds4 ,illustration3 ,,example #if ,square-lined1 ornamentless typography4 ,compare with chair opposite4 ,design by ,fleming ,carnrick1 ,new ,york ,illustration3 ,,example #ii ,slightly ornamental furniture ,the acanthus leaf 7,example #hi7 is the model for much of the elaborate leaf decoration found on the capitals of ,corinthian columns and wherever rich imposing leaf ornament is desired4 ,the anthemion 7,example #ij7 is a palm-like ornament used by the ,greeks and ,romans1 now frequently found in decorative work of an architectural nature4 99 99 99 99 99 ,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 printing4 ,fred ,w4 ,goudy1 ,bruce ,rogers and ,d4 ,b4 ,updike employ conventionalized architectural columns and arches to ornament title-pages of classic motives4 ,the average typographer1 tho1 finds more inspiration in the ornamentation that is only an embellishment to architecture4 ,there are several ornamental units that are used more frequently than others1 and these are the egg-and-dart 7,example #hc7 and the bead 7,example #hd74 ,you1 who are reading this1 are invited to verify by observation this last statement4 ,a printer who did so was astonished at the eggs1 darts1 and beads that were to be seen wherever he looked4 ,cut into the stone of buildings1 carved into the wood of furniture1 used on molding about doors and windows1 on office partitions1 on library lamps1 in the ceiling panels of restaurants1 about the prosceniums in theaters1 around the mirror in the barber shop--wherever he looked there were the ornaments4 ,it is remarkable how non-observant the average printer is4 ,the hands of artists--,greeks and ,romans--who lived thousands of years ago made similar designs1 and yet a knowledge of history is counted non-essential by printers and others6 ,illustration3 ,,example #aja ,regularity of repeat ,illustration3 ,,example #ajb ,variety of repeat ,illustration3 ,,example #ajc ,monotony ,illustration3 ,,example #ajd ,less monotony ,illustration3 ,,example #aje ,contrasted shapes prevent monotony ,illustration3 ,,example #ajf ,type border of ,roman architectural ornament4 ,compare the straight and curved lines with the ,roman type-face ,let us apply the egg-and-dart and bead ornaments as borders in typography1 and notice how admirably they serve the purpose4 ,example #he shows the egg-and-dart ornament perhaps too carefully drawn as to detail2 and ,example #hf demonstrates how the bead ornament may be adapted to panel work4 ,from early times there seems to have been a triple division of taste regarding ornament4 ,in the days of ,rome these divisions were given expression in the treatment of supporting columns1 the three styles being known respectively as ,doric1 ,ionic and ,corinthian4 ,the ,doric column is severely plain1 the ,ionic slightly ornamental1 and the ,corinthian elaborately ornamental4 ,the ,doric style 7,example #ia7 is emblematic of dignity1 simplicity and strength1 and appeals to the man preferring these qualities in printing4 ,the ,ionic style 7,example #ib7 represents refinement in ornament1 and pleases the man able to discriminate between the severely plain and the over-ornamented--a quality of judgment worth cultivating by every typographer4 ,illustration3 ,outlined ,filled in ,illustration1 not ornament ,ornaments without perspective ,,example #ajh ,the ,corinthian style 7,example #ic7 expresses the preference of many who delight in ostentation and elaboration in ornament4 ,the elaborate1 showy acanthus leaf usually forms the chief decoration for the capital surmounting the column1 and the entablature 7,example #id7 is particularly rich in ornamentation4 ,the ,doric pillar has been called masculine and the ,ionic feminine1 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 intellect4 ,this difference in ideals and preferences has come down the centuries to our time4 ,a few years after ,cromwell1 plain1 blunt1 and even disapproving of sculpture and painting1 was ruling ,england1 across the channel ,louis ,,xiv4 strutted in corsets and on high red heels amid gilt and glamour in the courts of ,france4 ,illustration3 ,,example #ajg ,type-border of ,english-,gothic pointed ornament4 ,compare the black pointed effects with the ,gothic type-face ,monks and nuns lived plainly in the company of bare walls and squarely cut chairs1 and dressed in subdued browns and blacks1 while at ,rome surrounded by the art works of ,michelangelo and ,raphael the higher dignitaries were clothed in brilliant reds1 and gold and white4 ,illustration3 ,,example #aji ,extravagant wall border ornamentation1 designed during the ,renaissance in ,italy ,morris loved an old worn-out house1 squarely-cut furniture1 burlap1 and subdued colors2 while the ,newly-riches boast of the magnificence of their mansions1 ,louis ,quinze ball-rooms and imported tapestry4 ,only recently two church buildings were remodeled4 ,in one were placed ornamental brass railings1 lectern1 pulpit and candelabra1 and stained-glass pictorial windows2 the walls were covered with gilt fleurs-de-lis on maroon backgrounds1 and the entire effect was one of cheap magnificence4 ,the other church had been an old ,colonial structure of square proportions4 ,dignified mahogany furnishings were selected1 the walls were ornamented in pure geometric designs1 pale gold on tinted backgrounds1 and the windows were made of small panes of glass subdued in color1 in harmony with the architecture of the building1 with a result that spoke good taste and refinement4 ,examples #ie1 #if1 #ig1 #ih1 #ii1 #ajj1 present the three divisions of taste-- the plain1 ornamentless2 the slightly ornamental1 and the elaborately ornamental--applied to typography and reflected in furniture4 ,the typographer should learn that the arts are related1 that the styles of home-furnishings and architecture influence the styles of typography4 ,a few years ago mission furniture was introduced and along with it came architecture that called for exposed roof supports1 squarely-cut moldings1 coarse fabric wall coverings1 subdued green and brown tapestries4 ,and before they knew the reason1 printers were using heavy brass rules1 rugged type-faces and printing on dark-hued antique papers4 ,example #if is a program page produced under these influences4 ,compare it with the so-called 8mission0 chair 7,example #ie7 and note the resemblance of motive4 ,both are rugged1 angular and plain4 ,illustration3 ,,example #aaj ,roman scroll ornament cut in stone ,illustration3 ,,example #aaa ,type ornament based upon geometric lines ,illustration3 ,,example #aab ,type ornament based upon foliage ,illustration3 ,,example #aac ,type ornament based upon the inanimate ,illustration3 ,,example #aad ,type ornament based upon the animate ,illustration3 ,,example #aae4 ,ornamental hand-lettered effect2 obtained by initials1 text letter and rule ,now for contrast1 compare them with the dainty1 elaborately ornamental chair 7,example #ig7 and the title-page 7,example #ih74 ,both chair and title-page designs are based upon the frivolous rococo style of the period known as ,louis ,,xv4 7or ,louis ,quinze74 ,in that period1 shells and leaves conventionalized into graceful1 golden curves were blended with a profusion of roses and other flowers4 ,straight lines were avoided1 and furniture and architecture took on curves even to the extent of causing structural weakness4 ,illustration3 ,,example #aaf ,corner ornaments may have been suggested by the bolts on inscription plates or by the cross lines on books ,illustration3 ,,example #aag ,ivy-leaf ornamentation1 and spaces filled in by decoration4 ,from an old manuscript book ,because a majority of type-faces are built upon horizontal and vertical lines1 rococo type ornamentation is seldom successful in typography4 ,the pen-and-ink border design 7,example #ih7 is a clever adaptation of the ,louis ,,xv4 rococo style4 ,there is not an absolutely straight vertical or horizontal line in the border1 and with the curves and flowers1 ribbons1 lattice-work and cupids it makes an appeal to women4 ,the type-face combined with the border has similar characteristics--a freedom of line and an abundance of curves4 ,examples #ii and #ajj show a chair and an announcement page1 both slightly ornamented to please those folks who like neither the severely plain nor the elaborately ornamental4 99 99 99 99 99 ,ornament is secondary to the real purpose of the thing it embellishes2 it should not be so lavish as to distract attention from the more important object4 ,a booklet is issued to convey a message1 and should the reading matter be overshadowed by ornamentation1 this purpose may not be accomplished4 ,a 8flowery0 oration may entertain and please an audience1 but it may not convince4 ,in #ahif ,bryan stampeded a convention by his extemporaneous eloquence and metaphor1 but when he came to the 8enemy's country0 and faced an audience which wanted facts1 he read his address from carefully prepared manuscript4 ,illustration3 ,,example #aah ,filling blank spaces with ornamentation1 as was done on manuscript books4 ,page by ,government ,printshop1 ,berlin1 ,germany ,during the ,middle ,ages1 when nations were fighting for existence and necessities of life were barely obtainable1 there was little ornamentation except in isolated instances1 but when1 about the fifteenth century1 the ,renaissance came1 art received an enthusiastic reception4 ,ornamentation was indulged in to excess1 the artists using all the classic forms and inventing new ones4 ,example #aji1 showing wall border decoration1 looks to the printer like a specimen sheet of type borders4 ,this brings to mind that there is always the temptation to over-ornament when an artistic job is desired1 and the necessity of advising printers to restrain themselves and save a few ornaments for other work4 ,our brethren of the cloth like to repeat the story of the theological student preaching his first sermon before the ,seminary authorities4 ,he began at ,genesis and took his hearers thru the entire ,bible to ,revelation4 ,when he had finished an old professor gravely asked what he would preach about the next ,sunday4 ,the famous designer ,chippendale1 first made his furniture serviceable and then added ornament1 from which fact the printer should profit4 ,have a printed job serve its purpose1 and ornament it only so far as is consistent to this end4 ,it is frequently advisable to omit decoration and let the type talk without interruption4 99 99 99 99 99 ,ornamentation when used for border purposes has two features which may not be apparent to the superficial glance--regularity in repetition and variety in repetition4 ,example #aja shows repeated strokes of the same length4 ,in ,example #ajb by alternating the length of the strokes the design is made more interesting4 ,examples #ajc1 #ajd and #aje illustrate this principle in rounded forms4 ,in the first there is monotonous repetition1 in the second there is less monotony because the oval form is less regular than the circle1 and in ,example #aje1 by contrasting the forms in both size and shape the design acquires new decorative interest4 ,this principle of contrast and variety is exemplified in most border designs4 ,in ,example #ajg the light scroll lines contrast with the black leaves1 and in ,example #ajf curves are contrasted with angles4 ,contrast is sometimes obtained with color1 as shown in ,example #abc4 99 99 99 99 99 ,illustration3 ,,example #aai ,semi-ornamental ecclesiastic style ,ornament as used by the printer may be divided into four classes3 ,ornament based upon geometric lines 7,example #aaa71 ornament based upon foliage 7,example #aab71 ornament based upon the inanimate 7,example #aac7 and ornament based upon the animate 7,example #aad74 ,the center ornament in ,example #aaa contains the cross and circle1 ecclesiastic devices1 and its conventionalized pointed leaves would also admit it to the group shown as ,example #aab--ornament based upon foliage4 ,leaves and flowers from the beginning have been a prolific source of inspiration to artists4 ,before the invention of typography the decorator of manuscript books reveled in foliage1 as will be seen by ,example #aag1 and today when decoration is added by the process of printing the same liberal use of foliage is evidenced 7,example #aah74 ,in both examples should be noticed the custom of filling blank spaces with decoration4 ,illustration3 ,,example #abj4 ,,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 7,example #aac7 lends itself better for ornamental purposes than does the animate 7,example #aad71 and the less familiar the subject the better ornament it makes4 ,an ornament based upon the animate is shown in ,example #abd1 and as will be seen it is not as pleasing as the one in ,example #aba1 which is based upon the inanimate4 ,illustration3 ,,example #aba ,simple ornamentation applied to letterhead4 ,design by ,harry ,a4 ,anger1 ,seattle1 ,wash4 ,initials afford a convenient means of ornamentation 7,example #abj74 ,an initial well chosen as to tone and appropriateness often satisfies all demands in this line4 ,the mortised ,colonial initial indicated by b looks well with ,caslon roman and printed on antique paper4 ,the acanthus design a looks well with ,washington ,text2 the ,italian design f1 with a letter such as ,bodoni4 ,initials are used in a highly decorative manner in ,example #aae1 after the style found in ecclesiastical manuscripts4 ,the possibilities of type and rule are here well set forth4 ,illustration3 ,,example #abb ,appropriate ornamentation applied to the modern booklet4 ,page by the ,munder-,thomsen ,company1 ,baltimore1 ,md4 ,sometimes ornaments in the corners of a plain rule border 7,example #aaf7 are sufficient decoration4 ,these effects may have been suggested by the corner bolts with which brass plates are fastened to walls4 ,in the booklet decoration 7,example #abb7 the artist has taken his motive from the word 8,washington0 making the capitol dome and its supports the central figure in the design1 which is ,colonial in character4 ,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 half4 ,the effect is frequently found in decorative work1 as it gives balance and differentiates between illustration and decoration4 ,an illustrative design1 showing an actual scene1 would not be effective4 ,illustration3 ,,example #abc ,effect of alternating colors1 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 decoration4 ,example #aai presents a program page1 which1 while attractive1 has but one ornament1 an ecclesiastic design4 ,the arrangement of bands above and below the main display assists in forming a decorative effect4 ,type decoration in use today shows a preference for forms from ,italian sources4 ,several years ago the ,colonial spirit had influenced a preference for ,gothic-,english forms4 ,the work of ,goudy1 ,cleland and others has had a part in developing taste for the ,italian4 ,in closing this chapter it may be well again to warn the printer not to over-ornament4 ,the relation of ornament to typography is well covered in the caution of an experienced architect to a novice3 8,ornament construction1 but do not construct ornament40 ,the best art is that which is concealed1 and which unobtrusively adds effectiveness to a piece of printing4 ,illustration3 ,,example #abd ,this ornament1 based upon the animate1 not well suited for business purposes ,illustration3 ,,example #abf ,illustration3 ,,example #abg ,these pages are model specimens of book typography4 ,shown here in the actual size of the originals1 from zinc etchings ,illustration ,,the ,,typography ,,of ,,books ,good taste1 a quality essential to the successful production of all kinds of printing1 is of great importance in the typography of books4 ,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 others4 ,a musician or other artist may stand high in his class and yet1 perhaps1 show poor taste in dress and manners4 ,illustration3 ,,example #abh ,appropriate title-page of a book of classic poems4 ,by ,bruce ,rogers ,a person of good taste is usually conservative4 ,he weighs all new things in the balance of judgment1 and allows enthusiastic faddists to push him off the sidewalk rather than join the crowd and shout with it4 ,he knows the fickleness of mobs and remembers that in a week hosannas have been changed to shouts of bitter invective4 ,the merchant catering to the whims of fashion ever has unsalable stock on his shelves4 ,in the days of militant ,rome the crowd which one day cheered ,sulla1 the next day crowned ,marius with laurel4 ,illustration3 ,,example #abi ,title-page with a nineteenth century motive4 ,by ,bruce ,rogers ,the natural tendency of humanity is radical4 ,the conservatives are in the minority1 yet their influence is great because their opinions are generally based upon sure foundations4 ,of course a person can be progressive and possess a present-day mind without being either radical or conservative4 ,the natural tendency of job printers is radical4 ,left much to their own whims and fancies they produce printed things which may please only for the moment4 ,the test of gold is not in its appearance when purchased1 but in years of wear4 ,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 be4 ,all the art-reasons in book typography are equally applicable to job typography4 ,the two methods should not be judged by separate standards--a thing is good1 or it is not4 ,at the present time educational work is elevating the standard of job typography1 and the designer of job composition1 drawing closer to his book brother1 is beginning to notice the faults and flaws in the latter's work4 ,illustration3 ,,example #acj ,illustration3 ,,example #aca ,poor examples of book typography4 ,two pages which set forth the common practice of inharmonious type treatment1 the title-page containing old-style type-faces and the text-page modern type-faces4 ,the type-face should be of the same design 99 99 99 99 99 ,the book typographer1 like the lawyer1 is governed by precedent4 ,when the legal man presents an argument he cites ,doe v4 ,doe1 and ,smith v4 ,jones1 and with each new discovery of precedent is increasingly happy4 ,the common law under which we in ,america are governed originated in ,england centuries ago1 and the radicals who would dispense with this law catalog themselves as anarchists4 ,the right-thinking man is constructive4 ,when a new thing has been proved good he believes in adding it to what has already been constructed4 ,the radical is destructive in that he would destroy what has been constructed and without always setting some new thing in its place4 ,attics have been known to hold masterpieces which have been discarded for new1 frivolous things that from an art viewpoint are worthless4 ,william ,morris set out to change book typography1 and in contrast to the typography of the day his ideas may have seemed radical4 ,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 centuries4 ,book pages produced fifty years ago by ,pickering and ,whittingham look well today2 not because they are old1 but because they were in good taste then1 and are in good taste now4 ,pages set by their contemporaries in condensed roman look abominable now1 because they were contrary to true art principles then4 99 99 99 99 99 ,the book industry in ,america is tremendous--so much so that because of its magnitude quality in typography is likely to be lost sight of4 ,in ,new ,york ,city in one year eight million books are read or consulted thru its public library system6 ,could the monk1 with his mere score of books chained to shelves1 have had a vision of this1 what would have been his thoughts8 ,or1 ,benjamin ,franklin1 as he founded the first circulating library8 ,andrew ,carnegie1 ridiculed when announcing his intention to use his wealth in providing buildings for public libraries1 lived to see himself acknowledged a benefactor of mankind4 ,next to providing books is the necessity of providing good books and of printing them according to the laws of art and good taste4 ,continual association develops a taste for the things associated with4 ,if the majority of books are poorly composed or poorly printed1 they will unconsciously be taken as standards of book style by the reading public4 ,the style of book typography1 averaged in this way1 is today far from flattering4 ,it is rarely that the reading pages1 title-page and cover harmonize in style and motive4 ,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 time2 the title-page is in some type foreign in style and design to the face used on the body of the book1 and the cover 7usually the only part of the work given artistic attention7 is designed without regard to what is on the inside4 ,the whole effect reminds one of a box of berries with only the healthy members of the family in view4 ,many a time ,i have picked up a book in artistic binding1 only to lay it down disappointed at the typographical treatment of the inside pages4 ,even a book should be honestly what it seems1 and not a wooden nutmeg4 ,illustration3 ,,example #acb ,illustration3 ,,example #acc ,two pages of composite ,colonial and modern typography4 ,relation is established between the title-page and text-page thru use of the same kind of decoration 99 99 99 99 99 ,the book-page reproductions used in connection with this chapter may prove more valuable if each is considered separately in the order of its appearance4 ,,examples #abf ,,and #abg 7,insert74--,the title-page and an inside page of a book which in its way is a model4 ,from the viewpoints of art1 legibility1 good taste1 typography1 printing1 and binding1 the book is very satisfactory4 ,the classic restraint of the ,italian school and the human interest of the ,gothic are here blended harmoniously4 ,these pages will please the lover of lower-case letters1 as from the label-title on the cover to the last paragraph of this volume not a line has been set in capitals4 ,the type-face is a handsome old-style roman based upon the ,caslon model1 and in the book itself is printed upon a hard hand-made paper in a dense and clear black ink4 ,the only decoration used in the book is found in the chapter initials1 altho decoration is suggested in the use of brackets on each side of the page numbers4 ,only two sizes of type are on the title-page1 and the chapter headings cling to the type-page in a manner that helps the tone effect of the whole4 ,the reproduced pages are shown in the actual positions of the originals4 ,the margins of a full reading page measure five picas at the fold1 six picas at the head1 seven-and-a-half picas at the outer edge1 and eleven picas at the foot4 ,the type-page covers slightly more than one-third of the surface of the leaf upon which it is printed4 ,the type-page in proportion measures diagonally twice its width1 a point illustrated in ,example #ej of a previous article4 ,,example #abh4--;,a reduced facsimile of the title-page of a limited edition of classic poems1 produced at the ,riverside ,press under the supervision of ,bruce ,rogers4 ,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 ,manutius4 ,bruce ,rogers came from ,indiana with no technical knowledge of typography1 but artistic talent soon enabled him to gather the details1 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 ,america4 ,,example #abi4--,there is one feature of ,bruce ,rogers' work which stands out prominently1 and that is his regard for the appropriate4 ,the literary motive of a book gives the cue for its typographic treatment1 and he prints as if he were living in the period so presented1 and influenced by its tastes4 ,the 8,john ,greenleaf ,whittier0 title-page suggests a product of the middle nineteenth century1 when ,whittier lived1 and ,example #abh is imbued with the spirit of the ,greek ,theocritus4 ,but two sizes of type are used in the ,whittier page1 and these are apportioned according to the importance of the wording4 ,illustration3 ,,example #acd ,illustration3 ,,example #ace ,two pages1 the typography of which shows unusual care and consideration for detail4 ,typography by ,j4 ,h4 ,nash ,illustration3 ,,example #acf ,a text-page in modern roman4 ,by ,colonial ,press ,illustration3 ,,example #acg ,a text-page in old-style type-faces4 ,by ,colonial ,press ,,examples #acj ,,and #aca4--,two pages from a book issued by a prominent publishing house and printed by a prominent press4 ,they are reproduced for the purpose of pointing out a fault common to a majority of books of the present day--inharmonious typography4 ,while the text pages are consistent in the use of plain modern roman1 the title-page with no regard for the face used on the text pages is composed in ,caslon roman and modernized old-style4 ,it would seem that1 true to the title1 the printer had aimed to present three representative type-faces used during a hundred years4 ,and1 to make matters worse1 the cover contains an elaborate twentieth century design4 ,why do not publishers realize that these things are wrong8 ,why do not printers realize it8 ,after the six hundred pages of this book had been set in modern roman1 the cost of setting a title-page also in modern roman would have been ridiculously small4 ,printers doing work for publishers should provide display faces to match their machine letters1 or else when buying matrices of a body face1 assure themselves that display faces may also be had4 ,artists1 too1 should be cautioned to make their design not only after the motive suggested by the literary contents of the book1 but also after the typography 7which should of course be based upon the literary motive74 ,illustration3 ,,example #ach ,title-page with an ,italian motive4 ,by ,oswald ,press1 ,new ,york ,,examples #acb ,,and #acc4--,two pages in style composite ,colonial and modern4 ,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 head4 ,certain books lend themselves to decoration2 this is one of them1 because it is of the entertaining sort4 ,serious books1 such as those on the subjects of law1 medicine and science1 should have no decoration4 ,the wise book typographer will not use decoration unless he comprehends just what he is doing4 ,illustration3 ,,example #aci ,page from a children's book1 designed and written by ,will ,bradley ,,examples #acd ,,and #ace4--;,j4 ,h4 ,nash1 who designed the typography of the book of which these two pages are a part1 produced results that are exceptionally good from a typographic point of view4 ,the border as seen in ,example #acd was used on the title1 introduction and contents pages1 and the border in ,example #ace was used thruout the text pages4 ,the crossed-line border effect was even adapted to the frontispiece4 ,the title-page is an excellent example of consistent typography2 not a line of lower-case is to be found on the page1 and prominence is proportionately given the title of the book and the names of author and publishers4 ,the reading matter is set within six points of the rule border1 that the page should have but one margin4 ,if the space between type and border were larger it would give the appearance of another margin4 ,the initial letters assist the reader in locating the beginning of each story4 ,,example #acf4--,this page is in a style associated with the modern novel and was set on the linotype in eleven-point ,scotch ,roman2 the lines twenty picas wide1 leaded with two-point leads4 ,the running head is in capitals of the body letter1 separated from the reading page by a half-point rule1 and the page number is centered at the foot4 ,,example #acg4--;,a good example of modern book composition1 set on the linotype in twelve-point ,caslon ,old ,style1 the lines twenty picas wide1 separated by four points4 ,the running head is in a black text letter suited to a book of this kind4 ,an amount of space equal to a line of type and the leading following it1 has been placed between the running head and the reading page4 ,,example #ach4--,no style of typography is in such good taste as that which is based on the old ,italian1 in which but one style of type-face1 usually the ,caslon1 is used1 and the capitals letterspaced a trifle4 ,this style has been worked into a symmetrical page and an ornament included that because of its ,italian treatment blends neatly with the typography4 ,it might be interesting to note that the illustrations in this book were in line1 and where emphasis was needed in side headings small capitals were used and the letters separated by slight spacing4 ,,example #aci4--;,a page from a book for children1 written and illustrated by ,will ,bradley4 ,the type-face is a wide1 legible letter and was specially designed by ,mr4 ,bradley4 ,each chapter is begun with a line of old ,english black letter1 followed by several lines of highly decorative italic4 ,the illustrations are interpreted in the grotesque decorative style that ,bradley does so well4 ,the running heads and page numbers are in the italic4 ,illustration3 ,,example #adj ,harmony in tone of type-face and decoration4 ,typography by the ,trow ,press1 ,new ,york ,,example #adj4--;,a page notable for the harmony between the tone of the type-face and decoration4 ,the illustration has been treated by ,beatrice ,stevens in a decorative spirit1 and is very effective4 ,the capitals of the body matter are used for the 8,chapter ,,iii0 line1 and smaller capitals for the descriptive line under it4 ,the plain initial is more effective than an ornamental one would have been4 ,,example #ada4--;,a title-page of classic design in ,scotch ,roman type4 ,the anchor and dolphin1 originally the device of ,aldus1 as enlarged in outline has much to do with the effectiveness of the page4 ,the dignified beauty of this page makes it worthy of close study4 ,,example #adb4--;,a further demonstration of the beauty of classic typography4 ,fred4 ,w4 ,goudy has done many things worth while1 but none better than this4 ,he not only designed the smaller type-faces and lettered the large lines in harmony1 but arranged the page and1 in its original form1 printed it4 ,american typography owes much to ,mr4 ,goudy and it is a pleasure to include this page here4 ,illustration3 ,,example #ada ,a title-page of classic design1 with an ,aldine anchor device4 ,by ,william ,aspenwall ,bradley ,,example #adc4--,this is a page from one of the ,roycrofters' serious efforts in bookmaking4 ,it was printed in dense black ink on white stock1 the large text initials standing forth in pleasing contrast4 ,,example #add4--,this is a page from a book by ,theodore ,l4 ,de ,vinne1 and probably presented his personal ideas in book typography4 ,notice the spacing around the subheading1 and the treatment of footnotes4 ,the first line under the subheading is not indented4 ,,examples #ade ,,and #adf4--;,d4 ,b4 ,updike1 of the ,merrymount ,press1 is responsible for the typography of these pages1 which are a portion of a book containing the ceremony of marriage as performed in the ,protestant ,episcopal ,church4 ,the type is a special letter based upon early forms4 ,the book was printed in black and vermilion4 ,mr4 ,updike1 with ,rogers1 ,goudy and others1 believes that the way to improve typography in ,america is to do typography as well as it can be done4 ,he established the ,merrymount ,press in #ahih1 and has arranged and printed many fine volumes1 in addition to much high-grade small work4 ,illustration3 ,,example #adb ,classic feeling expressed in a modern title-page4 ,designed by ,fred4 ,w4 ,goudy ,,example #adg4--;,books of poetry are usually treated in a typographic style that is light and dainty4 ,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 message4 ,the verses of ,edgar ,allan ,poe1 with their suggestion of dark shadows and pathos1 make the book designer's task difficult1 but in this example ,mr4 ,nash has given the work a decorative treatment that in its dark tone helps to beautify the sad spirit of the great ,american poet4 ,washington ,text shows forth admirably as a type for these pages and the decorative panel harmonizes with it in both tone and design4 ,in its original form the book was printed in dull black and dull red inks on a toned hand-made paper4 ,the liberal margins assisted in giving that touch of exclusiveness and taste that is essential in good book-printing4 ,illustration3 ,,example #adc ,text-page of a de luxe volume4 ,by the ,roycrofters1 ,east ,aurora1 ,n4 ,y4 ,illustration3 ,,example #add ,text-page from a book by ,de ,vinne4 ,note treatment of running titles1 sub-headings and footnotes ,illustration3 ,,example #ade ,illustration3 ,,example #adf ,two pages from a small ecclesiastical book4 ,by ,d4 ,b4 ,updike ,,example #adh4--;,french title-pages of the eighteenth century are furnishing motives for the designing of cover and title-pages for the uses of publishing and advertising1 and to many this page by ,bruce ,rogers will have considerable interest4 ,the design carries the spirit of an age when decoration was rampant and when architecture and books were festooned and adorned with cupids4 ,the decorative lettering used in the main title shows such influence4 ,this book in its first edition was printed in #aghi1 and when recently reprinted the typographic spirit of the old volume was incorporated in it4 ,it does not measure up to the recently accepted ideas of tone-harmony and shape-harmony1 yet the element of appropriateness is so strong that those shortcomings are not to be held against it4 ,illustration3 ,,example #adg ,gothic treatment of a book of poetry4 ,typography designed by ,j4 ,h4 ,nash for ,paul ,elder ,company ,custom has developed a law for the arrangement of the several parts of a book4 ,there is first a blank leaf known as the fly-leaf1 followed by a leaf with the title of the volume in small type slightly above center or placed toward the upper right corner4 ,the frontispiece1 if one is used1 is then inserted4 ,the next leaf contains the title-page1 which usually gives the title of the work1 name of author or editor1 place of origin1 name of publisher and date of issue4 ,on the back of this leaf1 slightly above center1 is the copyright notice1 and in the lower center or right corner the imprint of the printer4 ,the table of contents and the table of illustrations follow1 taking as many pages as are necessary4 ,the preface1 or author's introduction1 is next1 after which another half-title may be inserted ahead of the first chapter4 ,the dedication1 at one time occupying a page in the fore part of the book1 is occasionally used4 ,the index is inserted in the rear of the book4 ,this rear-index is not found in novels1 but in books on technical subjects and those used for reference purposes4 ,it is customary to number book pages with ,arabic numerals beginning with the first chapter1 all pages in advance of the first chapter being numbered with lower-case ,roman numerals4 ,the page numbers1 when at the foot1 should be separated from the type-page by the same amount of space used between the lines4 ,there is tendency among inexperienced printers to place the numbers too far from the type-page4 ,illustration3 ,,example #adh ,where a ,french style of treatment is appropriate4 ,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 used1 altho the best typographers prefer only about half that amount of space4 ,pages containing chapter headings are lowered at the head below the regular page hight4 ,example #abg shows a lowering of five picas space4 ,other books show more or less than this amount of space1 but the space allowed in this example is pleasing4 ,when an initial is used the space between it and the type should be the same1 both at the right side and foot of the initial4 ,the position of a book page should be toward the binding and the head4 ,in elaborate books of wide margins this inclination should be great1 but in the conventional book of narrower margins it should be less noticeable--say six points toward the binding and eighteen points toward the head4 ,the use of an em-quad between sentences on a book page is encouraged by many printers1 but the new-thought compositor uses two three-to-em spaces or less4 ,by referring to example #abg it will be found that the same amount of space separates all words in one line4 ,the capital letter seems sufficient indication of the beginning of a sentence4 ,in the first book printed from separate types 7see reproduction of page from ,gutenberg's ,bible in the chapter on 8,the ,origin of ,typography07 there was no space used between sentences1 the period in the judgment of the printer separating the words sufficiently4 ,illustration3 ,,example #adi ,title-page lettering and decoration by ,f4 ,w4 ,goudy1 for the ,caxton ,co41 ,cleveland1 ,o4 ,illustration ,,booklets1 ,,pamphlets1 ,,brochures1 ,,leaflets ,did ,i wish to be flippant ,i would open this chapter by asking1 8,when is a booklet not a booklet80 and might even be pardoned for doing so1 for no other word has been so misused as has 8booklet40 ,a booklet1 the dictionaries tell us1 is just a little book1 as is indicated by the suffix 8-let10 which termination forms diminutives from ,french and ,english nouns4 ,yet 8booklet0 has been used to designate not only little books1 but big books1 and has led to the rather tautological description1 8a little booklet40 ,when does a booklet cease to be little1 and is its littleness in its dimensions1 in the number of printed sheets1 or in some other feature not recognized in a hurried consideration of the subject8 ,going back to the lexicons-- ,a booklet1 as has been said1 is a little book4 ,a leaflet1 according to the ,standard ,dictionary1 is 8a little leaf2 also a tract40 ,webster says it is 8a sheet of small pages which are folded1 but not stitched2 a folder40 ,a pamphlet1 we understand from the ,standard1 is 8a printed work stitched or pasted1 but not permanently bound2 a brief treatise or essay40 ,webster says it is 8,a book of a few sheets of printed matter1 or formerly of manuscript1 commonly with a paper cover2 specifically1 sometimes1 any such work not in excess of eighty pages1 and not bound40 ,the word 8pamphlet0 was derived from a popular ,latin poem1 8,pamphilus10 of the twelfth century4 8,brochure0 is a ,french word often used for 8pamphlet40 ,webster gives its meaning as 8a printed and stitched book containing only a few leaves2 a pamphlet2 a treatise or article published in such form40 ,a circular is a letter or a note1 usually printed4 ,however1 for the purposes of this chapter1 while ,i shall endeavor so far as possible to use one of the above approved terms in designating the various examples of printing1 the word 8booklet0 in some instances may have a wider application than 8a little book40 99 99 99 99 99 ,illustration3 ,,example #aej ,illustration3 ,,example #aea ,two pages from a leaflet designed without decoration or color1 a noteworthy exponent of simplicity in typography4 ,by the ,marchbanks ,press1 ,new ,york ,the chap-books sold in the seventeenth century1 containing abbreviated stories1 were1 perhaps1 prototypes of the booklet2 but as now used the booklet is a modern conception4 ,it is a result of development in sthetical knowledge among advertisers and the buying public1 who have learned to discriminate and to demand artistic1 tasteful workmanship4 ,when the 8dodger0 or handbill ceased to be effective as a publicity auxiliary to the newspaper1 the booklet was born4 ,state laws consider a few placards or publication in one or two obscure newspapers sufficient notification to the public1 but the advertiser knows the futility of such obsolete methods and gets his message to the public in numerous ways--traveling salesmen1 newspapers and magazines1 trade1 technical and class publications1 house-organs1 catalogs1 booklets1 circulars1 posters1 novelties1 car cards1 electric signs1 etc4 ,to an extent the booklet's mission is educational2 it introduces the business house1 gives authoritative answers to questions that the prospective buyer would naturally ask1 explains advantages and gives reasons for superiority4 ,the booklet is best if written in a style that is non-technical1 and should be treated by the artist and printer in a manner that will interest the recipient4 ,illustration3 ,,example #aeb ,illustration3 ,,example #aec ,illustration3 ,,example #aed ,three pages from an easily read booklet in ,scotch ,roman1 showing the typographic style of ,benjamin ,sherbow1 ,new ,york ,illustration3 ,,example #aee ,illustration3 ,,example #aef ,two pages from an eight-page leaflet1 in which the typography was relied upon for results4 ,the rule borders were printed close to the edges of the paper4 ,by ,william ,henry ,baker1 ,cleveland1 ,o4 ,among the users of the booklet as a publicity medium are railroads1 cities1 hotels1 real-estate companies1 banks1 clothiers1 educational institutions1 printers1 and manufacturers of automobiles1 musical instruments1 cameras1 and tools and equipment of many kinds4 ,if one wishes to purchase intelligently a piano or other expensive article he obtains a booklet on the subject1 and whether he buys or not depends largely upon the impression obtained from the booklet2 if it is well written1 informative1 carefully illustrated and handsomely printed1 it will be likely to exert an influence in favor of a sale4 ,the printer's share in producing such a booklet is large1 altho he is called upon to work in conjunction with the writer1 the artist and the engraver4 ,much of the booklet printing is planned by advertising writers and commercial artists4 ,the best results are obtained when artist and writer blend their ideas harmoniously2 this is possible only when the writer has artistic tastes and a definite understanding of typography4 ,in many booklets the text matter does not fit the decoration4 ,i have in mind an instance in which the artist laid out sixteen pages of marginal illustrative decoration1 and the writer supplied only about half the copy necessary to fill the sixteen pages4 ,to overcome the deficiency the printer set the text matter in an excessively large size of type1 but even then the space left for the reading matter was only partly filled4 ,if the writer was unable to fill the space1 the artist should have decreased the number of decorative pages or else planned his decoration to cover more surface4 ,illustration3 ,,example #aeg ,illustration3 ,,example #aeh ,illustration3 ,,example #aei ,three pages that demonstrate the possibilities of type and rule in obtaining effective results4 ,by ,barnard ,j4 ,lewis1 ,boston1 ,mass4 ,those houses that have made a success of booklet printing produce a job that is harmonious and complete4 ,reading matter1 illustrations1 decoration1 paper1 ink and color treatment1 all blend on their booklets4 ,there is a central motive around which all concerned in the make-up of the booklet weave their ideas4 ,altho such a condition is ideal1 it is not absolutely necessary1 and it is not always profitable1 for a printshop to have under its roof a complete equipment for producing every detail of a booklet4 ,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 8plant40 ,on the other hand1 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 plans4 ,he manages to meet a prospective customer and from conversation with him learns something of his tastes and preferences4 ,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 booklet4 ,he assumes that the most successful artists are those who have specialized on some one kind of work--classic ,roman lettering and decoration2 seventeenth-century ,french decoration2 ,old ,english or ,american colonial effects2 modern ,german coloring and decoration2 art-nouveau creations1 the serious and the humorous2 illustrations of child life1 or of the ,civil ,war period4 ,while there are versatile artists like ,will ,bradley who can do good work in many styles1 they are not numerous4 ,some printers retain typographic artists who serve clients by the hour4 ,these artists sometimes are advertising writers who have studied the art side of printing and know that much depends upon the type-face used4 ,to plan a booklet properly the commercial printer must know something of the principles of art and advertising and of good book typography4 ,booklet printing is really the connecting link between job printing and book printing4 ,the unconventionality of job typography and the dignity and conservatism of book typography can successfully be blended in the booklet4 99 99 99 99 99 ,,example #adi 7,insert74--,this style of title-page is appropriate for a booklet or brochure in which the typography plays an important part in the production4 ,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 example4 ,the page having been drawn by ,frederick ,w4 ,goudy1 one of his type-faces would1 of course1 be most harmonious1 but other old-style letters such as ,cloister ,oldstyle1 ,caslon ,oldstyle and ,old-,style ,antique would also be suitable4 ,some of the pages would possibly include initial letters drawn in the same style as the decoration1 and thruout the work the motif established by the title-page should be maintained4 ,an antique-finished paper blends best with the general decorative plan1 but if coated stock must be used it should be of a dull finish4 ,art work of the quality of this example cannot be procured from every artist4 ,this example is expressive of the personal taste and talent of ,goudy4 ,illustration3 ,,example #afj ,a label pasted on a brilliant cover stock is striking4 ,designed by ,thomas ,maitland ,cleland for the ,oswald ,press1 ,new ,york ,,examples #aej ,,and #aea4--,the printer in the main must be his own artist1 and he can best serve himself and his customers on such occasions by providing pure typographical effects4 ,this is difficult4 ,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 art4 ,he must be thoroly acquainted with type-faces4 ,his type equipment usually shows his knowledge in this regard2 if it consists of odds and ends of type-faces aimlessly selected1 he is not in a position to give his customer the proper service1 but if his equipment mainly consists of those type-faces that have been approved by the leading typographers and type designers of the country1 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 matter4 ,the public learns to like whatever is served to it most frequently1 and if it is provided with good printing and especially good typography1 the tone of printing generally will be elevated and further dignity given to the business4 ,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 work4 ,the leaflet was made to fit a business envelop4 ,the stock was ,japan vellum and there was no decoration--only a standard approved type-face of a readable size 7fourteen-point74 ,such a leaflet attracts attention above most advertising matter because of its simplicity4 ,it is good more because of what is left off than for what is put on4 ,illustration3 ,,example #afa ,admirable treatment for a small amount of reading matter4 ,both pages by ,edward ,everett ,winchell1 ,new ,york ,,examples #aeb1 #aec ,,and #aed4--,these are the cover-page and first and second text pages of a booklet which is purely a typographical product4 ,there was also a title-page similarly treated4 ,the first two words of the title1 8,getting into ,print10 were on each of the four pages set in italic lower-case1 and the word 8,print0 was in roman capitals4 ,scotch ,roman was used1 and ,mr4 ,sherbow has produced other effective booklets with this type-face4 ,he has a preference for the eleven- and twelve-point sizes and frequently separates his lines with a two-point lead4 ,the result1 especially in the narrow measure made necessary by the smallness of the booklet1 is a page that one likes to read4 ,there is a freshness1 an individuality1 about his type arrangement1 which quality is probably due to the fact that he never was a practical printer4 ,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 apprentice4 ,his work1 however1 is influenced by the study he has made of the work of typographers and calligraphers of the past five or six centuries4 ,by this study he has obtained a knowledge that most printers lack because of their reluctance to explore the past4 ,the borders surrounding these pages are made from typefounders' brass rule1 and otherwise the only ornamentation is a floret on the cover and a smaller one on the first text page4 ,perhaps no new note is struck in the arrangement of the cover-page1 but the treatment of the upper part of the first text page is different from that which would be given by the average good compositor4 ,illustration3 ,,example #afb ,a good way to arrange a page when the photograph is of proportions different from those of the booklet page4 ,note treatment of caption ,illustration3 ,,example #afc ,illustration3 ,,example #afd ,two booklet pages in which typography was the chief dependence in securing artistic results4 ,the borders were made with brass rule and the illustration was tipped on4 ,by ,taylor ,taylor1 ,san ,francisco1 ,cal4 ,,examples #aee ,,and #aef4--,these are from an eight-page leaflet1 and1 like the previous examples1 they give evidence of an understanding of typography that comes from study of the subject4 ,mr4 ,baker in these pages provides practically no margins outside or inside the rule border4 ,this border is merely a one-point rule which serves a good purpose without forcing itself upon the attention4 ,the type-face is ,old-,style ,antique1 which as the years go by does not seem to lose its 8flavor40 ,it is a readable type-face and one that is at its best when used on antique-finished paper1 as in this case4 ,the leaflet was printed in black ink on a greenish cream-tinted paper4 ,mr4 ,baker's personal device adds decorative value to the title-page4 ,it will be noticed that the headings are set in a larger size of the body type and lined at the left4 ,there is no indention excepting for the reprinted letters1 which are set in a small size of the same type4 ,these letters treated in this manner are only incidentally made a part of the advertising argument4 ,,examples #aeg1 #aeh ,,and #aei4--;,caslon ,oldstyle and ,caslon ,text are factors in the effectiveness of the booklet of which these three pages are representative4 ,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 illustration4 ,it might be said that good typography is to be preferred at all times to poor art work1 altho really good art work properly subordinated will undoubtedly add attractiveness and interest to a booklet otherwise well treated typographically4 ,the border of contrasted heavy and light rule adds typographic value to the booklet under consideration1 and the use of the light rule in other ways on the title-page and under the headings in ,examples #aeh and #aei also has an influence for good4 ,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 pages4 ,ornaments are used in the running headings1 and they are the same design as that used on the title-page4 ,the size of this booklet was #c #e inches4 ,it should be noticed that ,mr4 ,lewis in these pages places no more space between sentences than between the various words of the line1 altho ,mr4 ,sherbow and ,mr4 ,baker on the preceding examples use more4 ,there is difference of opinion among good printers as to the amount of space between sentences4 ,some of them prefer the em-quad1 which has been used by the average printer for a great many years4 ,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 page4 ,it should be noted in ,mr4 ,lewis's pages that while he has allowed fair margins around the outside of the rule border1 he has arranged for very little margin inside1 and to this is due a certain compactness that is agreeable4 ,,example #afj4--,this is the cover of a small book of information4 ,the cover stock was deep red in color and the title was printed on ,japan vellum stock and pasted as a label on the cover4 ,the label design is by ,thomas ,maitland ,cleland1 whose carefully formed lettering offers suggestions to good printers who know the value of dignity in lettering and decoration4 ,a title label1 especially when dark cover stock is used1 makes it possible to include a typographic effect on the cover1 thus insuring harmony consistent with the type-face that may be used on the inside of a booklet4 ,the title-page that was a part of this small book was shown as ,example #ach of the chapter on books4 ,illustration3 ,,example #afe ,illustration3 ,,example #aff ,attractive rear and front cover designs of an unconventional booklet4 ,the arrowheads in the original were in emerald-green ink4 ,by ,e4 ,g4 ,jacobson1 ,new ,york ,illustration3 ,,example #afg ,one of the eight pages of a prospectus for 8,the ,american ,printer40 ,the initial 8,a0 was in color4 ,by ,will ,bradley ,,examples #afa ,,and #afb4--,two facing pages from a booklet designed by ,edward ,everett ,winchell and presenting the attractive features of a large ,new ,york hotel4 ,there is but a small amount of descriptive matter1 confined mostly to two pages in the front of the book1 yet the treatment is such that more words would have spoiled it4 ,the plain rule border gives uniform shape to the pages and pleasingly contrasts with the liberal white space inside4 ,in ,example #afa the descriptive matter is grouped at the head of the page in ,avil1 an interesting old-style roman type-face4 ,the fading of the vignetted edges of the halftone into the surrounding white space is effective4 ,example #afb demonstrates how an illustration which is out of proportion to the page may be placed to get good results4 ,the caption1 set in capital letters slightly spaced1 is in keeping with the squared style of the page4 ,compositors should study the position of this caption4 ,many would be inclined to center it directly under the illustration2 this would cause the lower part of the page to seem empty and unfinished4 ,by moving the caption down1 so as to break into the white space and divide it1 the sense of vacancy is not experienced4 ,,examples #afc ,,and #afd4--,these are two pages from a booklet in which typography was the chief dependence of the printer in securing artistic effects4 ,the border is made of brass rules and four small ornaments2 a decorative initial is introduced at frequent intervals thruout the booklet2 otherwise1 the effect is due to care in the details of typesetting4 ,the space between sentences is the same as that between the words of a line1 and widely spaced lines are not to be found4 ,it should be kept in mind that the best typography is that in which the spacing between words is not excessive4 ,carelessness in typesetting and in the operation of composing machines is responsible for unpleasant effects produced by wide spacing and by 8rivers0 running thru the page4 ,in ,example #afd the illustration was tipped on4 ,the paper used in this book was a buff antique1 the tipped-on prints being on dull-coated stock4 ,the dark-brown ink used for the text pages was also used for the prints1 making a pleasing color harmony4 ,illustration3 ,,example #afh ,illustration3 ,,example #afi ,two pages from a booklet in which no decoration was used1 the decorative quality of the type-face impressed on hand-made paper having been depended on to provide a dignified beauty4 ,by the ,oswald ,press1 ,new ,york ,,examples #afe ,,and #aff4--,these are rear and front booklet covers1 the design of which is striking because of the disregard for conventionality4 ,no capital letters are used1 an idea that should be adopted with reluctance by printers unless their customers approve of the innovation4 ,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 work4 ,the activity of ,german1 ,austrian and ,french artists in this country1 however1 has caused some business and advertising men to be more tolerant in these things1 as the bright coloring1 dashing decoration and the newness of it all seem to get attention where conventional effects fail4 ,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 concerned4 ,there was a period in the development of the modern alphabet when its characters were neither 8capitals0 nor 8lower-case0 as we know them--a period in which the minuscules were being evolved from the ancient ,roman capitals or majuscules4 ,altho modernized1 the lettering here used can be traced historically to the uncial lettering of the days of manuscript books4 ,the arrowheads were in emerald green4 ,illustration3 ,,example #agj ,a hand-lettered cover-page4 ,by the ,blanchard ,press1 ,new ,york ,,example #afg4--,this page1 designed for the prospectus of the twenty-fifth anniversary number of ,the ,american ,printer1 in my opinion is among the best things that ,will ,bradley has done4 ,there were eight pages and on all the decorative headings were similar1 altho each had sufficient change in the treatment to give special interest to the page4 ,the fine line decorative borders were in pleasing contrast to the dark-toned illustrations and the liberal apportionment of blank space4 ,fourteen-point ,caslon ,oldstyle1 the kind with the long descenders1 was used for the text matter4 ,the large ,caslon initial added another interesting spot of black4 ,the decoration and type matter were printed in black ink on buff-tinted dull-coated paper1 and the large drawn initial on each page was in sepia brown4 ,the original size of this pamphlet was #f #i inches4 ,,examples #afh ,,and #afi4--,no decoration of any kind was used in this booklet1 unless the period groups may be counted as such4 ,the purpose was to produce artistic printing in good taste by depending upon the type-face and the paper for results4 ,decorative interest 7usually welcome in a mild way7 was supplied by the swash capitals of the italic and by letterspacing capitals and small capitals wherever they appeared4 ,the chapter headings of all the pages in this book were aligned with one another and not 8sunk0 as is sometimes done4 ,the pages are made interesting by the varied use of italic lower-case and roman capitals4 ,the size of this booklet in the original was five by eight inches1 and the margins were made to conform to those used on good book composition1 each margin increasing in this order3 ,head1 inner side1 outer side1 foot4 ,illustration3 ,,example #aga ,page from a typographically treated commemoration book ,illustration3 ,,example #agb ,unconventional arrangement of a booklet page4 ,by ,corday ,gross1 ,cleveland1 ,o4 ,,example #agj4--,lettering1 as has been pointed out1 has an important place in booklet designing along with decoration1 illustration and typography1 and from well-lettered designs the printer can obtain valuable suggestions4 ,this example was printed on hand-made paper1 and the deckle edges and rough surface of the paper blended with the freehand drawing of letters and border4 ,there was a further blend of the hand-lettering and the ,caslon type-face used on the inside pages4 ,the lettering was based upon the same model as the ,caslon1 which is standard for old-style effects4 ,here is a hint for printers3 ,distinction will be added to booklets otherwise printed from ,caslon or similar type-faces if the cover and the display headings are hand-lettered4 ,this may be done with fair results by setting them first in ,caslon type4 ,after the type has been arranged satisfactorily1 take a print in blue tint on paper suitable for drawing with ink4 ,the letters may then be traced freehand with black india ink over the blue print and any desired ruggedness or variation introduced4 ,as light-blue ink will not reproduce when a zinc etching is made1 the blue proof need not be carefully adhered to4 ,italic and small capitals should be introduced in such lettered designs4 ,,example #aga4--,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 ,typothet4 ,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 quality4 ,the cover was a domestic vellum-like paper which contained the words1 8,golden ,anniversary of the ,typothet10 set in ,cloister ,italic with swash initials1 the two lines being deeply stamped into the paper on gold leaf4 ,in this manner strict typographic harmony was maintained thruout the booklet4 ,large decorative initials were introduced in several instances and two-line initials of ,cloister capitals were used in a minor way4 ,this page should offer suggestions to printers who are called upon to print souvenir volumes2 in fact1 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 city4 ,,example #agb4--,this is the first inside page of a booklet1 the stock of which consisted of a thin straw-colored ,japanese paper1 printed on one side only4 ,the cover1 a heavy1 rough dark-green paper1 contained only the wastebasket illustration printed on both front and rear in gold ink set into the stock by a heavy impression4 ,the simplicity of the typography accords with the treatment as a whole4 99 99 99 99 99 ,printers will accomplish the most in booklet printing1 as in other branches of the craft1 if they live in an artistic atmosphere4 ,sir ,joshua ,reynolds1 the great ,english painter1 said3 8,the more extensive your acquaintance is with the works of those who have excelled1 the more extensive will be your powers of invention40 ,that is the reason painters haunt ,italy and other art centers where the works of the old masters are accessible4 ,the printer should take journals such as ,the ,american ,printer1 devoted to the art of typography2 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 typography4 ,the helpful atmosphere of the trade papers can be supplemented by specimen booklets for study purposes4 ,these booklets can be obtained by writing to the printers producing them1 or to the advertiser2 and many can be had from retail houses selling the articles advertised in the booklets4 ,the printer must learn more than he now knows about art or he will become only a caddie in the game of booklet printing1 with the artist and ad4-writer making all the puts4 ,the printer is depending too much upon the artist and too little upon himself4 ,the possibilities of type arrangement have not been exhausted and never will be1 yet many workers at the printing trade act upon the assumption that good printing is impossible without the artist's initiative and co-operation4 ,many a good job of printing has been spoiled by inferior lettering or decoration1 the work of a poor artist4 ,withal1 there is nothing more ideal than a good printer and a good artist working together to produce perfect printing4 ,illustration3 ,,example #age ,page from an automobile catalog designed by ,thomas ,maitland ,cleland4 ,the caption is grouped in spaced capitals of ,bodoni ,book4 ,the illustration is from a pen-and-ink drawing ,illustration3 ,,example #agf ,unusual treatment of a specifications page4 ,words in capitals are letterspaced4 ,rules are used to add character to the page4 ,these reproductions are one-half the size of the originals ,illustration ,,catalogs ,ruskin1 enumerating three branches of architectural virtue1 requires of a building 7#a7 that it act well1 and do the things it was intended to do1 in the best way2 7#b7 that it speak well1 and say the things it was intended to say1 in the best words2 7#c7 that it look well1 and please us by its presence1 whatever it has to do or say4 ,these three requirements1 like many others that are important in the eyes of the architect1 can be applied to the illustrated catalog1 which most printers at one time or another are called upon to produce3 7#a7 ,the catalog should act well2 it should be constructed in a manner fitting the purpose for which it is issued4 ,if1 say1 it contains a list of plumbers' supplies1 it should be bound in strong stock of a color that will not easily soil4 ,if it contains a list of jewelry and is for retail purposes1 it could be bound delicately in light stock4 7#b7 ,the catalog should speak well2 the illustrations should be faithful presentations of the articles to be sold1 and the descriptive matter should be well written1 accurate and informative4 7#c7 ,the catalog should look well2 the type-faces1 paper1 ink1 binding and other elements should be harmonious2 the illustrations and descriptive matter should be arranged with regard to balance and proportion1 and the treatment as a whole should be pleasing and interesting4 ,there was a time when catalogs were printed without attention to these things1 or if the first two requirements were complied with the third was ignored4 ,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 shop4 ,those were the days when the catalog was a heterogeneous collection of woodcuts and type-faces1 packed on the pages to the very edge of the paper4 ,now many show windows and salesrooms are delights to the eye1 and similar care and taste are shown in the printing of the catalog4 ,illustration3 ,,example #agg ,architectural title treatment by ,will ,dwiggins4 ,the lettering contains typographical suggestions ,the catalog is a portable showcase and from it the customer makes selection1 often without seeing the article itself4 ,these facts make it essential that goods be displayed invitingly and in good taste4 ,an article well displayed requires few words to sell it4 ,place a girl of plain features1 but handsomely dressed1 in the midst of beautiful colors and lights1 and a dozen millionaires will want to marry her--an extreme illustration of the power of attractive display1 emphasizing the necessity of 8playing up0 the ordinary to create the desire of possession4 ,it is possible1 also1 to accomplish this purpose by different methods4 ,it is told of ,josephine that1 wishing to gain the admiration of ,napoleon1 she appeared at a reception in a gown of pure white1 without ornament4 ,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 emperor4 ,it should be remembered1 however1 especially by the typographer1 that mere plainness of dress did not win ,josephine her triumph1 but that artistic simplicity did4 ,a block of marble rough-hewn from the quarry is plain1 but1 carved into statuary by a ,rodin1 is far more than that4 ,this point is worthy of meditation by all who wish to produce the effective and attractive catalog4 ,efforts have been made to standardize the dimensions of catalogs2 it would be well for printers and others to assist in accomplishing this purpose4 ,a committee of the ,american ,society of ,mechanical ,engineers1 after investigating the sizes of catalogs in common use1 recommended that the standard size of catalogs be six by nine inches4 ,the recommendation was also made that the size of bulletins and large catalogs be eight and a half by eleven inches4 ,other suggestions by the committee were3 ,paper-covered catalogs intended to be permanently filed should be trimmed to exact size1 cover and all1 barring deckle edges4 ,overlapping covers are favored only when the covers are stiff enough to support the catalog's weight when standing on edge4 ,titles should be printed on the exposed backs of the catalogs1 reading from top downward4 ,the date of publication should appear on the title-page4 ,an index card of standard size 7three by five inches71 containing the title and character of the contents1 should be inclosed in every catalog4 ,illustration3 ,,example #agh ,illustration3 ,,example #agi ,facing pages that show effective results obtained in a simple way4 ,the plain1 legible typography ably supports the strong illustration and attractive border treatment4 ,by the ,matthews-,northrup ,works1 ,buffalo1 ,n4 ,y4 ,before proceeding with the composition of a catalog the printer should insist that the copy be legible1 orderly prepared1 and all points settled as to type-face1 headings and position of illustrations4 ,a dummy page should be planned and set up1 and it should be studied and discussed by customer and printer before work is begun on the catalog as a whole4 ,if the catalog is to be elaborately treated1 all drawings should be approved and plates made before the type work is commenced4 ,if the printer is assisting in the general preparation of the catalog1 he should keep before the customer the fact that decoration is merely supplemental1 and should urge first attention to the type matter and illustrations4 ,,example #age4--,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 others4 ,most typographers must proceed according to defined requirements and plan their work with regard to set styles4 ,mr4 ,cleland and a few other typographic artists in this country carry out their ideas without the assistance of an advisory board4 ,the average typographer or artist1 on the other hand1 must not only incorporate the suggestions of half a dozen persons1 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 typographer4 ,mr4 ,cleland is a student of the best printing of past centuries1 and his refined taste and wonderful skill with the pen enable him to produce effects that would be envied by the master printers of old4 ,on this page he has used ,bodoni ,book1 slightly spacing the capital letters and grouping the matter so that it dominates the blank space in the lower portion of the page4 ,the cartouche1 or panel1 as here used for the car name was in favor in ,bodoni's day1 a hundred or more years ago4 ,the horizontal position of the illustration adds to the pleasure in examining the catalog1 for when an illustration runs the long way of such a page the necessary turning of the book is an annoyance4 ,,example #agf4--;,brass rules are seldom well applied in typographic work1 but when they are1 as in this instance1 the results are pleasing4 ,this page1 because of its tabular nature1 was doubtlessly difficult to arrange1 and every compositor1 appreciating that fact1 will admire what ,mr4 ,cleland has accomplished4 ,it should be noticed that words of roman capitals have in every instance been letterspaced1 while those in lower-case have not4 ,this treatment gives effects that are unusual and well liked by persons of good taste4 ,,example #agg4--,this shows the cover of a catalog of plays4 ,will ,dwiggins in his usual clever manner has made a design full of character1 human in the absence of the mechanical4 ,the lettering contains suggestions for effects that could be approximated with some well-designed type-face4 ,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 border4 ,architectural designs formed with the average printshop material seldom look well4 ,simple rule effects would be better4 ,illustration3 ,,example #ahj ,illustration3 ,,example #aha ,inside page and cover of a publication catalog designed by ,d4 ,b4 ,updike4 ,the typographic treatment of these two pages is suitable and pleasing4 ,the cover stock was green-gray of a rough antique finish ,,examples #agh ,,and #agi4--;,in many catalogs a page illustration is faced with a page of reading matter describing it4 ,in this instance the descriptive matter is small in amount and for that reason presented a problem in typography4 ,the printer1 however1 solved the difficulty by using a type-face fairly large in size1 but of good design1 and placing the group in the upper part of the page aligned with the top of the illustration4 ,it is well to keep in mind that in booklets1 catalogs and similar work good results are frequently obtained by aligning all pages at the head4 ,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 background4 ,,example #ahj4--,there is evidence in this specimen that it is possible to obtain variety and interest by simple means4 ,the italic1 especially with the decorative quality found in swash letters1 is a factor1 and the rule at the head1 with bits of decoration at the ends1 also helps4 ,it will be noticed that no leaders have been used2 their omission is sometimes advisable1 at other times not4 ,an antique-finished white paper is best for old-style effects such as this4 ,,example #aha4--,this cover-page has been built on the small illustration4 ,from the old fireplace the view of the room fades into the paper stock4 ,after the border line is extended from the drawing1 there remains a large amount of blank space1 on which the title1 in a well-balanced position1 is arranged in type4 ,the address neatly fitted in the space at the foot finishes the design at that point4 ,illustration3 ,,example #ahb ,german poster type on a grocery catalog with characteristic block grouping ,illustration3 ,,example #ahc ,illustration3 ,,example #ahd ,typographic arrangement of the title-page and one of the inside pages of a museum catalog4 ,the proportions of this type-face blend harmoniously with the dimensions of the page4 ,example #ahd shows some details of catalog composition ,illustration3 ,,example #ahe ,rules add a decorative quality to this book catalog4 ,by ,j4 ,h4 ,nash ,,example #ahb4--,modern ,german typographical ideas have found expression in this grocery-catalog page4 ,the lettering is type1 the black tone and decorative form of which were probably inspired by strong lettering designed for poster purposes4 ,rules seem to have a place in the building of modern ,german art effects1 as will be seen by this design4 ,bold type as used here is possibly unnecessarily forceful1 but when color is to be shown in its true values it is desirable4 ,color never shows to advantage in thin lines1 while broad lines bring out the color qualities of the ink4 ,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 books4 ,,examples #ahc ,,and #ahd4--;,every printer at some time is called on to produce catalogs in which books or other published articles are listed and priced1 and on such occasions wishes to see what 8the other fellow0 has done in this line4 ,for this reason the two pages are of interest4 ,they show a title-page and a representative inside page from a catalog issued by the ,metropolitan ,museum of ,art1 ,new ,york4 ,the type-face is of the class usually designated as ,french ,oldstyle1 and its proportions blend harmoniously with the dimensions of the page4 ,the distribution of blank space on the title is pleasing2 the type lines are so grouped as to secure value from the background of white4 ,in ,example #ahd the heads and subheads are pleasingly contrasted by the use of capitals in some cases and small capitals in others4 ,each item is grouped1 and the technical details are kept orderly by being placed in a line with the price4 ,no period is used after the item number4 ,illustration3 ,,example #ahf ,an automobile catalog page in which the type matter was prominently treated4 ,the original page 7about twice this size7 was printed in dark-gray and orange inks on white antique paper4 ,by the ,robert ,l4 ,stillson ,company1 ,new ,york ,illustration3 ,,example #ahg ,unusual treatment of an automobile catalog page4 ,the original was more than twice this size4 ,the matter is liberally supplied with headings1 the arrangement in the panel at the left taking care of most of them4 ,by the ,cadillac ,printing ,company1 ,detroit1 ,mich4 ,illustration3 ,,example #ahh ,page in reduced size from a wine list designed by ,t4 ,m4 ,cleland for the ,oswald ,press4 ,interesting use of rules in tabular style ,,example #ahe4--,scotch ,roman type is used to excellent advantage in this book-catalog page4 ,the title in each case is in large capitals1 the sub-title and the name of the author are in smaller capitals1 the explanatory matter in roman lower-case and the technical details in small italic4 ,it will be seen that the advertising points have been carefully considered4 ,a rule border and two ornaments add decorative quality4 ,the closeness of the border to the type matter merges it with the page in an attractive manner4 ,as in this case1 decorative treatment should be a part of the general design and not something separate4 ,,example #ahf4--,on automobile catalogs typography seldom receives the attention it deserves4 ,illustration and decoration are given great attention1 and what type matter is used seems to be like a guest invited at the eleventh hour4 ,however1 this example is from a catalog in which type acts an important part4 ,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 paper4 ,it will be seen that beginning with a colored initial the reader can without effort or eyestrain read the descriptive matter1 which is followed by technical details in smaller type and a line illustration of the car4 ,scotch ,roman was used1 and it was not found necessary to introduce italic4 ,,example #ahg4--,the treatment of this page is uncommon for catalog purposes4 ,a ,goudy type-face was printed in dark brown 7border rules in light brown7 on an ,italian hand-made paper4 ,the size was more than twice that shown here4 ,sub-headings have all been grouped in the panel at the left1 each so placed as to be opposite the paragraph to which it belongs4 ,the effect was one of richness and suggestive of quality4 ,illustrations of the cars were of page size printed by the gravure process4 ,,example #ahh4--;,few printers would use rules in tabular form for a high-class wine list2 tabular work is supposed to offer no opportunity for art expression4 ,we know of the stone rejected by the builder which became the headstone of the corner4 ,we have also heard of ,michelangelo carving a masterpiece from an ill-shaped block of stone that had been discarded by other sculptors4 ,mr4 ,cleland did an equally interesting thing when he selected rules to give decorative quality to this wine list1 supplementing characteristically drawn head- and tail-pieces4 ,caslon ,oldstyle was used and the paper was hand-made4 ,a pleasing effect was obtained by letterspacing the capitals in the headings4 ,illustration3 ,,example #ahi ,german treatment of a wine list1 showing neat typography and attractive decoration ,,example #ahi4--,we usually expect strong1 masculine effects from ,german typographers and decorators1 and when we come across a wine list as dainty as this one we are surprised and pleased4 ,there is remarkable harmony of type-face1 decoration and illustration4 ,the type-face is uncommonly legible for so ornamental a letter1 and the light decorative lines of the illustration and border reflect the qualities of the type-face4 ,in the original there was an additional border around the one here shown1 and it was printed in a very light gray-brown tint4 ,the tint also appeared in parts of the illustration4 ,illustration3 ,,example #aij ,illustration3 ,,example #aia ,title-page of a catalog of exhibits1 and a page showing the use of capitals and italic for the descriptions4 ,by ,d4 ,b4 ,updike ,,examples #aij ,,and #aia4--,these pages are from an exhibition catalog4 ,d4 ,b4 ,updike is responsible for the typography1 hence the pages afford an interesting study4 ,the catalog is printed in four sizes of type1 altho a cursory view of the pages would lead to the impression that a less number is used4 ,there are three sizes of capitals and one size of italic4 ,a fact that makes the catalog unique is the absence of roman lower-case4 ,it is difficult to visualize an eighty-two-page book without roman lower-case1 but here is one4 ,the title-page 7,example #aij7 is composed in three closely related sizes of capitals1 corresponding to the sizes used on the inner pages4 ,the important words1 8,catalogue10 8,memorial ,exhibition0 and 8,augustus ,saint-,gaudens10 are set a size larger than the minor words 8of a0 and 8of the works of10 altho the difference is but a point4 ,the small woodcut is an appropriate accompaniment of the classic style of the type composition1 and the harmony is further enhanced by printing in a clear black ink on thin white antique paper4 ,example #aia shows a page from the body of the catalog1 the features of which are worth noting4 ,all lines excepting the exhibit number are set flush at the left1 and the paragraphs or groups are separated by space4 ,the title of the exhibit is set in the larger capitals1 the descriptive matter in italic lower-case1 and quoted words in the smaller capitals4 ,punctuation at the ends of lines is sometimes omitted and sometimes used4 ,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 treated4 ,as a help in deciding on proper marginal distribution on work of this sort1 it is well to mention that the size of the leaf of this catalog was #d #g inches1 the type pages measuring #b #e inches or less1 the type pages not being of regular length4 ,the margin at the head was inch2 at the binding edge1 inch2 at the outer edge1 #a inches2 at the foot1 #a inches or more4 ,illustration3 ,,example #aib ,interesting page from a sewing-machine catalog4 ,by ,matthews-,northrup ,works1 ,buffalo1 ,n4 ,y4 ,,example #aib4--,this shows a page from a catalog of sewing machines and sewing-machine parts4 ,the workings of the machine were pictured in such a realistic manner that the effect was almost equivalent to a demonstration on the machine itself4 ,the border did not force itself on the attention1 yet furnished the decorative element to the page4 ,the type matter1 in ,caslon roman1 was stylishly arranged in harmony with illustration and border1 and was notable because it was probably given as much consideration as the designing and plate-making4 ,illustration3 ,,example #aic ,neat typography on an attractive background4 ,glove catalog by the ,hall-,taylor ,company1 ,milwaukee1 ,wis4 ,illustration3 ,,example #aie ,clever treatment of tabular matter in a catalog page4 ,by the ,chasmar-,winchell ,press ,illustration3 ,,example #aid ,an artistic treatment of a commercial catalog showing what is possible in typography4 ,by ,taylor ,taylor1 ,san ,francisco1 ,cal4 ,,example #aic4--,this firm has gloves to sell and in a particularly pleasing and artistic manner catalogs them for the information of the buying public4 ,by means of the four-color process the gloves are shown in their natural colors1 and placed in the 8spotlight10 as it were1 by the gradual fading away of the dark background about them4 ,a general talk on the subject of gloves is carried from page to page1 while the number and description are placed in smaller type directly beneath the articles4 ,,example #aid4--;,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 salesroom4 ,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 buy4 ,the illustration1 then1 is important1 and by looking on ,example #aid1 we can see how one printer recognized this fact4 ,the roll of yarn is prominent in the page and the name of the yarn is second in seeking attention4 ,the goods are displayed attractively in surroundings that are interesting4 ,the decorative border 7made of rule7 has merged with it the name of the manufacturer4 ,,example #aie4--;,it requires the skill of a typographer and the talent of an artist to make a good-looking page from tabular matter4 ,where this combination is lacking the result is commonplace and unsatisfactory4 ,it was not lacking on this example1 for one seldom sees a tabular page so attractively arranged4 ,illustration3 ,,example #bjj ,program cover page in ecclesiastical style ,illustration ,,programs 8,let all things be done decently and in order40 ,these words of ,paul1 while possible of wide application1 have peculiar significance applied to the program4 ,the program exists because of recognition of the necessity of orderly procedure 8where two or three are gathered together40 ,historically1 the program has come to us from the early times1 when all knowledge was transmitted by word of mouth4 ,church services are the result of evolution from ancient ceremonies1 and other exercises for which programs are used originated in the far past4 ,programs familiar to printers could be divided into four classes3 ,programs of sacred services1 dance programs1 banquet programs1 and programs for various entertainments4 ,in this order they will be considered4 ,illustration3 ,,example #bja ,excellent arrangement for economizing space on a program containing numerous small titles ,the historical side of the program of sacred services should not be overlooked4 ,it is a mistake for printers to produce church programs in the same style of typography employed on secular forms4 ,church programs1 more than any other line of printing1 offer opportunity for artistic treatment1 and their production is pleasure to the artist-printer who believes significance is an important element in good typography4 ,illustration3 ,,example #bjb ,an almost perfect specimen of church-program printing1 showing the missal style ,the key to the proper treatment of ecclesiastical printing lies in the old manuscript books written in the monasteries4 ,black ink was commonly used for the main portion of books1 and vermilion1 a red earth 7rubrica71 for titles and important parts of the text4 ,in the writing of ,missals 7containing services of the celebration of mass71 of ,psalters 7containing the psalms71 and of ,books of ,hours 7containing prayers and offices for the several hours of the day71 maltese crosses and uncial capitals were written in vermilion4 ,uncial capitals are now made by several type foundries as ,missal initials1 ,caxton initials1 ,sylph initials1 etc41 and maltese crosses are easily procured4 ,as black text letters were also used on these missals and psalters1 the type-faces now known as ,caslon ,text1 ,cloister ,black1 ,flemish ,black1 etc41 being copies of these early text letters1 are appropriate faces for display portions of church programs4 ,text letters were long ago discontinued for body purposes in ,english printing1 hence they have become unfamiliar to the general reader and it is not desirable to use them for such purposes4 ,a roman letter such as ,caslon is the best companion for these black text letters4 ,illustration3 ,,example #bjc ,classic treatment of church-program page4 ,by ,d4 ,b4 ,updike1 ,boston1 ,mass4 ,the ,church of ,england1 the ,american branch of which is known as the ,protestant ,episcopal ,church1 deserves much credit for the modern development of an ecclesiastical style of printing4 ,because of the custom of using red ink in forms of service1 for the parts giving direction as to the conduct of the services1 these parts have become known as 8rubrics40 ,it is necessary to mention to printers generally that when colors are used on programs or books of service the 8rubrics0 should be in red4 ,this treatment is illustrated in the page from the marriage service shown as ,example #adf in the chapter on 8,books0 which also shows an uncial initial4 ,when only black is used it is customary to set the rubrics in italic4 ,illustration3 ,,example #bje ,generous margins on a church program are pleasing ,,example #bjj 7,insert74--,this title-page presents a modern interpretation of the historic ecclesiastical treatment4 ,the black type-face is ,caslon ,text1 and is a copy of one of the early manuscript letters1 as before mentioned4 ,as pointed ,gothic is usually accepted as the style of church architecture1 so pointed ,gothic type-faces have been adopted for church printing by typographers who know4 ,uncial rubricated initials as used on this title-page are known commercially as ,caxton initials4 ,the red lines which are a prominent part of the page have historic significance4 ,now grown to possess decorative value1 they originated thru the necessities of writers of manuscript books1 and were originally guide lines for writing4 ,they designated the position of the page and the lines of letters4 ,with the ancient churchmen the maltese cross was the symbol of ,christ1 and today also these crosses have that significance1 altho to a great extent they are now considered merely as ecclesiastical decoration4 ,the square device in the center is in the ,celtic style of ornament4 ,the significance of the design lies in the decorative cross and the letters ,i4 ,h4 ,s4 7,iesus ,hominum ,salvator1 ,latin1 meaning 8,jesus ,saviour of ,men074 ,it may be well to suggest that treatment of church printing should be varied sometimes with the denomination for which the work is done4 ,the majority of clergymen will be pleased with printing treated in the accepted ecclesiastical style1 yet there are some1 prejudiced against 8high church0 liturgies and emblems1 and others with individual ideas of what is appropriate1 who must be considered4 ,the writer recalls an instance in which the customer1 an ,episcopal clergyman1 objected to what he called a 8,latin0 cross1 used as an ornament on a title-page1 and was satisfied when a maltese cross was substituted for the purpose4 ,many church programs which now appear commonplace would take on a churchly aspect if rubricated1 even tho that be possible only on the title-page4 ,the example under consideration 7,no4 #bjj71 it will be noticed1 is constructed on squared lines1 a shape dictated by the large decorative device4 ,while the page as arranged is interesting and fairly harmonious1 the pointed letters in the type lines would blend better with a device of the pointed ,gothic kind2 or1 again1 the squared device would be in closer harmony with a squared type effect such as could be obtained with roman capitals4 ,illustration3 ,,example #bjd ,program cover-page in semi-missal style4 ,by ,lee ,crittenden1 ,new ,york ,,example #bja4--,this page presents an excellent suggestion for the arrangement of a program in which numerous small titles appear4 ,if each title were set in a measure the full width of the type page1 as is frequently done1 the matter would not come into one page4 ,the arrangement as shown not only economizes space but gives symmetry and tone1 which otherwise would not be had4 ,the portions in red are well selected for printing in that color4 ,there is artistic value in the shape formed by the vertical dividing rule and the page heading4 ,illustration3 ,,example #bjf ,a dance card by ,edward ,w4 ,stutes1 ,spokane1 ,wash4 ,illustration3 ,,example #bjh ,unconventional treatment of a dance program ,,example #bjb4--,this page has not the compactness of the preceding one1 yet esthetically it is more pleasing4 ,it is an almost perfect specimen of church-program printing4 ,as already mentioned1 the horizontal red lines and the black text letter used for titles have an ecclesiastical motive4 ,careful disposition of blank space has given a pleasing tone to the page1 which is also helped by the position of the second stanza of the hymn at the foot4 ,the type-faces are harmonious1 the use of black text1 old-style roman and italic affording a pleasing variety4 ,by including in the color the initial letters and the title 8,holy ,communion10 all parts of the page are blended and related4 ,,example #bjc4--,the printer may be naturally curious to know how a typographer such as ,d4 ,b4 ,updike1 who is known to specialize on ecclesiastical typography1 treats church programs4 ,here is an ,updike page1 from a program of ,lenten services1 arranged in the simple1 classic style of typographic treatment that he always renders so well4 ,as will be noticed1 the main portion of the type page is aligned at the left4 ,the manner of using capitals1 small capitals1 lower-case and italic is an interesting study4 ,while examining the page it is enlightening to note that ,a4,m4 and ,p4,m4 are in small capitals1 and that no space other than furnished by the period is placed between these abbreviations or the degrees ,d4,d41 ,ph4,d41 etc4 ,illustration3 ,,example #bjg ,page from a booklet program4 ,by ,c4 ,r4 ,beran1 ,denver1 ,colo4 ,,example #bjd4--,this is the title-page of a small program which was in booklet form1 a page being devoted to each event on the program4 ,the title-page is in missal style1 with cross rules and uncial initials4 ,the spaced ,pabst capitals at the foot are not sufficiently strong in tone to balance the upper part of the page4 ,perhaps the effect would be better had the missal style of treatment been extended to the lower portion of the page4 ,,example #bje4--,this is the second page of a small program used at the laying of the corner-stone of a new church building4 ,it would have been possible to get all the type matter on one page1 but crowding into small space is often done at the sacrifice of beauty1 and this program profits by the liberal margins4 ,the rule lines at the head were used to obtain uniformity of page width and hight4 ,the outline type ornament gives ecclesiastic dignity to the program4 ,the two-line initial at the beginning of each hymn adds style and finish to the typography4 99 99 99 99 99 ,the dance program is a far step from the church program4 ,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 shops4 ,the dance program should be dainty4 ,white seems to be more acceptable than colored stock on which to print the order of dancing4 ,the type and ink treatment should be neat and delicate4 ,if a bold type-face be used1 it should be printed in a light tint of ink1 such as gray1 pale blue1 pale green1 and the like4 ,it is possible for printers to produce attractive dance programs with the material generally found in the shop1 yet stock folders may save wear of the thought machinery and probably be more satisfactory to the customer4 ,young people are imitative and may be suspicious of a dance program which does not resemble those they have seen before2 it has got to 8look like a dance program40 ,for fifty years or more dance programs have consisted of folded cardboard with tassel and pencil dangling therefrom4 ,the stock folder is to be had in a variety of designs printed or embossed on the first page1 appropriate for many occasions4 ,however1 there are shown three typographic dance programs4 ,illustration3 ,,example #bji ,the decorative border on a banquet program4 ,by ,edward ,everett ,winchell1 ,new ,york ,illustration3 ,,example #baa ,page from a booklet program4 ,by ,will ,bradley ,illustration3 ,,example #bab ,the banquet program in the form of a checkbook ,,example #bjf4--;,an ,indian border was used around this dance card1 but its strong lines were softened by printing in gray and red4 ,white stock was used4 ,in the headline1 instead of the customary periods1 dots are centered decoratively4 ,artists often place a dot or small ornament between words of a lettered design for the purpose of benefiting the tone4 ,more often practically no space at all is placed between words if in lower-case beginning with capital letters4 ,,example #bjg4--;,a part of an outing program1 this page carries the style of all the other pages as regards border and head panel4 ,it illustrates the effectiveness and economy of uniform border treatment on a program4 ,there are very few programs that would not be benefited by decorative borders in color4 ,but one border need be set in type1 duplicates being obtained by electrotyping4 ,if there are to be only a few hundred programs1 two borders may be set in type and printed on all the sheets1 running only two pages on4 ,if desired1 a hand-drawn decorative border could be engraved and afterward duplicated by electrotyping4 ,,example #bjh4--,there is nothing conventional in the design of this dance program4 ,it is different from most others4 ,the rule lines extend to the border1 and the heading 8,dances0 sets slightly to the right of center1 supported underneath by the graceful flower ornament4 ,punctuation is omitted4 ,this page is recommended for dance cards1 when the printer desires to have the job exclusively typographic4 99 99 99 99 99 ,illustration3 ,,example #baj ,a halftone decorative background on a program4 ,design by ,griffith-,stillings ,press1 ,boston1 ,mass4 ,illustration3 ,,example #bac ,humorous treatment of titles and odd menu arrangement4 ,design by the ,griffith-,stillings ,press1 ,boston1 ,mass4 ,the banquet program not so many years ago here in ,america and in ,england was commonly called a bill of fare4 ,now only the cross-roads hotel and the cheap city eating house have bills of fare4 ,the polite title is now 8menu10 pronounced men-yu or meh-noo4 ,some writers claim the word came to us from 8,manu10 a mythical sage said to have sprung from the god ,brahma4 ,yet the dictionary would seem to indicate that the word is ,french1 meaning small1 and was derived from the ,latin minutus1 little4 ,it is possible that the small portions now served in many restaurants suggested the use of 8menu0 because of the contrast with the generous 8helpings0 of the old-fashioned meal4 ,in #aeab a 8shore dinner0 for an individual consisted of 8a quart of beer1 a quart of wine1 salt fish1 red herring1 white herrings and a dish of sprats40 ,illustration3 ,,example #bad ,suggestion for a menu page1 introducing a bit of fun ,illustration3 ,,example #bae ,a classic menu page4 ,designed by ,d4 ,b4 ,updike1 ,boston1 ,mass4 ,in the banquet program the printer has great opportunity to make use of his inventive faculties4 ,no other kind of program allows of such varied treatment4 ,there is no limit to the shapes1 the type arrangements and the color treatments that are suitable for banquet programs4 ,an association of leather merchants holds a dinner and the members may find beside their plates a program bound in a miniature hide1 the sheets of the program attached by a leather thong4 ,bankers meet and the program may be in the form of a checkbook4 ,for an athletic association an oval-shaped program suggesting a football will 8score40 ,newspaper publishers will appreciate the menu list presented as a papier-mache matrix of the type form4 ,commercial travelers would be pleased were their banquet programs designed in imitation of a mileage book4 ,a literary society dinner would be appropriately graced were the program printed on parchment and wound around a wooden or ivory rod1 as 8books0 were bound in ancient times4 ,illustration3 ,,example #bag ,dignified style for menu page4 ,by the ,de ,vinne ,press1 ,new ,york ,pyrography could be blended with typography in producing odd effects in banquet programs4 ,one way of getting results by this method is to print the menu page on a piece of soft wood1 say a quarter of an inch thick1 and then1 by means of the pyrographic writing tool1 burn a decorative border around it4 ,type ornaments and borders could be printed on the wood as a guide for burning the designs4 ,many effective menu forms could also be evolved with the assistance of the bookbinder4 ,pulp board covered with an artistic cover paper makes a handsome background for mounting the menu page1 which should be printed on a harmonizing stock4 ,italian and ,japanese hand-made papers are particularly suitable for such work1 and when the style of typography is made to blend with the stock the effect is rich4 ,domestic manufacturers1 too1 make a large line of artistic papers applicable to the purpose4 ,,example #bji4--,this page is from a booklet program1 and is companion to ,example #abe inserted in a preceding chapter4 ,it sets forth the value of the decorative border on programs4 ,the arrangement of the type matter is the customary one4 ,the minor dishes are set in small type1 while the damp stuff from the wine cellar is represented at the left in rubricated text letters4 ,,example #baj4--;,a halftoned decorative background in olive was a feature that lent value to this page1 which is one of a number of similarly treated pages in a booklet program4 ,the classic panel design makes a good background for a menu page4 ,the idea is applicable in many other ways4 ,illustration3 ,,example #baf ,a menu program used by master printers4 ,by ,charles ,edward ,peabody1 ,toronto1 ,ont4 ,illustration3 ,,example #bah ,treatment simulating woodcut decoration ,,example #baa4--,this chapter would be incomplete without one or two ,bradley specimens4 ,here is an idea in menu printing born while he was with the ,american ,type ,founders ,company in #aije4 ,it took the form of a small booklet #b by #d inches1 eight pages and cover1 and each page was devoted to one of the dishes on the menu4 ,below the name of the dish was a chap-book ornament4 ,altho the small booklet has been little used as a form for menu purposes1 it has possibilities for development that should not be overlooked by the printer4 ,illustration3 ,,example #bai ,the missal style adapted to a menu program4 ,by ,will ,bradley ,,example #bab4--;,here is a novel banquet program4 ,each dish on the menu was presented in the form of a check on the 8,printers' ,bank of ,dyspepsia10 and the 8bank0 was ordered to pay to the order of the guest a portion of food or drink1 in this instance oysters on the half-shell4 ,the checks were signed by appropriate names1 8,a4 ,shellgame0 in this instance4 ,the entire lot of checks was bound in the customary checkbook style4 ,,example #bac4--;,in this program the menu is termed 8,hash0 and the toasts 8,rehash40 ,the treatment is unique1 especially in the arrangement of the list of palate ticklers4 ,illustration3 ,,example #bbj ,unique treatment of a menu page in which the minor dishes are arranged at the right ,,example #bad 7,insert74--,suggested for a menu page in two colors4 ,banquets are occasions of gayety and enjoyment1 and humor is appreciated4 ,displaying choice drinks prominently1 and then in a note at the foot calling attention to the fact that they can be had at the bar at regular rates1 is a bit of fun that has not been widely perpetrated4 ,typographically the page is refined1 yet is sufficiently decorative to appeal to a large class of customers4 ,,example #bae4--;,a classic menu page by ,updike4 ,roman capitals and italic lower-case only are used4 ,perhaps this is the way ,aldus would set the page were he alive today4 ,the page as a mass is symmetrical4 ,,example #baf4--,this page is from a program used at a master printers' banquet1 all pages being treated in a style appropriately humorous4 ,the word 8,stock0 tops the page instead of the usual 8,menu40 8,make-up0 heads the list of officers1 and in this manner were the guests' funny-bones agitated4 ,,example #bag4--;,here is a program for those accustomed to eat in a foreign language4 ,the typographic treatment is refined and dignified1 the roman capitals and the italic blending classically4 ,little side hits such as those to the right are always appreciated1 especially when carefully selected4 ,illustration3 ,,example #bbb ,refined entertainment program page4 ,design by ,d4 ,b4 ,updike1 ,boston1 ,mass4 ,illustration3 ,,example #bba ,excellent typographic treatment4 ,by ,harry ,haime1 ,boston1 ,mass4 ,,example #bah4--;,an artistic treatment simulating woodcut decoration suitable for many occasions is presented by this page4 ,the four initial letters give the appearance of a decorative heading and blend well with the border4 ,it is appropriate that capitals should be used thruout the page and that the type-face should be ,old-,style ,antique4 ,the florets dividing the dishes distribute the color pleasingly4 ,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 eaten4 ,illustration3 ,,example #bbc ,illustration3 ,,example #bbd ,these two pages are from an entertainment program by ,bruce ,rogers1 ,cambridge1 ,mass41 and furnish interesting material for study ,,example #bai4--;,bradley suggests another good arrangement in this page4 ,it is simply constructed1 yet possesses interest and style4 ,the original was in black and light-brown inks on buff antique stock4 ,illustration3 ,,example #bbe ,a program page in lower-case4 ,by ,stetson ,press1 ,boston1 ,mass4 ,,example #bbj4--,this page has the merit of being unique while containing elements of the artistic4 ,the important dishes are set forth prominently1 the minor dishes appearing in small type grouped at the right4 ,uncial initials blend with the ,old-,style ,antique type4 ,the horizontal rule and the large flower ornament play necessary parts in obtaining a balance4 ,illustration3 ,,example #bbf ,the decoration was in color4 ,by ,fred ,s4 ,lang1 ,los ,angeles1 ,cal4 ,,example #bba4--,the treatment of the titles at the left side and the symmetrical arrangement at the foot of this example are highly commendable4 ,the details of the entire page denote the finished typographer4 ,the combination of capitals and small capitals is pleasing1 and the manner in which variety has been secured in a design of orderly arrangement is commendable4 ,illustration3 ,,example #bbg ,program in the ,gothic style4 ,designed by ,merrymount ,press1 ,boston1 ,mass4 99 99 99 99 99 ,programs for entertainments and exercises1 while not allowing the unrestrained workings of the fancy that those for banquets do1 are yet proper vehicles for carrying artistic ideas4 ,the program should be artistic4 ,the commonplace program is a disappointment to the intelligent auditor and an evil in that it influences the public taste towards mediocrity4 ,the printer who cannot produce a good entertainment program has need to study art principles and observe the artistic programs being produced by others4 ,,example #bbb4--;,a refined program page by ,updike4 ,in the original the border was printed from a copper intaglio plate on smooth-surfaced hand-made paper1 the reading portion being printed clearly and sharply from type4 ,updike's work is noted for the clearness of the print4 ,just enough ink is carried to prevent the print being called gray4 ,of course the type must be clean and unaffected by wear1 the ink well ground and the impression firm4 ,this specimen is almost entirely in italic1 with 8swash0 or decorative capitals that add interest to a page of dignified typography4 ,swash italic capitals properly used are valuable aids in securing attractive yet refined typographic effects4 ,,examples #bbc ,,and #bbd4--,these two pages by ,bruce ,rogers should have interest for every printer who loves good typography4 ,the zinc reproductions of these pages1 also that of the preceding example1 fail to present the sharp print of the originals4 ,roman lower-case is absent from this program4 ,rogers and ,updike1 with ,aldus1 have demonstrated that roman lower-case is not essential to typography4 ,perhaps that is why their work has distinction--other printers set most of their type from the roman lower case4 ,on the title-page the features of particular interest are the long s in the word 8music10 the swash italic capitals and the woodcut ornament4 ,the program page is interesting in its construction and its details should be studied closely4 ,unless suitable ornamentation is available1 program pages had better be treated plainly as here1 with such attention to the details of the type arrangement as will obtain finished results4 ,it is a test of typographic ability in the production of a program page to compose work that1 without the friendly aid of decoration1 is pleasing to look upon4 ,,example #bbe4--,this page shows admirable treatment of a brief program4 ,the various sizes of type are well distributed1 and the consistent use of roman lower-case is pleasing4 ,,example #bbf4--,the type in this page overprinted the decoration which was in pale orange and pale green4 ,the decoration was appropriate in that the program was for a meeting held on the fruit-growing ,pacific ,coast4 ,,example #bbg4--,the ,gothic style dominates this page4 ,excepting the two uncial initials1 only one size of type has been used4 ,that fact alone is interesting1 as the result is remarkably finished4 ,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 desired4 ,the face of the photograph can then be washed away1 leaving only the drawing1 from which the plate is made4 ,illustration3 ,,example #bbh ,a well-arranged page4 ,by ,stetson ,press1 ,boston1 ,mass4 ,,example #bbh4--,the list of characters in a dramatic entertainment is here displayed in an unusual manner4 ,it is so easy for compositors to set copy such as this in the conventional type-leader-type method1 but this compositor has arranged it to conform to the proportion of the page4 ,the program containing small advertisements1 especially the theater program1 is possible of much improvement4 ,such typography should be given better attention1 as theater programs exert large influence in forming public taste4 ,illustration3 ,,example #bbi ,classic capitals combined with rules4 ,suitable for announcements having to do with art1 architecture1 literature and music ,illustration ,,announcements ,publicity is doubtlessly essential to success in every business and profession4 ,the public is interested in the man who does things1 but this interest is obviously confined to the man who it knows does things4 ,the great men are advertised men4 ,the great deeds of history are those advertised by poets and historians4 ,shakespeare made famous many ancient characters1 as did ,plutarch before him1 and the most famous acts of the ,american ,revolution are those performed near the homes of poets and writers4 ,we would not be familiar with the rides of ,paul ,revere and 8,phil0 ,sheridan had they not been advertised by means of printers' ink4 ,several years ago in ,new ,york an influential art society recognized the work of a mural painter by awarding him a medal4 ,in accepting it the artist sadly remarked that the recognition came too late in life for him to 8use it as a help to live with10 which proves that in the heart of the most proud and sensitive artist or professional man there is a feeling that he needs publicity--recognition1 if that word is less offensive--in order that his life work may be successful4 ,it is fashionable for prominent persons to employ press agents1 and goings and comings and doings are told to the public at every opportunity4 ,in the days before the development of newspapers and other typographical mediums for advertising1 the people depended upon the public crier to make all sorts of announcements4 ,he would attract a crowd by sounding blasts with a horn or by ringing a bell1 and then make known his message4 ,the modern representative of the crier is the printed announcement4 ,it is not confined to any definite size or shape1 often consisting of one page only1 printed on card or paper stock4 ,illustration3 ,,example #bcj ,illustration3 ,,example #bca ,two pages from a dignified1 refined and artistic announcement folder1 printed in black ink on brown-tinted hand-made paper ,the announcement form may be considered the most personal of the printed mediums of publicity4 ,it presents a direct1 individual appeal or invitation1 and the recipient1 influenced by this fact1 is likely to give it more consideration than some other form of advertising4 ,recognition is flattering to all of us1 and upon receipt of an announcement we are apt to feel pleased that our patronage or personality is thus recognized4 ,illustration3 ,,example #bcb ,announcement in ,colonial style4 ,by ,a4 ,f4 ,mackay ,the printer is depended upon by most customers to furnish suggestions for the physical make-up of the announcement1 and he is also frequently asked for advice in regard to the phraseology4 ,this places a responsibility upon him that he cannot well ignore1 and he should be able to respond with proper suggestions4 ,being thus qualified to assist the customer has many times led to further and profitable business4 ,the printer possessing the confidence of his customers has an asset of great value4 ,the most common form of typographic announcement is that printed from roman1 text1 gothic or script type-faces in imitation of engraved intaglio printing4 ,the styles of this form of announcement change slightly with the fashions in copperplate effects4 ,printers desiring to do such work would do well to obtain samples from one of the leading society stationers and follow them closely in arrangement1 spacing of words and lines1 and size and kind of stock4 ,this class of work allows of little original or decorative treatment4 ,if other forms or treatments are desired a standard type-face1 such as ,caslon or ,cloister1 should be used4 ,many compositors err in combining copperplate-engravers' faces with rules and borders1 or in other ways misusing them2 for such results are 8neither flesh1 fish nor fowl10 as the saying goes4 ,if the customer requests an imitation copperplate effect1 give it to him as closely as you can2 that is good business policy1 and is in accordance with the sound advice to 8,do your best1 no matter what the circumstances10 reminding one of the old rhyme3 ,if ,i were a cobbler1 it would be my pride ,the best of all cobblers to be2 ,if ,i were a tinker1 no tinker beside ,should mend an old kettle like me4 ,but1 whenever possible1 get on higher ground4 ,if you must be a tinker1 be a good one1 but rather be a producer of new things than a builder of patches and something that is 8as good as new40 ,printers should test their earnestness with tasks that develop their art instincts and1 accompanied by proper financial return1 bring that satisfaction which comes from work well done4 99 99 99 99 99 ,illustration3 ,,example #bcc ,odd treatment of an announcement4 ,by ,t4 ,m4 ,cleland ,,example #bbi 7,insert74--,usually the printer should not set an advertising page all in capitals1 nor should he use many rules in its composition2 but when the typographic designer has skill and artistic taste in addition to a developed sense of fitness and refinement1 the warnings and 8thou-shalt-nots0 that apply to most printers are not for him4 ,mr4 ,nash1 with the use of ,fred ,w4 ,goudy's ,forum type-face and rules that suggest the guide lines of old manuscript books1 has produced an announcement that is classic in composition1 pleasant to look upon1 and a page that carries the message in an especially effective and appropriate manner4 ,the original was printed on hand-made paper4 ,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 art1 architecture1 literature and music4 ,,examples #bcj ,,and #bca4--,these are the first and third pages of an announcement originally printed in black ink on brown-tinted hand-made paper4 ,the type-face1 ,caslon1 was sharply impressed into the stock4 ,it may be advisable to state here that all ,caslon romans are not alike4 ,the face usually sold by typefounders has the descenders shortened1 that the letters may conform to the system of alignment adopted some years ago in ,america4 ,this shortening of descenders1 seemingly a trivial matter1 affects the general appearance of the type-face4 ,attempts to 8improve0 the ,caslon face are apt to end disastrously to the effectiveness of the letter4 ,it has characteristics that are essential to its beauty1 and shorn of any of those characteristics it loses attractiveness proportionately4 ,this announcement folder is of a quality seldom attained in printing1 depending as it does upon detail in typesetting and presswork4 ,the reproduction cannot present these points1 because the finish of the paper1 the clearness of the print1 the spacing1 the apportionment of margins1 the tone1 all counted in the finished result4 ,,example #bcb4--,this circular announcement in its original form was #i #ab inches in size1 the paper upon which it was printed being gray-green laid hand-made4 ,the positions of the groups of type matter and the sizes of margins are features worthy of study4 ,other points of interest are3 the treatment of heading and initial1 the use of florets at the beginning of each paragraph1 and the committee signatures4 ,the last-named lines are set in italic lower-case with roman capitals1 ,aldus style4 ,the border was printed in dull red1 close to the edge of the paper4 ,,example #bcc4--,this meeting announcement is of the same series as the preceding example1 but1 set all in black text letter without border1 the effect is totally different4 ,the peculiar black and gray tones of the ,caslon ornaments blend well with similar characteristics presented in the massed black letter4 ,the page was printed in vermilion and black on buff laid hand-made stock4 ,the effectiveness of this style of announcement is due not alone to the typography and stock1 but to the generous size of the sheet used--good paper and plenty of it4 ,this announcement was mailed without envelops1 the double sheet being folded into thirds and the lower end inserted into the upper end4 ,illustration3 ,,example #bcd ,illustration3 ,,example #bce ,these specimens are lettered in a style that suggests the sturdy masculine character of the lettering developed with the new ,german decorative poster art4 ,designed by ,oswald ,cooper1 ,chicago ,illustration3 ,,example #bcf ,a classic arrangement based upon the architectural inscription plate4 ,by ,benjamin ,sherbow1 ,new ,york ,illustration3 ,,example #bcg ,ornaments as eye-attracters4 ,an idea that could be adapted to many jobs of printing4 ,designed by ,will ,bradley ,illustration3 ,,example #bch ,postal-card announcement1 the typography of which is attractive1 not because of what is put on1 but because of what is left off ,illustration3 ,,example #bci ,good advertising typography4 ,type groups and blank space well proportioned1 and an interesting decorative spot of color ,,example #bcd4--,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 art4 ,typographers should not make the mistake of assuming that a page set in the so-called gothic types of the typefounders would give this effect4 ,while the letters are without serifs1 as are the gothic types1 yet they have not the mechanical perfection of those types4 ,type-faces1 lettering and drawing of any kind seem to be better liked when they possess the human quality of imperfection4 ,i once called on ,boardman ,robinson1 then cartoonist of the ,new ,york ,tribune1 and found him at work on a cartoon for the day4 ,i noticed that he had considerably altered the picture on which he was working1 and ,i asked him about it4 ,with a smile1 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 minutes4 ,german typefounders have made type-faces that carry the qualities of this poster style of lettering4 ,the young printer should not infer from this that careless and unfinished typographic work is preferable to a careful1 finished product4 ,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 possible4 ,,example #bce4--,this design was the first page of a folder of which ,example #bcd was the third page4 ,oswald ,cooper1 who lettered this announcement1 used the figure of a dog that had been drawn by the ,german poster artist ,hohlwein1 but gave him due credit in the upper left corner4 ,this style of lettering1 as has already been mentioned1 is appropriate to the subject of ,german posters and in harmony with the poster illustration used4 ,heavy treatment of this kind offers a rich opportunity for the use of strong and harmonious colors4 ,light-faced type is very unsatisfactory as a carrier of color1 but the broad strokes of this style of lettering make possible a liberal showing of color on the page4 ,an extra color has been introduced1 altho the original announcement was entirely in brown on a brown-tinted card4 ,,example #bcf4--;,from the viewpoints of art and dignity an announcement card such as this one is always in good taste4 ,its style is classic1 being arranged along the lines of an architectural inscription plate4 ,the border is the reliable egg-and-dart pattern and the type-face is ,caslon4 ,capitals are essential to best results in this sort of design4 ,,example #bcg4--,the idea suggested in this page1 of using ornaments as eye-attracters1 is a good one4 ,while the design as a whole is decorative in character1 the advertising element is not overlooked4 ,the several articles of merchandise are prominently displayed1 as is also the name of the store4 ,in the series of type designs of which this was a part1 the designer strongly emphasized ornamentation4 ,there was a reason for his doing this1 as he was engaged in introducing new typographic decorative material1 but printers working for the commercial public are engaged in a different vocation4 ,in attempting such designs as this1 compositors should decrease the prominence of the ornaments and border and increase that of the reading portion of the page4 ,illustration3 ,,example #bdj ,showing the use of roman1 italic and spaced small capitals on an organization announcement ,illustration3 ,,example #bda ,unusual division into two groups1 providing for fold4 ,by the ,calumet ,press1 ,new ,york ,,example #bch4--,this announcement was printed in black ink on a ,government postal card4 ,the young compositor will1 no doubt1 recognize the small amount of actual typesetting necessary for this page2 however1 he should not overlook the fact that the results were really secured by one-tenth manual labor and nine-tenths brain exercise4 ,a specimen such as this is good not because of what is put on but because of what is left off4 ,there are only a rule border1 a small silhouette illustration and four lines of type exclusive of the signature1 yet the busy man gets the message and experiences pleasure in getting it4 ,the type in the original was no larger than was necessary to be easily read4 ,compositors frequently forget that announcements of this kind are read at a distance of only a foot from the eyes1 and that twelve-point type is really large enough for the purpose4 ,it is usually a mistake to make the type-face very large or very small4 ,one is an unnecessary size and the other is an illegible size4 ,,example #bci4--,this is another announcement set in twelve-point type1 with a liberal distribution of blank space4 ,the personal mark of ,mr4 ,baker adds a decorative touch of color that attracts attention and helps to make the page distinctive4 ,illustration3 ,,example #bdc ,harmony of type-face and decoration ,,example #bdj 7,insert74--,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 roman1 especially with a type-face such as ,cloister ,oldstyle4 ,the small capitals are letterspaced2 they usually respond pleasingly to such treatment4 ,typographers who have studied the matter of spacing have found that capitals and small capitals can be letterspaced with good results1 and that roman and italic lower-case seldom look well if the letters are separated by spacing4 ,it is probably an exaggeration to say that lower-case should never be spaced1 as typographic artists such as ,will ,bradley have produced very effective results with letterspaced lower-case2 but the average compositor had better adhere to the rule of never letterspacing lower-case letters4 ,it will be noticed that on this announcement the name of the organization1 the words 8,dinner0 and 8,exhibit0 and the name of the guest1 are set in capitals and small capitals with letterspacing4 ,the names of the books1 the title of the talk1 and the request to return a card1 are in italic4 ,only one size of type has been used1 excepting for the committee group at the foot4 ,in order that the words 8,program ,committee0 should not look exactly like the other lines in this group1 they were letterspaced4 ,illustration3 ,,example #bdb ,a study in tone values and margins ,illustration3 ,,example #bdd ,artistic form for brief announcement4 ,by ,a4 ,f4 ,mackay1 ,new ,york ,,example #bda4--,this announcement form1 like ,no4 #bdj1 is conventional in size1 the paper upon which the original was printed measuring #e #g inches4 ,the arrangement of the type page was designed to provide for the fold which horizontally crossed the center of the page4 ,the division into two groups1 each in a different type-face1 is unusual1 and the manner in which this has been accomplished is instructive to the student of typography4 ,the use of a large initial gives distinction to the upper group1 and spacing of the ,caslon capitals in the lower group maintains a distinction there4 ,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 letters1 and that1 on the other hand1 the printed effect of text letters would be impaired by increased space between them4 ,there is danger of too great contrast of tone in a page1 and had this example been executed less skilfully1 it would have failed in effect4 ,illustration3 ,,example #bde ,colonial treatment of an announcement page4 ,by the ,calumet ,press1 ,new ,york ,,example #bdb4--,this announcement circular affords a study in tone values1 especially in the original size1 which was #i #ab inches4 ,the type1 ,old ,style ,antique1 was twelve-point1 with six-point slugs between lines4 ,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 head4 ,this harmony was carried out in the entire page1 the black and white tones contrasting thruout4 ,no gray lines were used2 even the monogram at the foot was constructed of strong lines4 ,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 faces4 ,it may be well to call attention to the margins inside the rule border4 ,the artist avoids monotony in margins4 ,in old books the four margins surrounding a type page differed4 ,the foot margin was the largest1 the others being smaller in this order3 outer side1 head1 inner side4 ,in this announcement page the foot margin is larger than the others1 and the head presents the smallest amount of marginal space4 ,the side margins were made equal because1 unlike the paired book page1 this page stands alone4 ,,example #bdc4--;,harmony of type-face and decoration is the chief attraction of this announcement card4 ,some of the characteristics of ,washington ,text in tone and stroke are also found in the initial letter and border1 and to this the harmony is due4 ,placing of the initial letter so low on the page was a bit of daring1 yet balance is retained1 due to the heading4 ,,example #bdd4--,while only a little folder1 #c #d inches in size1 this job was exceedingly effective4 ,it was printed in black on white antique stock4 ,such a form could well be adapted to many brief announcements4 ,,example #bde4--,this form was set in type during the ,colonial revival that interested good printers about the year #aijj4 ,caslon type and ,colonial decoration give an individual character to the page4 ,colonial effects are not so common just at this time1 which fact is quietly digested by the wise typesetter as he recognizes his opportunity4 ,illustration3 ,,example #bdf ,an announcement literally treated in ,colonial typography1 even to the use of the long 80 ,illustration3 ,,example #bdg ,illustration3 ,,example #bdh ,first and second page of an artistic1 unembellished announcement circular4 ,designed by ,benjamin ,sherbow1 ,new ,york ,,example #bdf4-,this announcement demonstrates the possibilities of typography along the lines of appropriateness4 ,a ,colonial organization wished to announce a meeting at which would be celebrated the founding of the first ,american newspaper1 and desired something in ,colonial style4 ,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 days4 ,the society had an emblem or seal engraved in the serifless and characterless style of lettering that the average engraver will give an organization4 ,the printer had the emblem redrawn1 giving instructions to the artist to draw the entire design in freehand and to be careful that the lines and lettering be not too regular4 ,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 period4 ,as will be seen by the example herewith1 the idea was well carried out by the artist4 ,the society had appropriately phrased the announcement4 ,the printer carried the idea along by using a small size of 8e0 in the word 8ye10 and a long 8s10 made by cutting a part of the cross from the 8f40 ,a suitable hand-made paper was selected and the paper was dampened before printing it4 ,the announcement was then folded up and sealed in the style of ,colonial times1 without an envelop4 ,,examples #bdg ,,and #bdh4--,these are the first and second pages of a large circular announcement printed in black and light olive-brown on buff-tinted laid antique paper4 ,no embellishment is used1 nor is any needed1 the treatment being sufficiently artistic4 ,the arrangement of the first page is uncommon4 ,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 eccentricities1 yet to others these things spell art4 ,compositors interested in this arrangement should notice how the type lines fit the phraseology4 ,the advertising element has been considered by the designer along with sthetic requirements4 ,the double line of capitals at the head of the second page was duplicated on the third4 ,the second page shows simplicity and legibility that are admirable1 the liberal margins and the three-line initial being noteworthy features4 ,illustration3 ,,example #bdi ,one of four pages of a convention announcement1 showing the attractiveness of rules when properly used with headings ,,example #bdi4--,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-face1 an appropriate initial1 and rules to separate the headings4 ,a combination of a heavy- and light-faced rule has always looked well with the ,caslon style of type-face4 ,illustration3 ,,example #bej ,announcement designed by an artist who believes in the liberal leading of type lines ,illustration3 ,,example #beb ,blotter announcement in rugged ,colonial style ,,example #bej4--,this announcement1 originally printed on hand-made paper1 all in black ink1 was designed by a famous ,new ,york artist-typographer1 who believes that there is greater legibility when the lines are separated by a liberal use of leads than when they are 8set solid40 ,the arrangement is unusual in several respects--the placing of the name in the far-off upper corner1 the use of the initial 8,a0 in the midst of a sentence1 the setting of the names of the officers in italic and their titles in roman1 and the liberal leading previously referred to4 ,illustration3 ,,example #bea ,announcement in black and gray on gray fabric-finished stock1 illustrating harmony of type-face and decoration ,,example #bea4--,this specimen also has the feature of an initial in the midst of a sentence1 and it may be well to suggest to young compositors that it is better not to use an initial in this manner4 ,this page would probably be even more effective if the entire word 8announces0 were in lower-case4 ,the announcement was printed in black and gray on a light-gray stock4 ,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 page4 ,this letter is one of a few that closely suggest good hand-lettering4 ,the selection of type sizes and the arrangement and apportionment of margins help to make a result that reflects credit on the printer's art4 ,,example #beb4--;,a blotter was the vehicle that carried this announcement1 which is in the rugged ,colonial style of typography of the year in which this piece of work was produced4 ,the tone is pleasing1 as is also the contrast of white and black4 ,the ornament blends in shape and style with the accompanying typographical treatment4 ,in the production of his own announcement forms the printer is not hampered by the requirements of customers4 ,he works with the unrestricted freedom of a ,michelangelo and there is little reason why his work should not be of the best1 if he will read and study books and trade magazines4 ,illustration3 ,,example #beg ,the historic ,gothic1 or pointed style ,illustration3 ,,example #beh ,strong treatment1 the motive of modern origin ,illustration3 ,,example #bei ,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 typography1 that once or so in a lifetime they produce an artistic job of printing4 ,they become much elated at the phenomenon1 not realizing that it was brought on by the unconscious introduction into their product of art principles4 ,the experience may be likened to that of a child who accidentally touches an electric button1 causing the room suddenly to be illuminated4 ,the child knows the light is there1 but does not comprehend how it got there4 ,now instead of being the cause of an oriental handshake1 a good job of printing ought to be an everyday occurrence1 and the stirring of the waters should be left for the bad job of printing when1 unfortunately1 it happens along4 ,lack of interest is the reason for the non-development of many printers in the art side of typography4 ,because1 to many compositors1 printing is merely a means of making a living1 only enough knowledge is acquired to enable them to 8hold their jobs10 or1 in the cases of employers1 to retain their customers4 ,time spent in the printshop is considered drudgery and the pleasures of life come after the whistle has blown4 ,there are young printers who know comparatively nothing about good typography1 yet are authorities on the rules of pinocle1 baseball1 or other pastimes4 ,and there are older printers1 too1 who could write a book about chicken-raising1 yet do not know when type-faces harmonize4 ,any man who is not interested in his vocation is to be pitied4 ,unless his heart is in his work1 a lawyer1 preacher1 editor1 ad-writer1 artist or printer will not be successful4 ,interest may be developed4 ,if the typographer will devote a portion of the time now spent on outside matters to the study of his craft1 and especially the art side of printing1 his work will become lighter and the hands on the clock will chase each other4 ,the same concentration of thought now devoted to unimportant side interests would bring large dividends if invested in the study of typography4 ,efficiency is a guarantee of steady work and good pay to the employee1 and an assurance of steady customers and better prices to the employer4 ,illustration3 ,,example #bef ,classic1 refined treatment1 for art and literary purposes ,the typographer who prefers freedom from care1 and the blissfulness of ignorance1 is a poor member of society4 ,he should line up among the world's workers and accept some of the responsibilities4 ,the first things he observes1 should he become a student1 are the imperfections of his own product4 ,work that before looked good to him1 now1 viewed in a new light1 is defective1 and finally the old verdict is reached1 8,there is none perfect1 no1 not one40 ,while to the experienced art-printer expectations of absolutely perfect results are known to be futile1 he tries for one hundred per cent just the same4 ,a man lacks something in his make-up when he is satisfied to be rated as a twenty-five or fifty per cent printer4 99 99 99 99 99 ,tickets1 altho only a minute part of the printing-office product1 afford opportunity for the practice and development of art printing4 ,in typography there are many themes and styles and their incorporation into type-designs is an interesting and instructive study4 ,the compositor or layout man should know and understand these various styles1 that he may be able to adapt himself to any demand made for 8something different40 ,resourcefulness is a valuable characteristic for any printer to possess1 and close examination of the nineteen ticket forms1 and careful reading of what follows1 should serve to develop that quality4 ,these forms were designed by the author especially for this chapter4 ,,example #bef4--;,it is fitting1 in commencing a series of type arrangements1 first to show one based upon a classic motive4 ,the design is old to students of art1 yet may be new to printers in general4 ,the arrangement has been used for many years by leading architects on inscription tablets1 and the idea itself comes from ancient ,rome4 ,the egg-and-dart border is a standard embellishment in architectural designing4 ,the roman type-face is historically proper1 especially the adherence to capitals1 as originally there was none but what we call capitals1 the small 8lower-case0 or minuscule letters having been evolved during the ,middle ,ages4 ,the letters of roman type-faces usually set very close together and to get certain results the capitals should be slightly spaced4 ,one-point spaces have been used in this example4 ,white cardboard is preferable to a colored one on which to print this design4 ,,example #beg 7,insert74--,the historic ,gothic or church style furnished the motive for the treatment of this ticket4 ,both border and type-face possess characteristics peculiarly ,gothic--notably the pointed form of the letters and floret4 ,there is also blend of tone1 and similar contrast of heavy and light strokes in letter and border4 ,ancient features are consistently carried out in the arrangement4 ,the lines are set close to the border and made full length4 ,contrast is obtained by the use of color and the emphasis in type size of two important phrases4 ,this style of treatment is appropriate for tickets used by churches or kindred organizations4 ,illustration3 ,,example #bfj ,modern treatment based upon the ,colonial ,,example #beh 7insert74--,the style of this ticket is a modern conception and originated in the art revival of the latter part of the last century4 ,the motive is masculine and its features are contrast of tone1 massing of lettering1 and liberal blank space4 ,it will be noticed that while in this specimen the margin inside of border is wide1 on the previous specimen 7,example #beg7 there is practically no space inside of the border4 ,these features are necessary in the correct interpretation of the respective styles4 ,the motive of the specimen under consideration is particularly applicable to tickets for minstrel performances1 smokers1 club outings1 and other affairs in which men are interested4 ,,example #bei 7,insert74--,the color border on this specimen suggests a means of varying the treatment of tickets1 the extension of the border into two of the corners adding distinction4 ,such a design as this is likely to meet approval among college students1 as they welcome odd and striking effects4 ,the strong italic lower-case is a relief from the many more familiar roman faces used on such tickets4 ,emphasis of important parts is obtained by increasing the type sizes until proper contrast is obtained4 ,illustration3 ,,example #bfb ,daintily appropriate in type-face and illustration ,illustration3 ,,example #bfc ,the secession or mission style applied to ticket composition ,,example #bfj4--,the treatment of this example may be described as modern based upon the ,colonial4 ,the ,caslon type-face furnishes a ,colonial atmosphere1 and the border treatment of color inside surrounding rules blends with the type-face4 ,only two sizes of type are used and lower-case is consistently adhered to4 ,the shape of the main group gives a pleasing symmetry to the arrangement1 the floret serving well to complete this result4 ,the effect as a whole is bookish1 and may be adapted to various literary and art purposes4 ,white or buff stock would be suitable1 antique finish preferred4 ,illustration3 ,,example #bfa ,suggested for course tickets4 ,coupons should be attached ,,example #bfa4--,there may be an idea here for course tickets in which a number of lectures are listed4 ,the form as shown is not complete1 the idea including the attachment at one side of coupons containing the names and dates of the lectures4 ,only capitals are used and the three main lines are aligned at each end of the measure4 ,the narrow border gives a finish to the general design1 which is well suited for printing in black ink on white stock4 ,illustration3 ,,example #bfd ,the ecclesiastical or missal style well adapted ,,example #bfb4--;,here we have a ticket of peculiar interest to women and the treatment is daintily appropriate4 ,caslon italic is an admirable letter for the purpose1 as it is graceful and neat4 ,bold treatment and large type have been avoided1 the main portion of the copy being grouped in the center and surrounded by liberal blank space4 ,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 pleasure4 ,white card would be proper1 and a buff or gray-blue stock might also look well4 ,illustration3 ,,example #bfe ,perhaps ,morris would have set a ticket this way ,,example #bfc4--,this ticket presents the geometric1 or so-called secession style2 a mild example1 tho4 ,because straight lines form its motive1 some call it the mission style4 ,there are possibilities in it for the typographer looking for fresh ideas with which to vary his work4 ,right here it may be well to warn compositors against becoming enthusiastic over every new style of type arrangement that may come to his notice4 ,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 compass4 ,the result usually is shipwreck4 ,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 endurance4 ,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 style4 ,a gray stock on which to print this example would be a wise selection4 ,illustration3 ,,example #bfg ,modern application of classic type effects ,illustration3 ,,example #bfh ,patterned after ,colonial treatment of title-pages ,,example #bfd4--,this specimen will be recognized as an adaptation of the missal or mass-book style of treatment1 mentioned in a previous chapter4 ,it is an accepted ecclesiastical arrangement1 and proves as pleasing on a ticket as on a title-page4 ,uncial initials 7as are here shown in color7 may be had of typefounders in slight variations4 ,white or buff card admirably supports missal treatment4 ,,example #bfe4--;,inspiration for ticket designs may even be drawn from the work of ,william ,morris and the ,italian printers who used the black-toned decorative border1 altho this style should not be undertaken unless the proper border is available4 ,the one here adapted carries out the idea fairly well4 ,old ,style ,antique set snugly to fill the panel gives the proper results1 the capital lines also being necessary to this style4 ,tickets for educational and art functions especially lend themselves to this treatment and white card should be used4 ,illustration3 ,,example #bff ,the medieval art worker furnished a motive for this ticket ,,example #bff4--,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 plates1 slabs1 doors1 and like objects4 ,this suggested the adoption of the idea to carry a few pertinent words on an entertainment ticket4 ,cardboard of almost any color could be used4 ,,example #bfg4--,perhaps this arrangement could be described as a modern application of classic type effects4 ,the display lines are in ,cheltenham1 a face that approximates some of the ancient ,roman lettering1 and the treatment of the ticket as a whole is chaste4 ,the ornaments1 surrounded as they are by blank space1 emphasize the classic simplicity of the ticket4 ,the type group is tapered to give proper symmetry4 ,illustration3 ,,example #bfi ,a dainty1 refined effect suited to many occasions ,,example #bfh4--,this is purely a ,colonial effect and closely follows the arrangements found on title-pages of the seventeenth and eighteenth centuries4 ,hair-line rules well separated by space were common in those days4 ,the type here used is ,caslon1 a letter cut in the eighteenth century1 and one especially suited to ,colonial typography4 ,antique-finished card in white and buff is appropriate4 ,,example #bfi4--;,dainty1 refined effects are demanded by certain customers4 ,this specimen demonstrates the effectiveness of such treatment on a ticket4 ,two sizes of type 7,pabst71 all capitals and slightly spaced1 give the proper results4 ,the ornaments are used as symbolic decoration4 ,illustration3 ,,example #bgj ,robust treatment of an outing ticket ,,example #bgj4--,the typography of this ticket is distinctly masculine4 ,this result has been obtained by the use of capitals of a robust type-face1 so distributed in size as strongly to emphasize the important phrases4 ,had this form been printed in one color1 the two type lines now in color should have been reduced a size4 ,it is well for compositors to keep in mind that when orange is used in combination with black1 the portion printed in orange will be lighter in tone than that in black1 unless the difference is provided for by bolder or larger type-faces4 ,any color of stock excepting dainty tints would do for this ticket4 ,illustration3 ,,example #bgb ,treatment that should prevent easy counterfeiting ,illustration3 ,,example #bgc ,corner decoration suitable to the subject ,,example #bga4--,this unusual arrangement was dictated by the nature of the cab ornament4 ,the shapes of the type groups are built about it4 ,were the cab ornament not used1 another arrangement would be necessary4 ,there are social clubs of all kinds in every city1 and balls are frequently held for which tickets are needed4 ,an element of interest such as is given by the cab ornament would surely be appreciated by such customers4 ,illustration3 ,,example #bga ,the cab ornament dictated the type formation ,,example #bgb4--,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 type4 ,instead of referring the customer to a lithographer the printer should ascertain if he is not in a position to produce such a ticket4 ,the style of the one here shown is suggested for such emergencies4 ,a type border printed in color forms the background4 ,over this print the reading matter1 and for the display lines use a type-face that happens not to be possessed by other printers in the same city4 ,in providing a border for this ticket a rule with double lines has been used1 thus blending it with the double lines of the type-face4 ,white stock should be selected for this ticket4 ,,example #bgc4--,the corner decoration is in keeping with the subject of this ticket1 and the arrangement as a whole is suggested for similar purposes4 ,any color of cardboard is suitable4 ,illustration3 ,,example #bgd ,this arrangement has an old ,french motive ,,example #bgd4--,the decoration of early ,french books furnished the motive for the typographical treatment of this ticket4 ,it is submitted simply to demonstrate that ideas for arrangement can be picked up in many quarters1 and as a suggestion that typographers go thru the world with eyes open4 ,illustration3 ,,example #bge ,neat1 conventional treatment of a letterhead containing a large amount of copy4 ,the bold-face type lends variety to the heading and brings out important points ,illustration3 ,,example #bgf ,professional stationery must be treated with dignity and refinement4 ,the type should be small ,illustration3 ,,example #bgg ,suggested treatment for church stationery of the conventional kind4 ,a text letter is appropriate and is usually satisfying ,illustration3 ,,example #bgh ,as a change from the style shown in ,example #bgf1 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 correspondence8 ,a look thru the letter files of any business house will reveal the interesting fact that most of the letters are on sheets measuring #h #aa inches4 ,letter sheets of about this size have been in use for many years4 ,from ,de ,vinne's ,price ,list of #ahga we learn that #aj #af inches 7#h #aj folded7 was the favorite size of letter sheet1 and that for commercial letters the size #aj #ag inches 7#h #aj folded7 was sometimes required4 ,note sheets were then in two sizes3 ,commercial note1 #h #aj inches 7#e #h folded72 and packet note1 #i #aa inches 7#e #i folded74 ,the typewriter and modern commercial requirements have since developed use of the single leaf1 altho for personal correspondence and certain refined business purposes the folded note sheet is proper4 ,in passing it might be noted that in the price list above mentioned the printer is urged to charge an increased price when 8brass or ,french flourishes are used in excess40 ,the composition of 8one plain heading1 of not more than four straight lines10 was to be charged at seventy-five cents2 8one ornamental heading with curved lines10 twenty-five or fifty cents additional4 ,illustration3 ,,example #bgi ,this elaborate border continued around the entire sheet4 ,in the original the colors were subdued and harmonious and on a brown-gray hand-made paper ,illustration3 ,,example #bhj ,a suitable type-face symmetrically arranged1 with a harmonious decorative device ,as has been stated1 the standard size of the present-day commercial letterhead is #h #aa inches4 ,strange to say1 the standard size of envelop 7known as ,no4 #f ,government7 used for the carrying of these letter sheets measures #f #c1 tho if a snug fit were required the envelop would be about #e #c inches4 ,the standard size1 however1 should usually be selected1 as all sorts of enclosures are made to fit it4 ,the large 8official0 envelop is also used extensively for business purposes1 the most common size 7,no4 #aj ,government7 measuring #i #d inches4 ,it takes a letter sheet of two parallel folds1 and also provides for business and advertising enclosures larger than those planned for the standard envelop of smaller dimensions4 ,distinction is given business stationery by folding the standard letter sheet twice so that1 folded1 it measures #e #d inches1 and by using an envelop 7,baronial7 that measures an eighth or a quarter of an inch larger each way4 ,for private or semi-private purposes this kind of envelop is preferred1 especially if the letter sheet is used as a double note sheet4 ,the heading is frequently printed on the fourth page of the double note sheet1 so that when the message is written on the fourth and first pages and the sheet is opened1 the letter appears as two pages in a book4 ,another size of men's personal correspondence sheet measures #e #h inches folded once4 ,after being written upon the sheet is again folded1 and it then measures #e #d inches4 ,when the customer is willing to pay a price for which the best quality of stationery may be furnished1 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 purposes4 ,another size of letter sheet1 used for men's personal correspondence and for giving an exclusive appearance to commercial stationery1 measures about #g #aj inches4 ,the paper is given two parallel folds and fits in an envelop that measures about #g #d inches4 ,illustration3 ,,example #bha ,artistic treatment in squared effects ,illustration3 ,,example #bhb ,a simple treatment of a heading with little copy4 ,capitals have been letterspaced a trifle ,since the typewriter is in such general use1 ruled letter sheets are seldom called for2 in fact1 ruled correspondence sheets of any kind are now in poor taste4 ,the old-time notehead is also little used1 the half-letter sheet 7#h #e inches71 and the two-thirds letter sheet 7#h #g inches71 printed the broad way1 taking its place for brief business messages4 ,illustration3 ,,example #bhd ,the heavy border effect of the ,colonial style of typography gives character to this heading4 ,by ,arthur ,nelson ,the typographical treatment of letterheads and envelops should have some relation1 and it is now generally conceded that the paper should be the same in both cases4 ,a good grade of paper is now considered essential for bona-fide correspondence1 a cheaper grade being allowed for form letters4 ,a light-weight paper of a high grade is preferable over a heavy-weight paper of a low grade4 ,quality isn't a matter of weight1 altho if it can be afforded the heavier weight is not in the least objectionable4 ,twenty-pound folio 7#ag #bb7 seems to be most easily obtained in the various papers4 ,as to the style of typographic treatment1 the printer must in all cases consider the tastes of his customers1 and especially the business or profession for which the stationery is to be used4 ,as an instance1 the style of typographic treatment of doctors' and lawyers' stationery seldom changes4 ,it should be kept in mind that simple1 neat1 refined typography is appropriate for almost every order of stationery1 while elaborate typography in many cases is inappropriate4 ,color is seldom well used on stationery4 ,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 printing4 ,a test of typographic skill is to design a letterhead that in one printing will look attractive and distinctive4 ,the heading should usually be printed in black or some darkened color1 and if another impression is desired a very small part of the design printed in orange or vermilion will add a touch of bright color4 ,all the reproductions shown are reduced in size1 those on the inserts being only slightly smaller4 ,illustration3 ,,example #bhc ,there is a great deal of character in this simple letterhead design4 ,the lantern is really a monogram4 ,by ,charles ,r4 ,capon ,,example #bge 7,insert74--,lithographers and steel-die printers really furnish the styles for the conventional arrangement of letterheads4 ,they work along standardized lines and usually produce well-balanced1 appropriate headings4 ,typographical printers should study stationery produced by these processes and observe how the parts of headings are grouped and the advertising points emphasized2 for a letterhead is one form of advertising4 ,there are limitations1 however1 in the copying of such letterhead arrangements4 ,only plain designs should be studied for this purpose4 ,imitations of shaded and ornamental lettering are seldom successful4 ,example #bge demonstrates how a good letterhead can be designed along lithographic lines4 ,the effectiveness of this heading depends a great deal upon the use of both light- and dark-faced type4 ,where there is a great deal of matter1 as in this instance1 the heading would likely appear flat and uninteresting and would lose some of the advertising qualities it possesses if the light-faced type were used thruout4 ,this is no argument for bold-faced type on stationery headings as a usual thing1 but refers to the kind of heading here shown4 ,the parts in the dark-faced type include the firm name1 the nature of its business and the city in which the firm is located4 ,the names of the officers are arranged in the upper part of the heading1 and this position of the names seems to be satisfactory in most instances4 ,the telephone number and cable address are in the center near the date line4 ,the type used in this heading is ,card ,litho and ,card ,light ,litho4 ,,example #bgf 7,insert74--,professional stationery must be treated with dignity and refinement1 and the type should be small4 ,treatment such as this would undoubtedly meet with approval from the professional customer4 ,it would be a mistake to apply to professional stationery the variety of attractive and interesting arrangements that are applicable to stationery used for many business and advertising purposes4 ,the printer would save resetting of the work and more surely please his customers if1 in filling orders for doctors1 lawyers1 architects1 engineers and other professional men1 he attempted nothing but the conventional dignified treatment illustrated by this example4 ,the type is an imitation engravers' gothic slightly letterspaced to give the effect usually found on steel-die work4 ,,example #bgg 7,insert74--,ministers1 included as they are in the professional class1 like to have their stationery dignified and neat4 ,at the same time they do not object to the use of text type1 as it has a churchly suggestion4 ,this type1 too1 must be small1 that used here being eight-point in size4 ,illustration3 ,,example #bhg ,suggestion of the ecclesiastic in the design of a letterhead for a church printer ,,example #bgh 7,insert74--,stationery for a lawyer1 like that for a doctor1 should be dignified and refined4 ,it is well to give him the professional customer's style of typography such as that of the doctor's heading1 but if a departure is to be made from the imitation steel-engraved lettering1 it is possibly well to use a modern style of type such as the ,bodoni1 and letterspace the capitals1 as was done in this example4 ,but one size of type-face has been used here 7eight-point71 capitals1 italic1 and small capitals being utilized4 ,,example #bgi4--,practically never should a letterhead be treated with the elaborateness of this one unless the customer expressly desires such treatment and is willing to pay for it1 or the letterhead is the printer's own1 as in this instance4 ,the reproduction1 unfortunately1 does not present the rich qualities of the original1 which was printed in green-gray and red-gray on a gray hand-made paper4 ,the typography was merged with the paper stock1 and there was not the contrast found in the reproduced specimen4 ,illustration3 ,,example #bhe ,on which a meeting is advertised ,illustration3 ,,example #bhf ,a panel1 when well treated1 gives distinction to stationery4 ,by ,arthur ,nelson ,illustration3 ,,example #bhh ,artistic yet simple arrangement1 the feature of which are the three lines of equal length4 ,by ,leon ,i4 ,leader ,,example #bhj4--,old-,style ,antique1 as this heading shows1 is a good type-face for the letterhead of an art publication company4 ,capitals have been used thruout and grouped so as to form a symmetrical arrangement that harmonizes well with the decorative device placed under it4 ,a feature of this heading is that all matter is included in the one group1 excepting the name of the city1 which is placed to receive the date line4 ,illustration3 ,,example #bhi ,letterhead for a storekeeper selling a general line of goods ,illustration3 ,,example #bij ,panel treatment that suggests the business4 ,by ,arthur ,nelson ,illustration3 ,,example #bib ,unique arrangement of a distinctive heading4 ,by ,harry ,a4 ,anger ,,example #bha4--,successful treatment of a heading like this depends upon the typographer's ability so to arrange the copy1 without resorting to letterspacing1 that all lines are the same length4 ,it is necessary also to use all capitals of an old-style face of dark tones in which the letters set fairly close together1 a result such as can be had with ,old-,style ,antique or ,cloister ,oldstyle4 ,the decorative device in its shape harmonizes with the formation of the group of type lines above it4 ,the liberal blank space that surrounds this heading is an important factor in its attractiveness4 ,the original was on brown paper4 ,,example #bhb4--,when the printer receives copy as brief as that used for this letterhead he experiences difficulty in producing an effect that will be attractive4 ,with the customary engravers' type-faces nothing very satisfactory is possible1 but by using a type-face of character1 such as ,caslon ,oldstyle in its original form1 as was done here1 artistic interest can be added4 ,two sizes of capitals1 spaced1 were used for the firm name4 ,italic was selected for the word 8,grocers10 with a swash or decorated capital that accompanies the old ,caslon type-face4 ,capitals and small capitals were utilized for the date line4 ,a touch of decorative interest was added to the heading by the use of a rule1 on each end of which was placed a dagger1 such as is usually a part of book fonts4 ,this treatment could be made even more effective by printing the letterhead on a white bond paper of good quality4 ,,example #bhc4--,this letterhead is offered as a suggestion for artistic treatment when not much copy is furnished and it is possible to use a small decorative device4 ,the type-face should have old-style qualities of an artistic nature and should be slightly letterspaced4 ,the lantern device on this heading is really a monogram1 cleverly designed4 ,the original was in black and orange on buff-tinted paper1 and as shown by the reproduction1 the heading was placed very high on the sheet4 ,illustration3 ,,example #bia ,dignified yet novel treatment ,,example #bhd4--;,for some reason a border made of a heavy line and a light one harmonizes with the type matter in ,caslon ,oldstyle1 especially when liberal blank space separates the type and the border1 as in this instance4 ,it is well usually not to have the border darker in tone than the type matter1 but on this heading it would be a mistake to lighten the border1 which1 however1 would look well printed in vermilion or orange ink4 ,a buff-tinted paper of an antique finish would blend with the ,caslon typography4 ,it is a departure from conventional methods to place the names of the firm members in the lower part of the panel4 ,this was probably done so that the name of the bindery would stand out without interference from type matter above it1 but as a concession to conventionality it would probably be well to place the names in the upper part of the panel4 ,,example #bhe4--,the printer is frequently called upon to arrange for an organization a letterhead which contains an announcement of the next meeting of the society4 ,the example under consideration shows how this may be done2 the meeting announcement is presented plainly1 yet a letterhead appearance is retained4 ,the name of the society crosses the letter sheet and is joined on each end by a group of officers4 ,the reference to the meeting occupies the space directly under the name of the society4 ,in the original the main part of the heading1 which now stands out so strongly1 was subdued by the use of gray ink4 ,,example #bhf4--,there is suggestion of the architectural panel about the arrangement of this heading4 ,the suggestion is continued by the use of a classic ,roman type-face mainly in capitals4 ,panels are not as successful on letterheads as they would be if more judgment were used in forming them4 ,this heading should prove helpful in working out the panel idea4 ,its proportions could be smaller with good results4 ,the original was printed with green-black ink on a primrose color of bond paper1 but would also look well on white stock4 ,,example #bhg4--;,a letterhead is successful if by its treatment it suggests the line of business for which it is used4 ,this one measures up in that respect4 ,by the use of the old text type and ,maltese crosses an ecclesiastical touch is given4 ,the old church missal books of the manuscript days were brilliant in rubrication1 a feature of which were ruled lines1 crosses and initials in vermilion4 ,the arrangement of this heading is also one that could be used for many purposes4 ,some of the facts about the business are blended with rules in a decorative band that gives breadth to the heading4 ,illustration3 ,,example #bie ,neatness and dignity in letterhead designing ,,example #bhh4--,letterheads arranged so that all lines are the same length1 especially if such arrangement allows proper emphasis of the firm name1 usually look well and have artistic interest4 ,this heading is one such as almost any printer with a good old-style type-face could produce4 ,like ,example #bha1 this treatment requires the use of capitals4 ,lower-case in square or block formation does not shape up harmoniously4 ,capitals exclusively should be used when such effects are planned4 ,,example #bhi4--;,a letterhead for a general store invariably presents a problem to the printer who wishes to produce a harmonious and well-balanced heading4 ,it is difficult properly to display copy which includes such a variety of articles as furniture1 jewelry1 stoves and coffins4 ,the typographer responsible for this letterhead set it in ,caslon ,oldstyle1 grouped it as well as he could1 and introduced decorative value by means of florets printed in color4 ,the name of the merchant was given the most prominence1 and 8,furniture0 was featured for the reason that it seemed to constitute the principal part of the business4 ,the printer who objects to this arrangement should try his hand at resetting it4 ,as copy1 this heading is in strong contrast to that supplied for ,example #bhb4 ,illustration3 ,,example #bic ,individuality obtained by means of decorative initials ,illustration3 ,,example #bid ,just a neat typographical arrangement ,illustration3 ,,example #bif ,a heading in two groups4 ,by ,harry ,a4 ,anger ,,example #bij4--,this example is a resetting of a letterhead on which the printer had imitated bricks by using oblong border units printed in red4 ,his effort was too literal1 and in rearranging the heading the purpose was merely to suggest bricks and tiles in a light-printing border4 ,spaced ,caslon capitals completed an effect that is unusual and distinctive4 ,the line 8,brick and ,tile0 could be printed in color4 ,illustration3 ,,example #big ,a neat letterhead and uncommon distribution of color4 ,by ,leon ,i4 ,leader ,illustration3 ,,example #bih ,double-panel treatment that is unusual ,,example #bia4--,there is a dignified yet novel attractiveness about this heading4 ,the light cross-rules give shape1 and individuality is injected by slightly spacing the letters and confining the color to three small initials4 ,gothic 7sans-serif7 type looks well treated in this manner4 ,as will be seen1 liberal blank space is necessary for a right effect4 ,the original was printed in black and vermilion ink on gray bond paper4 ,illustration3 ,,example #cjj ,a letterhead in ,caslon roman capitals and italic lower-case1 with touch of color in the distinctive shop mark ,,example #bib4--,the designer of this letterhead planned to get something different and succeeded4 ,he did it1 too1 with the good old ,caslon type-face4 ,this type has proved its worth in commercial job work1 and there seems to be no limit to its usefulness4 ,by spacing the letters in this heading a peculiar tone has been obtained which gives the letterhead much of its character4 ,the position of the lamp ornament is odd4 ,black and orange ink and white paper were used4 ,,example #bic4--,while it is safer to print club stationery in the conventional style of professional stationery1 there are clubs which will appreciate any individuality and attractiveness the printer may introduce on the letter sheet4 ,this heading is a suggestion of what might be done in this direction4 ,washington ,text has been combined with decorative initials4 ,,example #bid4--,the problem here was to produce a letterhead for men who appreciate typographic neatness1 and the problem was met by setting the heading in ,caslon lower-case and introducing italic in several places where it would be of the most value4 ,as will be seen1 the names of the officers were grouped on the left1 and balanced on the right by a group that tells of the things the store has to sell4 ,it is likely that copy such as this would meet with different treatment from the average compositor1 who would be inclined to distribute the copy over all parts of the letterhead4 ,the lesson to be learned is that the several parts of copy should be orderly apportioned to positions on the letter sheet1 as in this instance4 ,,example #bie4--,this is an excellent example of a good letterhead1 originally produced by the incised copperplate method4 ,study of its details would benefit the typographic printer for the reason that1 as mentioned in the beginning of this chapter1 designers of letterheads produced by lithographic and intaglio processes have given much thought to letterhead arrangement4 ,the main part of the heading is symmetrically arranged in a group in which attention has been given to spacing4 ,the illustration is disposed of at the left1 and an added line has been placed in the upper right corner and printed in red4 ,the neatness and dignity of this letterhead are an inspiration4 ,illustration3 ,,example #bii ,distinction in letterhead design4 ,the rule border1 which extended around the entire sheet1 was in a shade of ink lighter than that used for the type ,,example #bif4--,the copy of this letterhead presented a problem which was solved by making two distinct groups of the type matter4 ,in the main group were placed the matters of national importance1 and in the upper group in smaller type such copy as refers to the state organization4 ,compositors should observe how the 8,y0 at the end of the main line has been extended into the margin so that the group alignment might be retained4 ,the printing combination was black ink and white paper4 ,,example #big4--,perhaps the use of italic capitals exclusively would have been more consistent1 yet the one line of roman capitals does not detract from the pleasure the neatness of this heading affords the admirer of good printing4 ,the distribution of color is uncommon4 ,the italic short-and 77 adds a touch of decoration to the heading4 ,typographers will find that these old-style italic short-ands look well in display lines substituted for the spelled-out 8and40 ,the roman short-and 77 is severe in character and is not so pleasing4 ,,example #bih4--,occasionally it is advisable to inclose type matter in a panel1 altho in most instances the typographer will find that a letterhead is neater if no rule panel is used4 ,however1 there is something attractive and different about the panel treatment of this letterhead4 ,without the rules the heading would be neat1 but would lose a distinction that is now given it by the rules4 ,the type-face1 ,packard ,oldstyle1 possesses a quality found in hand-lettering and looks well on this heading4 ,,example #bii4--;,a line border finishing off the edges of the letter sheet adds a quality to the appearance of the stationery that makes it worth while when the printer uses the idea on his own stationery or a customer is willing to pay the increased cost necessary for such an effect4 ,on the ,fell letterhead the border was in a shade of ink lighter than that used for the type4 ,the arrangement of the heading is worthy of study1 especially the disposition of the officers' names1 which are placed one under another instead of being conventionally arranged in a line at the top of the sheet4 ,while this heading is hand-lettered1 it is suggestive of similar effects that could be produced with good type-faces of an old-style design4 ,,example #cjj4--;,another letterhead in the ,caslon type-face1 roman capitals and italic lower-case being used4 ,much of the attractiveness of the heading is due to the spot of decorative color made by the shop device1 which in design blends well with the type-face and because of its position brings the eye to the title of the press4 ,the names of the officers are placed above the center1 and the service rendered by the press is outlined in the end groups4 ,illustration3 ,,example #cjc ,type arrangement as used by a noted typographer4 ,printed on the fourth page of a folded note sheet ,,example #cja4--,the cross-line panel is here adapted to letterhead purposes with some success4 ,the decorative border is a suitable one for such arrangement and affords relief from the plain brass rule4 ,however1 it only departs from the plain rule sufficiently to add an interesting touch of irregularity to the lines4 ,text type has been used for the center1 and where ,caslon capitals are found in the panel they are letterspaced4 ,illustration3 ,,example #cja ,the crossed-line panel successfully adapted to letterhead purposes4 ,by ,adams-,brander ,company ,illustration3 ,,example #cjb ,a ,german idea in letterhead treatment ,,example #cjb4--,while ,german treatment in advertising design and typography is usually thought to be strong and forceful1 yet certain classes of work are produced in a dainty yet characteristic style4 ,this letterhead is presented because of the interest it will doubtless have to ,american printers4 ,illustration3 ,,example #cjd ,humor in a notehead is exceptional ,,example #cjc4--,this notehead printed in two sizes of capitals is interesting in that it is the work of a noted book typographer4 ,the larger capitals are not letterspaced1 but the smaller ones are4 ,a triangular formation of periods adds a touch of decoration between groups4 ,this notehead was printed on the fourth page of a folded sheet in dull-finished black ink on white bond paper4 ,illustration3 ,,example #cje ,conventional treatment of an envelop corner ,,example #cjd4--;,humor in a notehead is questionable and should be used only in exceptional cases4 ,mr4 ,glover1 however1 has used it to good advantage4 ,printing has always been such a serious business that customers may welcome a printer who can smile even on his note sheets4 99 99 99 99 99 ,illustration3 ,,example #cjg ,envelop corner prominently treated in a decorative letter ,illustration3 ,,example #cjh ,harmony of device and type treatment4 ,by ,ray ,greenleaf ,the envelop is an acknowledged convenience in correspondence4 ,it not only protects the letter from being soiled or tampered with1 but is a convenience to the post-office and a means of advertising4 ,the first use that the printed part of an envelop has is to inform the postal authorities of the name and address of the sender so that if a letter cannot be delivered it can be returned4 ,on government-printed envelops this information is given in the briefest and plainest possible way4 ,however1 the greater number of business men recognize the advertising possibilities of the envelop1 and not only have the paper match that used for letterheads1 but see to it that the typographic treatment is also in accord with that on the letter sheet4 ,the treatment of the face of the envelop should be neat4 ,it is not only in poor taste to cover the envelop with printing1 but is against the post-office regulations4 ,there are those who prefer to print the type matter on the flap of the envelop1 and others who print the type matter in the usual corner and the trademark on the flap4 ,,example #cje4--,this is a specimen of a conventionally treated envelop corner in imitation steel-engraved lettering4 ,the old-fashioned 8,after five days return to0 as here used is not much in vogue1 and printers would do well to omit it unless the customer insists upon its inclusion4 ,this envelop corner is in the same style of typography as the letterhead that accompanied it4 ,illustration3 ,,example #cjf ,distinctive and artistic treatment ,,example #cjf4--;,artistic interest of a medieval character has been given this envelop corner by the use of ,old-,style ,antique1 and especially by the decorative device in color4 ,the design of this envelop is distinctive1 and mail from this source would easily be recognized after one or two letters had been received4 ,,example #cjg4--,occasionally it is good policy to bring out the name of the business in a prominent way1 especially if it can be treated in a decorative letter such as the one used in this instance4 ,not every business will allow of such prominent treatment1 and in this matter the printer needs to use judgment4 ,the type has been aligned at the left4 ,,example #cjh4--;,it is seldom that an envelop corner is treated so harmoniously and artistically as the one under consideration4 ,the general character of the decorative device is matched by the style of the type-faces used4 ,the squaring of the type group also adds shape harmony4 ,this corner card1 designed some years ago1 is proof of the fact that good work is always good4 ,illustration3 ,,example #cji ,an elaborate envelop corner ,,example #cji4--,seldom should an envelop corner card be as elaborate as this one1 but when such an arrangement is allowable1 as in this case1 the design shown is worthy of consideration4 ,the type-face is ,caslon with ,caslon ,text1 and the bands are made by using square ornaments with alternating blank space inside of rules4 ,illustration3 ,,example #cab ,the non-stock-ruled type of billhead1 with a panel in which name1 date and other items are recorded4 ,showing use of roman lower-case ,illustration3 ,,example #cac ,remove the words 8,sold to0 and the rule work1 and this could be used as a letterhead4 ,showing use of italic lower-case with spaced roman capitals ,illustration ,,billheads ,,statements ,the printer called on to produce a billhead has a responsibility seldom fully realized4 ,he has a duty to himself1 to his customer and to those who come after1 which is best carried out by suitable and dignified type composition4 ,a business house has been known to use the same design of billhead for fifty years1 and it is a fact that many merchants cannot be persuaded to change the style of the billhead1 no matter how homely it may be4 ,billheads and statements should correspond in style to that of letterheads and other forms of stationery1 and in changing the design it must not be forgotten that these other forms should also be altered to harmonize4 ,the paper should be of the same finish and color1 and the main features of type arrangement similar4 ,the type-face must be the same on all4 ,the standard sizes of billheads for commercial purposes are3 #h #e inches1 #h out of a sheet #ag #bb4 #h #g inches1 #h out of a sheet #ag #bh4 #h #i inches1 #f out of a sheet #ag #bh4 #h #ad inches1 #d out of a sheet #ag #bh4 ,professional billheads are usually an inch or two smaller than the smallest size of commercial billheads4 ,there is a variety of sizes in statements4 ,popular sizes are those cut out of folio 7#ag #bb inches71 which then measure #e #e inches1 and #e #h inches4 ,illustration3 ,,example #caj ,in which are presented the principal features of the average commercial invoice1 or billhead4 ,the customer's name is placed in the lower left corner ,illustration3 ,,example #caa ,how a letterhead may be converted into a billhead4 ,the upper portion is also shown as ,example #bhc in the chapter on letterheads ,whether ruled or not1 it is customary to allow about #b inches for the printed heading on both billhead and statement4 ,because of the extensive use of 8window0 envelops1 the heading should be so arranged that the name and address of the customer can be placed in the lower left part of the billhead4 ,the exact position can be ascertained by placing a billhead over such an envelop and jogging the two at the head and left side4 ,when held to the light the opening in the face of the envelop can be traced on the billhead4 ,the billhead is folded to fit the envelop and inserted so that the name and address can be seen4 ,use of the typewriter and window envelops has brought a change in the arrangement of billheads1 and printers1 whenever they have opportunity1 should alter the old billhead arrangement to conform to the new requirements4 ,most billheads a quarter of a century ago contained in the upper right corner in script 7usually7 a date line1 and under it at the left was a dotted line beginning with a large script ,m4 ,immediately following came the firm name 7usually rather large7 flanked on the left by the word 8,to10 and on the right by the abbreviation of debtor1 8,dr40 ,so the apprentice boy was taught1 and he would then be further instructed to place the words 8,dealers in0 7or their equivalent7 in small type1 centered2 then to display the words indicating the line of goods carried4 ,in a small line at the lower right corner was the street address1 and aligned opposite were the mystic words 8,terms ,cash40 ,sometimes the words 8,bought of0 were substituted for 8,to0 and 8,dr40 ,the older printers will remember the logotypes in various fancy designs of the phrase 8,bought of0 that the typefounders furnished in those days1 which logotypes were set against type lines of double great primer caps4 ,now 8,bought of0 has been supplanted on billheads by 8,sold to10 which directs attention to the fact that ,john ,smith has sold goods to ,thomas ,brown1 rather than that ,thomas ,brown has bought goods of ,john ,smith--a distinction without a difference1 one might say1 yet there is interest in noting the change4 ,illustration3 ,,example #cad ,a billhead1 or statement1 in a classic non-display style of typography that suggests early printing4 ,by ,d4 ,b4 ,updike ,the probable reason for the 8,m0 being discarded in recent years on commercial billheads is that many business houses are now corporations1 which fact makes 8,mr40 and 8,messrs40 no longer suitable as forms of address4 ,illustration3 ,,example #caf ,a suitable billhead with interesting border treatment4 ,no guide lines have been used ,,example #caj4--,this specimen presents the main features of the average commercial invoice1 or billhead4 ,usually there are conditions of sale which can be placed at the top of the heading with a rule underneath1 altho they are sometimes arranged at the side or at the foot of the invoice4 ,the name of the company is given most prominence1 followed by mention of the commodity or product4 ,the number1 street and city naturally should be displayed so that the customer's location can be referred to quickly in correspondence4 8,sold to0 precedes the space left blank for the customer's name1 and this1 as has been explained1 should be in the lower left corner4 ,blanks for the date1 terms1 invoice number1 ledger number1 customer's order number and other notations of record may be grouped in convenient open spaces4 ,,example #caa4--,the composition of a billhead really begins with the composition of a letterhead4 ,it should be possible to take any letterhead and by adding a few lines convert it into a billhead4 ,the specimen under consideration shows how this is done4 ,the original of this billhead was exhibited as ,example #bhc in the preceding chapter4 ,the conventional phrase 8,sold to0 is placed in its customary position and the other phrases added at suitable spots4 ,printers should keep this suggestion in mind and1 when laying out a billhead1 design the upper part as they would a letterhead4 ,illustration3 ,,example #cae ,typographic art and good taste1 as demonstrated by this specimen1 have a place on billheads as well as on books ,,example #cab 7,insert74--,this is an interesting representative of the non-stock-ruled heading1 and it also illustrates the changes the typewriter has wrought in billhead printing4 ,when bills were written in by hand1 script type and dotted rule prevailed1 but because of the use of typewriters1 script and horizontal guide lines are gradually disappearing from the face of billheads4 ,the example under consideration also demonstrates the effectiveness of ,caslon lower-case for billhead purposes4 ,when every line is in roman lower-case there is harmony1 but sometimes there is also monotony4 ,in this instance1 however1 the introduction of italic and small caps would alter the plan of the heading and detract from its distinction4 ,the rule border and the panel for the insertion of customer's name and address give distinction4 ,,example #cac 7,insert74--,there is here another demonstration of the transformation of a letterhead into a billhead4 ,remove the words 8,sold to0 and the ruling at the foot and the form is ready for the letter sheet4 ,kennerley type1 altho primarily a book face1 is also usable on stationery where neat1 distinctive effects are desired4 ,capitals are spaced 7as in the old books of ,aldus71 and italic is used with the capital lines1 this use of italic also being suggested by the work of the ,aldine ,press4 ,however1 the specimen is not intended to be in the classic spirit of ,aldus2 it is merely a modern commercial suggestion4 ,,example #cad4--;,here is a billhead1 or statement1 in classic typography that suggests the style of the fifteenth century4 ,the heading is practically in one size of type4 ,advertising distinction is obtained by using capitals for the name1 capitals and small capitals for the business name and address1 and italic for 8,in account with40 ,there is not much that is striking about this billhead1 yet1 printed on a fine quality of writing paper1 it would make one really glad to receive a bill of this kind4 ,illustration3 ,,example #cah ,invoice with lower portion divided into columns1 as sometimes used in business ,,example #cae4--;,d4 ,b4 ,updike makes plain by this specimen1 as well as by the preceding one1 that typographic art and good taste can be used in the designing of a billhead as well as in the designing of a book4 ,the woodcut device has the same good quality as the typography4 ,the old-fashioned 8,m0 and 8,dr40 are used1 and blend well with the old dignity of the heading4 ,the ruling on the lower part of both of these headings was printed from rules4 ,there are other good printers who prefer brass rule to the ruling machine for billhead purposes4 ,machine ruling is convenient1 but is not in good taste for billheads1 statements and letterheads of really fine quality4 ,,example #caf4--,the stationery of a book dealer should have a bookish character--that is1 the typography should be inspired by the same skill and taste evinced in the treatment of a good book4 ,a well-designed type-face should be selected1 and there should not be a great contrast in the sizes used4 ,when it is possible to have two printings1 the extra impression could take the form of a simple rule border in color1 as on this specimen4 ,the first type line runs almost from border to border at the head1 and another portion of the copy is arranged directly under it in three even lines4 ,the 8,sold to0 occupies its approved position4 ,no guide lines are provided for the accountant's part of the bill1 as with a typewriter the various items can better be filled in without them1 and a billhead really looks neater without the rules4 ,,example #cag4--;,for printing on colored stock strong treatment is sometimes advisable--treatment such as has been given this heading4 ,on white paper the type sizes should be kept small1 as the light background illuminates the print4 ,white and black form the greatest contrast4 ,there is not much contrast between blue ink and blue paper1 for instance1 and it is necessary to strengthen the print by the use of a larger or bolder type-face4 ,the arrangement shown is unconventional4 ,a full line has been made of the business title1 the name itself being slightly emphasized by printing it in color and giving an initial effect to the first letter4 ,other parts of the copy are grouped at suitable points1 8,sold to0 occupying the usual lower left corner4 ,illustration3 ,,example #cag ,large treatment that would look well in harmonious colors on colored paper ,illustration3 ,,example #cai ,decorative type treatment suitable for the business of painting and decorating ,,example #cah4--,many invoices and billheads now have the lower part divided into columns for taking care of the various items peculiar to the business1 as in this instance4 ,the customer usually decides when he wishes to depart from the conventional ruled effect1 and it is just as well for the printer not to suggest a change of this sort1 as it means extra composition for which the customer may be disinclined to pay4 ,the type-face on this well-arranged example is a good one for plain commercial headings4 ,it would be well1 for convenience1 to place the 8,m0 in the lower left corner and move the building address to the right corner1 over the street address4 ,,example #cai4--;,a decorator's stationery seems to offer opportunity for effects away from the customary plain treatment of the average heading4 ,this statement1 in the same style as a letterhead that accompanied it1 shows a decorative type-face and an arrangement that could possibly be called decorative4 ,the upper two type groups are joined by the uncial initial1 and the two groups at the left are connected by the flower ornament4 ,illustration3 ,,example #cbj ,an uncommon arrangement4 ,the main type line tells the story1 as the company's title describes the business ,illustration3 ,,example #cba ,credit bill made from the preceding billhead by adding a line at the head and changing 8,sold to0 to 8,credit0 ,,example #cbj4--,this is an unusual arrangement for a billhead4 ,as the business is stated in the firm name1 there is not the usual necessity for a second display line4 ,while this arrangement could be carried out in some other type-face1 the serifless 8block0 letter as here used is not displeasing4 ,the grouping of the branch houses is good1 and other groups are also well placed4 ,,example #cba4--,most business houses find need for credit bills1 to be used when goods are returned or some error has been made in billing4 ,such forms are easily provided by using the billhead1 adding the words 8,credit ,memorandum0 at the head and changing 8,sold to0 to 8,credit40 ,in order that credit bills may look unlike regular bills1 they should be printed in color as is here shown4 ,,example #cbb4--;,all professional stationery should be refined4 ,the sizes of paper and type should be small and the whole effect restrained and polite4 ,such work seldom changes in style1 and consequently there is little variety4 ,the form shown here would probably prove acceptable for many years to men of the medical and similar professions4 ,it may not be out of place to remind the reader that an invoice 7or bill7 is a list sent to a purchaser or consignee1 containing the items and charges of merchandise that have been forwarded to him4 ,as to the statement3 ,it is a common practice to send each customer at the first of the month a statement showing the debit balance of his account to date1 whether it is due or not1 enabling him to compare the statement with the ledger account4 ,in order to call the attention of customers to the fact that payment is desired1 many business houses send a statement whenever a bill is due 7when goods are purchased on ,january #aj1 as an instance1 at ten days1 a statement is sent ,january #bj74 ,there are numerous other forms used in business1 such as checks1 deposit slips1 drafts1 promissory notes1 bills of lading and the like1 but there is not space to show them here4 ,such forms1 if possible1 should be in harmony with the style of the letterheads1 billheads and other stationery4 ,the same type-face should be used and the arrangement of display parts should have similarity4 ,illustration3 ,,example #cbb ,on professional bills the paper and type should be small and the treatment restrained and polite ,illustration3 ,,example #cbc ,a label that catches the attention at a distance and looks well on the background of wrapping paper ,illustration3 ,,example #cbd ,a label of classic simplicity for small packages and a business that emphasizes daintiness and delicacy ,illustration ,,package ,,labels ,the effect of an attractive package is recognized to be of such importance that a widely known manufacturing concern recently sued a competitor for imitating the appearance of its packages and labels4 ,however1 not all business men feel this way about it4 ,after spending time and money in the production of merchandise of high quality1 it is more than foolish to economize on the packing4 ,it is possible1 with good clothes well selected1 to make an unattractive person attractive1 and it is also possible to make an attractive person unattractive by poor clothes ill selected4 ,apply this4 ,the wrapping paper should be strong1 and of color and finish suited to the article to be wrapped4 ,some stylish city dry-goods houses use paper with distinctive stripes or small monograms printed over its surface4 ,a well-known haberdasher wraps his hats in soft black paper4 ,the selection of the wrapping stock should of course be governed by the character of the business and the class of customers1 but as in similar instances1 it is dangerous to underestimate the taste of one's customers4 ,the persons who lack appreciation of a neatly wrapped and attractive package are very few indeed4 ,among merchants1 druggists are known to wrap the neatest packages4 ,this seems to be due in part to their professional training4 ,not many printers give their product a similar attractiveness at the time of delivery4 ,illustration3 ,,example #cbe ,a hand-lettered design for typographic study ,illustration3 ,,example #cbf ,another label rich in suggestion ,the art of making a good impression also includes the fastening of the wrapper4 ,cord and twine are commonly used1 and interest is sometimes added by selecting appropriate colors4 ,linen tape for a business of an exclusive nature gives distinction4 ,gummed-paper tape1 while convenient1 seldom looks well1 and when printed on looks worse4 ,corrugated board when properly used adds both neatness and protection to the package4 ,some printers have cartons made from this board1 in which their product is packed and delivered4 ,the printed label is of the most interest1 as it affords a spot of attraction and furnishes information needed in the delivery of packages4 ,all labels should be planned with the wrapping paper as a background4 ,a label may look well alone1 yet when placed on the package may appear weak and uninteresting4 ,in order to test this1 two labels of contrasting treatment are pictured mounted on a sheet of conventional wrapping paper4 ,it will be admitted that the stronger label is more striking and catches the attention4 ,there are those who will prefer the weaker label because of its neatness and beauty1 yet we must not lose sight of the fact that labels1 unlike business cards and letterheads1 are not usually seen at close range when on packages4 ,a business card is examined a few inches from the eyes1 while a label on a package is frequently viewed from a point several feet away4 ,illustration3 ,,example #cbg ,ruled lines for the address1 in panel ,illustration3 ,,example #cbh ,a mass of black lettering with contrasts ,illustration3 ,,example #cbi ,artistic quality and interest through typography ,there does not seem to be any standard size for labels4 ,they vary from four1 five and six inches wide to three1 four and five inches high4 ,when ,the ,american ,printer conducted a label competition it specified the size as five by four inches1 and this seems to be a good average size4 ,the paper on which the label is printed should be stock that pastes easily4 ,white is used to the greatest extent1 altho a cream-tinted color such as comes in ,japan vellum is preferred by some persons of good taste4 ,,example #cbc 7,insert74--,as has been said1 this label shows the effectiveness of heavy effects4 ,a design such as this has advertising value4 ,it can be seen and read at some distance1 yet is not offensive in appearance4 ,the red border is attractive1 and merges the label with the wrapping background4 ,the type-face has decorative quality4 ,the combination of black1 red and cream in strong contrasts is worthy of study4 ,as will be noticed1 all capitals have been used1 and there is not much space between the lines or between border and type-face4 ,,example #cbd 7,insert74--,for small packages and for a business that places emphasis on daintiness this label treatment would be just the thing4 ,the classic simplicity of its design and the mere touch of color should appeal to many4 ,the main line is set in fourteen-point capitals and the other three lines in twelve-point small capitals4 ,letterspacing adds decorative interest and merges the letters with the background by allowing the paper to show thru4 ,the type-face is ,goudy ,oldstyle4 ,the dots between the words are hyphens slightly cut4 ,the border is arranged to suggest an architectural panel4 ,this label and the preceding one have been composed merely to suggest possible effects4 ,it would not be difficult to adapt most label copy to the styles shown4 ,,example #cbe4--,this and other hand-lettered labels included in this chapter are presented as studies for the typographer4 ,hand-lettered designs by good artists are usually arranged with much thought1 and the details give many ideas to those who have trained themselves to grasp them4 ,it will be noticed that the border of this label is composed of three lines1 a heavy and light line close together and a light line a trifle removed4 ,at the head are two lines of roman capitals and one of italic4 ,do not overlook the smaller capitals 8,m0 and 8,o10 and the close spacing of the words in italic4 ,the device is small and in color4 ,the use of roman lower-case1 capitals and small capitals and italic in the lower group should be examined carefully4 ,while it is not possible to obtain exactly these same results with type1 they can be approximated effectually4 ,it is well1 however1 to emphasize at this point that in approximating the effects of any good piece of lettering it makes a difference what type-face is used4 ,it will be noticed that the italic capitals in this specimen have a decorative quality4 ,such an effect can be imitated in a small way by the use of the swash letters that are furnished with some old-style italics4 ,,example #cbf4--,this is another lettered design that is rich in suggestion4 ,no border is used1 and the lettering is arranged close to the edges of the paper4 ,contrary to the treatment of the preceding example1 the lettering is all slightly spaced4 ,while it is well for the young compositor not to letterspace lower-case1 such practice is allowable when the results are good4 ,the effect here is one of antiquity1 especially since the letters are not perfectly formed 7note the 8m0 in the word 8,amsden074 ,caslon ,oldstyle should be used in planning this style of work4 ,an unusual feature is that a part of the copy is placed at the foot of the label so that the address is written between two groups of lettering4 ,the same plan is found in the preceding example4 ,,example #cbg4--,there is suggestion of ,italian art in this label4 ,similar effects could be closely approximated with typefounders' material4 ,attention is called to the manner in which the letters are treated so as to avoid an excess of blank space in such groups as the 8,,ata0 in 8catalogue40 ,rule guide lines in a panel are provided for the address4 ,this space is usually left blank on modern labels1 altho conservative houses are inclined to retain the rules4 ,in line with old ideas1 the 8,m0 is included in the address portion4 ,this letter is usually omitted on labels for the same reason that it is left off of billheads4 ,,example #cbh4--;,closely spaced black-toned lettering is still liked by some persons1 and there is no use denying that when it is well rendered the effect is pleasing4 ,this example presents a mass of black lettering in three lines of equal length1 the lines merging with one another to preserve the mass effect4 ,the border1 formed of a heavy and a lighter line1 is drawn with human irregularity that is in keeping with the character of the design as a whole4 ,the 8,for0 in italic affords contrast in both form and color4 ,also note the treatment of 8,st410 which is made small and placed in a position above the base of the other letters4 ,this treatment is typical of antique typography4 ,,example #cbi4--,that artistic quality and interest may be put in a label form by means of typography is proved by this example4 ,the lacelike border1 the spaced ,kennerley types and the words and rule in red blend attractively4 ,advertising value is present1 yet it is so merged with the general composition and the label that it is not offensive4 ,in fact1 it adds decorative qualities4 ,this label form would look well clearly printed on a rough-finished paper of good quality--a hand-made paper if possible4 ,,example #ccj4--;,another typographic label of character1 a study in black and white4 ,the border 7a combination of a heavy and a light rule7 was made intensely black to contrast with the white background1 an effect as of color4 ,a type-face 7,bodoni ,bold7 with similar strong contrasts was then selected1 arranged with liberal margins in the upper part4 ,a suitable ornament in dark tones added the picture element1 and the words 8,deliver to0 were widely letterspaced1 as they were used decoratively4 ,this and the other typographic specimens indicate the possibilities that are present in the everyday tools of the printer and the material that is available4 ,many printers feel that they are not able to produce typographic work of real quality1 assuming that special equipment is needed4 ,the truth is that many are not able to produce good printing because their type equipment and decorative material have not been well selected4 ,the fact that there is a lack of suitable type-faces usually reveals itself to them after they have learned that one type-face is not so good as another4 ,in the finished work there is nothing seen of the presses1 of the imposing stones1 or of the composing frames1 but the print of the type-face is on every sheet4 ,illustration3 ,,example #ccj ,a typographic study in black and white ,illustration3 ,,example #cca ,a ,caslon specimen1 with decorative interest ,illustration3 ,,example #ccb ,harmony of border1 decorative device and lettering ,illustration3 ,,example #ccc ,possible of typographic improvement ,illustration3 ,,example #ccd ,freedom of treatment that is distinctive ,illustration3 ,,example #cce ,label used for a special list ,,example #cca4--;,a specimen in ,caslon1 in which roman capitals and italic lower-case 7the ,aldine combination7 make up an interesting label4 ,the swash italic capitals add a specific decorative quality4 ,the large lower-case 8f0 gives a graceful touch to the 8for40 ,dotted rule inside the black border is a change from the conventional continuous line4 ,this form was printed on ,japan vellum4 ,,example #ccb4--,this is another hand-drawn label with qualities that can be approximated in typography4 ,border1 decorative device and lettering are in the same key1 and the harmony is agreeable4 ,there are those who thoughtlessly condemn black borders as funereal1 a judgment that is based on prejudice and not on an understanding of their use4 ,it is well1 however1 to caution the young compositor against abuse of the black border2 it would be well if he were to use no black borders until he had developed taste in the practice of typography4 ,,example #ccc4--;,an unusual label design that could probably be improved with careful typography4 ,the initials of the text lettering are not exactly harmonious1 and the space between words in the lower group is excessive4 ,printers should practice on the improvement of the design4 ,,example #ccd4--;,a characteristic ,goudy type arrangement1 with a freedom of treatment that is distinctive4 ,how many printers would give the prominence to 8,from0 that it has here8 ,this suggests the custom of printers of the sixteenth century in starting a title-page with a large size of type regardless of the importance of the word or words4 ,,example #cce4--,this label was used in mailing to a special list some fine pieces of printing4 ,the name of each addressee was printed in with type as shown by the reproduction1 and1 needless to state1 attracted attention4 ,the treatment of this label is uncommon in another respect-- the modest inconspicuousness of the phrase1 8,from the ,bartlett-,orr ,press1 ,new ,york40 ,it would do no harm if printers also studied the stock labels manufactured by certain stationery houses4 ,they will find much that is poor and commonplace and little that should be directly copied1 but there are many suggestions in label making that could be adapted4 ,the 8reverse-plate0 idea is one4 ,the label is set in type and a proof sent to the photo-engraver1 who makes a plate in which the letters show white and the background black4 ,this plate can then be printed in color on gummed paper and the paper trimmed so as to 8bleed0 the edges of the printed background4 ,illustration3 ,,example #cch ,forceful business-card treatment exemplified by band-lettering ,illustration3 ,,example #cci ,gray-brown stock is suitable for unconventional effects of this kind ,illustration3 ,,example #cdj ,the black monogram has much to do with this card's attractiveness ,illustration ,,business ,,cards ,polite society requires that a visitor shall be announced by a card bearing his or her name1 and the courtesies of business call for this same formality4 ,the man called on unexpectedly is placed at a disadvantage if he has not understood the visitor's name and has no idea of his business4 ,a card that clearly tells both name and business prevents embarrassment and misunderstanding4 ,the card makes it unnecessary for the caller to explain who he is4 ,without the printed information he would likely need to introduce himself thus3 8,i am ,james ,johnson4 ,i am president of the ,johnson ,manufacturing ,company4 ,we manufacture machinery for the making of paints4 ,our office is at #cbj ,broadway4 ,our telephone number is ,worth #dfec40 ,but with all this neatly printed or engraved on a card1 dignity is maintained and embarrassment avoided4 ,the sizes of business cards are far from being standardized4 ,examination of about one hundred business cards showed a range of sizes from #c #a to #d #b inches4 ,the size of which there were most and which gave an indication of standardization was #c #b inches4 ,fully one-quarter of the cards were of that size4 ,from this investigation it would seem logical for printers to use that size unless the customer orders otherwise4 ,white cards predominated in the lot examined1 and this suggests that it is in good taste for the printer to use white stock on most of the business cards that he is called on to print4 ,illustration3 ,,example #ccf ,the probable result of an attempt to standardize the contents and arrangement of a business card ,illustration3 ,,example #ccg ,dignified treatment for the card of a well-known house4 ,the firm name and address are subordinated to the name of the person using the card4 ,no business is mentioned1 an omission open to discussion ,,example #ccf4--;,if an effort were made to standardize the contents and arrangement of a business card1 the plan presented by this example would probably result4 ,the customer's name is placed at the point of greatest prominence1 a trifle above the center of the card4 ,the words describing the business are second in position under the customer's name4 ,the street and number are taken care of on the next line1 and under the street and number is the name of city or town4 ,in the lower left corner is provision for the representative's name4 ,the telephone number1 for which a business card is frequently preserved1 finds place in the upper part of the card4 ,a variant for the position of the street and number and the name of the city or town is in the lower right corner4 ,,example #ccg4--;,here is a card that is a model of dignity and of simple business-card treatment4 ,a good word can be said in favor of using the individual's name in the center of the card and the firm name in a less prominent position4 ,when a card is handed to a business man1 he looks at it first for the purpose of finding out who it is that wishes to see him4 ,a card of this kind tells him instantly4 ,in many cases the individual's name alone would be sufficient4 ,no business is mentioned1 as it is one of those cases in which it is assumed that the name of the firm provides sufficient identity4 ,in omitting mention of the business1 one should make sure that the firm is as well known as he assumes it is4 ,if the name is not familiar to the person receiving it1 he will be perplexed1 not knowing if the visitor desires to sell him books1 insure his life1 or buy a bill of goods4 ,in the typographic treatment of this card ,cloister ,oldstyle1 capitals1 has been used for the smaller line and ,cloister ,bold1 capitals1 for the larger line4 ,this slight contrast in the strength of lettering in many instances gives quality and legibility to steel-engraved and lithographed business cards and stationery4 ,the printer by having a well-designed type-face in two strengths will be able to introduce similar good qualities in his work4 ,the spacing between words on this card is closer than that usually allowed by compositors4 ,close spacing between words is a quality found in good lettering and in good typography4 ,,example #cch 7,insert74--,while the main purpose of this chapter is to encourage the use of typography on business cards1 a specimen of hand-lettering is used to point out forceful treatment that1 aided by good printing1 liberal blank space and high-class card stock1 may sometimes be effective for business-card purposes4 ,the printer using a card of this kind would see to it that it was not presented to a prospective customer who had a dislike for anything unconventional4 ,illustration3 ,,example #cda ,the monogram in color adds distinction ,,example #cci 7,insert74--,conceding that a conventional arrangement on a white cardboard is best for most purposes1 it cannot be denied that a design of the strength and interest of this one would often be received with pleasure by the man in the business office4 ,it is not unlikely that the thought would occur to him that the printer who can produce a card of this kind is qualified to design and print publicity matter equally attractive for other purposes4 ,bewick ,roman is the decorative type-face shown4 ,the border and ornaments used are essential to the good results in this design4 ,the card would not be as pleasing with the ornaments or the border taken off4 ,this card1 by the way1 is one of the good things arranged by ,will ,bradley back in #aije4 ,illustration3 ,,example #cdc ,high-hat-and-frock-coat treatment ,illustration3 ,,example #cdd ,a business card in blocked capitals1 with monogram of harmonious shape ,,example #cdj 7,insert74--,quality is added by an attractive black monogram on a background of white supplemented by the gray formed by the type group4 ,this is an interesting specimen of business-card typography1 suggestive of architectural panel treatment4 ,the lines 7in ,cloister ,title7 are graded in size according to their importance1 the telephone line occupying an unusual position between the street address and the name of the city4 ,because of its position1 it also adds a bit of legibility and prominence to both of these lines4 ,,example #cda4--,this treatment is similar to the preceding example1 with the decorative device in color4 ,illustration3 ,,example #cdb ,an uncommon typographic effect ,,example #cdb4--,this card is an interesting contrast to those that have just been considered4 ,,example #cdc4--;,here is a card ,french in motive and of a style that emits exclusiveness4 ,it almost pictures the high hat and frock coat of the man who would probably use it4 ,all the formalities are observed1 the abbreviation 8,mr40 preceding the name4 ,the man who uses a card of this kind would no more think of mentioning his business on a card than he would of putting a business sign on his residence4 ,the open-face type is ,college ,title and the italic is ,caslon4 ,,example #cdd4--;,an unusual arrangement in blocked ,caslon capitals slightly letterspaced4 ,arrangements of this kind are difficult for the compositor and should not be attempted unless he is not hurried and can experiment with the details of the composition4 ,the shape of the monogram lends itself to the general arrangement4 ,illustration3 ,,example #cde ,arrangement as suggested in ,example #ccf with an underprinting decorative device ,,example #cde4--,this is a compact arrangement built somewhat after the scheme outlined in ,example #ccf4 ,the decorative device in the original was printed in a tint so like the stock that it suggested a watermark4 ,illustration3 ,,example #cdf ,roman capitals with italic lower-case ,,example #cdf4--,this card would better please the average person if italic capitals were substituted for the roman4 ,however1 there was a historical motive for treating it in this manner4 ,when ,aldus ,manutius introduced the slanting style of type we know as italic1 only lower-case letters were cast1 and roman capitals were used with them4 ,,example #cdg4--,the ,germans in the designing of business cards seem to have abolished conventionality1 as they endeavor to have each card in its design possess distinct advertising value4 ,this example is representative of such effects4 ,illustration3 ,,example #cdh ,decorative treatment suggested by the business ,,example #cdh4--,the designer of this business card took his cue from the word 8decorators0 and endeavored to form a card with decorative values4 ,this was the reason for the selection of ,bewick ,roman for the type-face and the ,italian ornament to occupy space that is usually left blank on business cards4 ,illustration3 ,,example #cdi ,italic is pleasing on some cards ,,example #cdi4--,when dainty effects are desired1 ,caslon italic1 as used on the greater portion of this card1 almost always looks well4 ,,example #cej4-;,a strong ornamental effect1 such as appears on this card1 is liked by some people1 but the printer would make a mistake to use it unless he was sure that the customer would care for it4 ,the typographic treatment is simple and compact and lacks nothing in legibility4 ,the shape of the border corners fits into the space left by the contour of the type group4 ,illustration3 ,,example #cdg ,modern ,german business-card treatment ,,example #cea4--;,an arrangement that has a suggestion of the classic4 ,all lines are in one size and in capitals4 ,this treatment should not be used excepting in special cases1 as it would not meet the approval of most customers4 ,,example #ceb4--;,in the amount of matter it contains this card contrasts strongly with ,example #cdc4 ,some small business men find it good advertising to give as much information on their cards as the size of the card will allow4 ,this example shows how a great deal of copy was treated so that the general effect was not displeasing4 ,in order to accommodate this amount of copy1 it is usually necessary to enlarge the size of the card a trifle4 ,bodoni was used for all excepting two lines1 the firm name and address1 which were set in ,bodoni ,bold4 ,,example #cec4--;,a decorative card that could be merged in color treatment with an antique-finished stock of some suitable tint4 ,illustration3 ,,example #cej ,a strong design for special purposes ,,example #ced4--;,horizontal lines crossing the face of a card are rarely successful because they usually separate connecting phrases1 but in this instance the lines are a necessary part of the design and divide the type matter at a suitable place4 ,illustration3 ,,example #cea ,classic arrangement in one size of type ,illustration3 ,,example #cec ,highly decorative1 with possibilities for harmonious color effects ,illustration3 ,,example #ced ,the horizontal lines are well employed ,,example #cee4--,this card in ,bodoni and ,bodoni ,bold capitals1 letterspaced1 with the use of a few rules1 has distinction that could be successfully carried to other forms of stationery4 ,the contrasting heavy and light rules blend with the heavy and light lines of the ,bodoni ,bold4 ,these specimens will convince both printer and user that there is more than 8one right way0 to design business cards4 ,typography is the interesting study that it is because1 to paraphrase the words of ,shakespeare1 age cannot wither nor custom stale its infinite variety4 ,some style of typographic treatment is available to meet the likes and dislikes1 preferences and prejudices1 of every one using business cards4 ,the strictly conventional person can be supplied with a strictly conventional card1 proper in all details4 ,the artistic person1 he of the flowing tie1 can obtain a card with sympathetic qualities4 ,the noisy huckster can be supplied with a typographic effect that almost shouts the message it contains4 ,in fact1 character and personality can be expressed typographically on the business card1 and the printer will find this matching of typography with human nature an interesting study4 ,a large city wholesale house cannot afford to circulate the cheap-looking1 inharmonious cards that some owners of small shops on side streets seem pleased to use4 ,illustration3 ,,example #ceb ,a business card with a large amount of copy ,more than an ordinary amount of thought should be given to the physical construction of a business card4 ,because of the present great interest in all forms of advertising1 more individuality is permissible than formerly4 ,as typography can give distinction and attractiveness to business cards1 printers should study the use of type on this class of printing1 and give their customers the best possible service4 ,illustration3 ,,example #cee ,distinctive treatment adaptable for general stationery ,printers are producing cards in imitation of intaglio work to satisfy customers who do not consider that a truly typographic design 8looks like a business card40 ,there is no use denying that copperplate engravers set the style for much of the business-card printing4 ,shops doing this imitation work should have samples of the best card work done by engravers1 so that their imitations may be as accurate as possible1 so far as concerns style1 face and arrangement4 ,there is little pleasure in being an imitator unless you are a good one1 and here is opportunity to gain a reputation for the clever printing of imitation engraved work4 ,good stock1 a dense-black ink and perfect types are means to this end4 ,pleasing results have also been obtained by using green-black ink or dull gray-black ink1 which assists in conveying the soft1 pleasing effects of lithography4 ,illustration3 ,,example #cef ,this size of blotter will cut twelve out of a sheet of standard blotting stock4 ,the copy includes a calendar and is representative of the conventional copy usually supplied for blotters4 ,the calendar is arranged without rules4 ,the initial furnishes a spot of attraction1 separates the two groups and carries the eye to the beginning of the message ,illustration ,,the ,,blotter ,blotters have a place in modern business which1 while not so important as that of business cards1 is fairly well established4 ,business cards are left with customers as reminders1 and altho blotters are sent for the same purpose1 they have the added quality of usefulness4 ,the treatment of a blotter should be as well thought out as that of a business card4 ,in a sense the blotter represents the business house sending it1 and while it may show less restraint and dignity than the business card1 coarseness should be avoided in the handling of both type and illustration4 ,illustration3 ,,example #ceg ,a modest amount of copy and neat treatment ,the blotter as a means of publicity much used by advertisers is no longer an experiment2 it is a familiar form in the printshop4 ,the advertising value of a blotter seems to lie in its ability to do one of two things--strongly and favorably to attract attention when received1 or thru attractive simplicity to grow in favor during use4 ,the former may be likened to a rocket which compels attention and pleases for a moment1 and the latter to a star whose beauty attracts forever4 ,in planning a blotter it is well to keep in mind its utilitarian character and make it as useful as possible4 ,the size is determined by the sheet of stock out of which blotters are cut4 ,as the stock measures #ai #bd inches1 most printers cut blotters a trifle less than #i #d inches1 thus securing twelve blotters to a sheet of stock4 ,there are others who prefer the blotters not so wide and make them #h or #h inches4 ,another reason for the blotter size of a trifle less than #i #d inches is that it fits nicely in a standard ,no4 #aj ,government envelop1 which measures #i #d inches4 ,a size of blotter that is also much used measures about #f #c1 and fits in a ,no4 #f ,government envelop1 which measures #f #c4 ,this size is most convenient for inclosing with everyday business mail1 and it is possible that most of those actually using blotters prefer the smaller size4 ,the blotter with an enameled surface on one side is probably the best for use4 ,a person naturally rubs his hand over the blotter to absorb the wet ink1 and an enameled surface feels more pleasant to the touch4 ,when not many blotters are on hand in a business office those with absorbent surfaces on both sides render the greater service1 but usually advertisers keep offices well supplied4 ,from a printing point of view the blotter stock with one side enamel-finished is better for illustrations or small type1 while rough-finished stock is suited to typographic treatments that require antique effects4 ,illustration3 ,,example #ceh ,blotter used in the writing room of a convention hall ,,example #cef 7,insert74--,this blotter represents not only the size of a great many blotters but the contents1 as it is customary to include a monthly calendar4 ,too frequently forms of this character are made inharmonious because stock calendar plates are utilized and are accompanied by type-faces of another design4 ,this lack of harmony is seldom necessary1 as the printer in his typography should match the style of type used for the stock calendar plate4 ,sometimes in addition to the calendar plate a stock illustration is also introduced1 with consequent duplication of spots of attraction4 ,either the calendar plate or the illustration should be used2 not both4 ,the typographic arrangement of blotters oftentimes is of a poor kind because the copy is separated into numerous display parts4 ,in so far as it is possible1 the treatment should be simple1 and in order to suggest such treatment this example has been prepared4 ,it will be noticed that the entire blotter has been set in one design of type-face--all roman1 and mostly lower-case4 ,this manner of handling the typography will give good results in almost every instance in which it is tried4 ,the message of the advertiser is presented in a plain1 legible paragraph introduced by an initial in color4 ,the blank space liberally distributed is restful1 and the dark-printing qualities of the heavy-and-light-line border contrast with the blank background1 the rubricated initial and the mass of gray in the type matter4 ,no rule lines appear in the calendar section1 and the result is an appearance of natural freedom4 ,illustration3 ,,example #cei ,simple typographic arrangement with strong but pleasing contrasts ,,example #ceg4--,most blotters contain too much type matter4 ,the business man would probably appreciate a modest little announcement and consider it a relief from the sledge-hammer advertising that too often forces itself on his attention in an unwelcome way4 ,as one rubs over the average blotter he finds it almost necessary to close his eyes because of the strong character of the design or color treatment4 ,the arrangement of this example is a suggestion for a little blotter that would doubtless be welcomed by many4 ,it could be of a size that would fit in the personal checkbook4 ,because of the intimate character of its use the typography should be confined to a simple paragraph or to a group arrangement as shown4 ,both the message and the treatment here given are in good taste for such a purpose1 and1 as has been suggested1 it is likely that similar treatment on a larger blotter would win approval4 ,,example #ceh4--,this blotter was used in the writing room of a convention hall and was prepared for a state meeting of a church organization4 ,it will be noticed that only the week of the convention is given in the calendar1 and that it begins on ,thursday and ends on ,wednesday4 ,some of the factors that make this blotter pleasing are the liberal blank space1 the black lines of the rules1 and the ornament in color4 ,text type is used because of the religious character of the convention1 and it is letterspaced4 ,as a general rule it is well not to letterspace text type1 but here in order to obtain a certain distinctive effect it has been done with good results4 ,,example #cei4--;,here is a suggestion for a simple typographic arrangement with strong but pleasing contrasts4 ,the color of the rule border contrasts with the white of the background and the black of the illustration4 ,the gray effect of the type group is a harmonizing factor that softens the contrasts4 ,only one face of type--,cloister ,oldstyle--is used1 and that of a size that makes it possible for the business man to read the message as he blots his signature4 ,the treatment is masculine and will please a great many because of its style4 ,illustration3 ,,example #cfj ,a blotter arrangement suggestive of an architectural panel ,illustration3 ,,example #cfa ,blotter treatment that survives the test of time ,illustration3 ,,example #cfb ,neat1 refined arrangement of type matter and illustration ,illustration3 ,,example #cfc ,in which the type matter fills the blotter ,illustration3 ,,example #cfd ,a decorative blotter arranged the narrow way ,,example #cfj4--,this blotter has the character of an architectural panel1 a motif that is adaptable to many forms of typography4 ,the general gray effect of the ,forum ,title and the architectural border is satisfying1 especially as the type group and border are separated by a liberal amount of blank space4 ,the shape of the type group suggests a keystone4 ,this is one of those blotters that the business man should find pleasure in using and looking at frequently4 ,it will be noticed that the spacing between the words is less than the en-quad which the typographer would customarily use in capital lines4 ,it would be a mistake to separate these ,roman capitals with more space than that used here4 ,,example #cfa4--;,it has been said that two important factors in good typography are the material that is used and the material that is not used4 ,horace ,carr has done many good things with the ,caslon type-face1 but none more pleasing than this blotter4 ,it is a model of good taste in blotter typography and the sort of treatment that has proved to be good blotter advertising4 ,this particular example was received by the author some years ago and was then reproduced4 ,testing it with careful examination after all this time1 it looks as well as ever4 ,,example #cfb4--;,here is suggested a neat1 refined arrangement1 in which type group and illustration are placed practically in the center of the blotter and surrounded with blank space that accentuates its neatness4 ,,example #cfc4--,this blotter--one that was submitted several years ago in a blotter competition--shows treatment which calls for the use of large type that occupies almost the entire surface of the blotter4 ,while an effect such as that of the previous example is preferable for most purposes1 there are times when it is desirable to have the typography arranged on a large scale4 ,,example #cfd4--;,it is customary to design a blotter the broad way1 but occasionally printers desire for the sake of novelty to arrange it the narrow way1 as is done on this example4 ,the blotter has decorative quality because of the use of the gray border and the lower-case of ,kennerley ,oldstyle4 ,lower-case properly used is usually attractive4 ,illustration3 ,,example #cfe ,appropriate trademark and harmonizing typography ,,example #cfe4--;,a touch of appropriateness is given to this blotter by the use of the scroll decorative piece1 and the harmony is further carried out by the selection of ,bodoni ,book for the type portion4 ,illustration3 ,,example #cff ,typographic poster in ,roman capitals by ,frederic ,w4 ,goudy ,illustration ,,posters1 ,,car ,,cards1 ,,window ,,cards ,poster printing is a specialty in large cities1 where plants are equipped for the economical and effective production of such work4 ,however1 consideration of the subject in this chapter will be confined to the interest it may have for the general commercial printer1 he who is called upon at one hour to print a business card and at another to produce a window card1 car card or other form of poster printing4 ,the type equipment of the poster specialist includes strong gothic and ,clarendon faces1 of a variety of widths that enable him to make a full line of almost any word or combination of words4 ,when such strong-printing capital letters are used1 most of the lines should be full1 as the general effect should be one of compactness4 ,a very little amount of spacing is sufficient4 ,no extended reference will be made here to the conventional poster that carries these heavy types1 as its arrangement is merely one that emphasizes in a plain manner the various important parts of the copy4 ,skill is necessary1 but not the skill of an artist4 ,the wood-type equipment of the general commercial printer need not he elaborate1 but it should be well selected4 ,there should be a blending of styles in type-faces from the smallest size of metal type to the largest wood letter4 ,the wood-type makers duplicate most of the standard job faces1 so that harmony in this respect need be no idle dream4 ,illustration3 ,,example #cfg ,a lettered poster by ,harvey ,hopkins ,dunn that should be studied by the typographer ,among poster printers a sheet #bi #ci inches is taken as a unit and is known as a 8one-sheet40 8,four-sheet10 8twelve-sheet10 etc41 are terms designating the number of units or 8one-sheets0 in the whole display4 ,on the other hand1 the commercial printer's 8sheet0 poster is generally the full #be #ch-;inch paper1 a 8half-sheet0 being #ai #be inches and a 8quarter-sheet0 #ab #ai inches4 ,the size of car cards--the advertisements used in trolley1 elevated and subway cars--is usually #aa #ba inches4 ,the most common sizes of window cards--advertisements placed in store windows by courtesy of the merchants--are quarter-sheets 7#aa #ad inches7 and half-sheets 7#ad #bb inches71 the unit of which is the standard sheet of cardboard 7about #bb #bh inches74 ,posters in their most attractive form are designed in pleasing combinations of decorative illustration1 lettering and harmonious coloring4 ,the printer with type alone cannot give the picture element1 but he can give color and lettering4 ,what a poster authority has said of the pictorial poster can to some extent be said of the typographic poster3 8,the poster should be simple1 clever1 attractive1 perhaps sparkling1 spontaneous1 appropriate1 sometimes humorous1 but in good taste1 and should tell the story at a glance4 ,it should not be elaborate in detail or labored2 the designer should know where to stop4 ,the coloring should be brilliant1 yet simple2 when many colors are used most of them are wasted1 as the eye does not see them all4 ,as detail in a poster is lost at a distance1 it is unnecessary4 ,the best posters have no background and not much lettering1 as small lettering cannot be seen across the street1 which is the test40 ,it is assumed that the typographic poster is viewed at closer range1 as in its smaller sizes it is usually hung in stores and offices or posted in convenient locations that permit of easy reading2 yet the printer who sets the work1 as well as the man who writes the copy1 should keep before him the manner in which the poster1 car card or window card is to be used4 ,a person sitting on the opposite side of the car should be able to read the car card1 and the person passing a store window should find it possible to obtain the principal points of information from the window card4 ,on store cards1 such as used during special sales1 the price should be prominently displayed4 ,illustration3 ,,example #cfh ,a lettered arrangement that has suggestion ,illustration3 ,,example #cfi ,a few words of copy and strong contrasts ,illustration3 ,,example #cgj ,a typographic style unique among insurance advertising in cars ,illustration3 ,,example #cga ,simplicity that is worthy of adaptation ,,example #cff 7,insert74--,the possibilities of typographic effects in poster printing are to be seen in this example1 arranged by ,frederic ,w4 ,goudy4 ,forum ,title1 designed by him1 was selected as the type-face4 ,in order to obtain the larger sizes1 the type was set in a smaller size1 a clear proof pulled and a photo-engraving made4 ,this poster measures up to the qualities outlined by the poster authority previously quoted4 ,it is 8spontaneous1 appropriate1 simple1 clever1 attractive40 ,,example #cfg4--;,altho this design is lettered1 it should prove of great value to the typographer as a study of composition4 ,in the production of this effective poster ,mr4 ,dunn has given of his talent as an illustrator as well as of his skill as a letterer4 ,the apportionment of blank space in the margins and at the head is pleasing1 and it helps to make effective the black masses of lettering and the octagonal illustration4 ,the border of thick and thin lines ties the design together4 ,,example #cfh4--,most cards in urban cars are made up greatly of design and illustration1 but in this one we find the illustration taking a minor position4 ,the lettering is the main feature1 and it should suggest treatment with type that could be almost as effective4 ,,example #cfi4--,the strong contrast of black1 red and white in this car card could be approximated with bold1 well-designed wood type4 ,the trade name is given most prominence1 altho the remainder of the copy is also strongly presented4 ,a suggestion of decoration is to be found in the ruled lines at the head and foot4 ,,example #cgj4--,seldom is copy such as this furnished for car cards1 yet its conversational style probably caused it to be read more than other cards4 ,as an advertisement it is an improvement over the common method of merely stating name and business4 ,it presented opportunity to the printer to use types in a sane1 simple manner1 and he did so4 ,a two-line initial letter starts the reading pleasantly1 and the name in capitals has sufficient prominence4 ,,example #cga4--;,at an exhibit of ,german modern-art posters the design that stood out most strongly was one which contained only a name lettered and an article illustrated4 ,there was no detail to detract1 and the effect was altogether pleasant4 ,this shoe card is planned along similar lines1 and the idea could well be put to further use4 ,,example #cgb 7,insert74--,this is a presentation of a three-sheet poster which attracted the attention of the writer a few years ago because of its simplicity4 ,for such effects as this1 which carry but little copy1 lower-case letters are appropriate4 ,it is seldom1 however1 that the commercial printer is provided with so few words for his posters4 ,lower-case display1 to look well1 requires plenty of surrounding blank space1 while capitals accommodate themselves to close quarters4 ,illustration3 ,,example #cgb ,refinement in theatrical printing4 ,was a large three-sheet poster ,illustration3 ,,example #cgc ,a border such as this blends with gothic type-faces ,,example #cgc 7,insert74--,the 8,secession0 style of border and ornament blends well with monotone type-faces without serifs1 such as the type commonly known as gothic4 ,as the wood-type equipment of most printshops very likely includes gothic faces1 the style of treatment shown by this specimen may be produced successfully4 ,a border such as this is easily procured1 or can be made by the printer if he desires4 ,,example #cgd4--,printers seldom take advantage of the opportunities offered for unusual effects4 ,this copy did not suggest anything to the compositor who first set it and the result was commonplace1 with nothing to excite anything but ordinary interest4 ,the fact that the birth of ,franklin was to be celebrated should have been sufficient to suggest an arrangement such as is here presented1 but it did not4 ,benjamin ,franklin purchased his type in ,england1 some of it at the old letter foundry of the ,caslons2 and what is more interesting than a poster announcement of a ,franklin dinner set in the style of type-face that ,franklin himself used8 ,this has been done in the example under consideration4 ,roman1 italic1 capitals and lower-case have been blended in the interesting manner in which this was done in the eighteenth century4 ,the long s 77 of ,franklin's time is also used1 to carry along the interest2 it appears1 as will be noticed1 in all cases excepting at the end of words4 ,a ,caslon ornamental band is at the head and foot4 ,,example #cge4--,this is another instance where the copy furnished a motif that could be developed typographically4 ,reproductions from the ,first ,folio of ,shakespeare's works were available and from them an initial and two decorative bands were enlarged to the desired size4 ,the typography of ,shakespeare's time was then studied and worked into the poster4 ,the ,caslon type-face is not exactly the same as that used in the seventeenth century1 but there is sufficient similarity to make it suitable4 ,many persons of the present day will shy at the use of a single capital letter immediately following the initial1 but that is the way it was done in the old days4 ,typographers should early begin to accumulate a library of books4 ,they should frequent the second-hand bookstores1 and occasionally purchase some old volume that shows the style of typography of fifty1 one hundred or more years ago4 ,the best printers do this4 ,,example #cgf4--;,it should be an easy matter to produce attractive window cards or paper hangers in this style4 ,selections from the many artistic and odd cover papers obtainable1 supported by harmonizing color combinations1 make possible any number of attractive effects4 ,only one size of type should be used1 and the border should be one that reflects the character of the type-face4 ,plain rules for border purposes are more successful in obtaining harmony than is decoration4 ,as most letters contain two widths of line1 a rule border matching the wider line1 or both lines1 is pleasing4 ,illustration3 ,,example #cgd ,type treatment that suggests ,franklin's time ,illustration3 ,,example #cge ,poster in ,shakespearean typography ,,example #cgg4--,the ,colonial style of type arrangement is here adapted to window-card purposes4 ,the window card has the same advertising reason for its existence as the paper poster1 and is printed on cardboard to enable it to stand upright4 ,the treatment of this card is such that the word 8,pinafore0 and the decoration stand out most prominently1 taking for granted that a person interested by the sight of this word will come close to the card and read it4 ,such an arrangement should not be attempted unless the copy is suitable4 ,forcing unsuitable copy in full-line ,colonial arrangements results in illegibility and dissatisfaction4 ,illustration3 ,,example #cgf ,a simple typographic treatment that offers possibilities for attractive posters or window cards ,,example #cgh4--,sunday-school excursions furnish copy for many window cards4 ,the printer may appreciate this suggestion for an arrangement of such a job4 ,it is sufficiently unconventional to attract attention1 at the same time providing a simple way of arranging the matter that usually comes in with such orders4 ,the arrangement has merit from an advertising point of view1 the information being given concisely and legibly4 ,it is probably true that the majority of printers have given no thought whatever to the arrangement and treatment of posters4 ,it is even likely that there are job printers who feel that poster composition is beneath their dignity4 ,in view of these conditions1 it is to be hoped that what has here been written regarding the poster will serve to create new interest in that line of work4 ,years ago the author knew an old printer who had the reputation of being the best sale-bill compositor in the county4 ,his work was confined almost entirely to the setting of posters announcing sales of farm goods1 yet he did it so carefully and efficiently that residents of the county traveled miles to place an order with the concern for which this man worked4 ,illustration3 ,,example #cgg ,the ,colonial style used on a window card ,poster printing should not be attempted unless the equipment is such that the work can be done profitably4 ,lack of sufficient wood type will result in poor printing and makeshift arrangements4 ,however1 absence of equipment did not worry a certain printer who did business some years ago4 ,he had no wood type at all1 yet he accepted orders for posters and1 taking advantage of the craft courtesies of those days1 borrowed all the type lines from a competitor4 ,it frequently happened that when the competitor desired to set up a bill he found that the type was mostly in the possession of the borrowing printer4 ,illustration3 ,,example #cgh ,suggestion for an excursion window card ,the large two-sheet and three-sheet posters look very big indeed to the printer in the small shop whose product is confined to the output of his platen presses1 yet poster printing is merely printing on a larger scale4 ,the builder of the ,new ,york subways was once asked how he found it possible to put through such a large undertaking4 ,he replied that he knew he could build a cellar1 and a subway was merely a multiplication of cellars4 ,the printer who learns how effectively to produce a small piece of printed advertising matter should be able1 by developing and enlarging on his ideas1 to produce good poster work4 ,illustration3 ,,example #cha ,a city department-store advertisement of the good kind ,illustration ,,advertisements ,not every business man can write an advertisement well4 ,not every printer can set an advertisement well4 ,of the poor advertisements that mar newspapers and periodicals1 fifty per cent of the ineffectiveness should be blamed on those who write them and fifty per cent on those who set them4 ,illustration3 ,,example #cgi ,newspaper advertisement arranged without thought4 ,see #chj ,in this chapter we are interested not in writing the advertisement1 but in properly treating it typographically after it has been written4 ,some day advertising typography may become so standardized that a compositor can be told in a few words just how he shall arrange it4 ,meanwhile as there is more than one way to set type for advertisements1 we must for the present depend on the study of good type work1 the advice of those who have theories1 and our own judgment4 ,illustration3 ,,example #chj ,easier to read and more pleasing to look at than #cgi ,it is possible1 however1 to learn something about advertising typography by giving thought to the ways of the orator1 who swayed human beings long before printing was invented4 ,we have all listened to oratory in the church pulpit1 the public square and the ,chautauqua tents1 and in halls on the occasion of political gatherings and organization conventions4 ,our most agreeable recollections are of those moments when we were so pleased and impressed with what the speaker was saying that we did not think of his manner of saying it4 ,probably the most successful printed matter is that which pleases and impresses without one's being immediately aware of the cause4 ,a good speaker will enunciate clearly and speak in a moderate tone that can be heard4 ,a good typographic advertisement will be set in a legible type-face and in a size that can be easily read4 ,print can be too small or too large1 too gray or too black4 ,if a speaker is addressing an exclusive group of persons1 he lowers his voice and talks in polite diction4 ,if he addresses a large crowd1 many of whom are of less fastidious tastes1 he raises his voice1 perhaps using all his power1 and most likely mixes with his ,english a little popular slang4 ,thus advertising printing of the exclusive kind would likely be set in type smaller and in design more classic than that used for publicity matter that has wide and promiscuous circulation4 ,the typographer must keep in mind that while bluntness and forcefulness are liked by some1 they give offense to others4 ,there are orators so eloquent and flowery that one is led away from the message by pleasure and admiration for qualities that should merely carry the message4 ,there are advertisements so attractive in decorative beauty that one sometimes forgets to read them4 ,and then there is the heavy-voiced orator who emphasizes every statement4 ,he startles and he tires1 and is as unsuccessful as the speaker who croons his audience to sleep with uninteresting monotones4 ,how like such speakers are the excitable1 over-displayed advertisement1 and the large advertisement monotonously set without emphasis1 in one size of type6 ,illustration3 ,,example #chb ,the conversational style of page advertisement ,the speaker who gracefully accentuates his talk at important points has the same good judgment as the typographer who neatly displays or emphasizes significant parts of his copy--not forgetting the orator who gets applause at the wrong time1 and the printer who by carelessness in arrangement suggests the wrong thought4 ,many speakers use the same words that ,shakespeare used1 but 8they phrase them differently10 just as printers arrange type differently4 ,the orator has a message1 and he tries to 8get it over40 ,the advertiser has a message too1 and he calls on the typographer to assist him in gaining customers4 ,the problems are not unlike4 ,illustration3 ,,example #chd ,one word is thoroly advertised ,,examples #cgi ,,and #chj4--,these two advertisements picture the difference between setting type with a stick and setting it with the head4 ,it would be illogical to assume that any thought at all was given to the type composition of ,example #cgj4 ,it not only is unpleasant to look at1 but is difficult to read1 notwithstanding the size of type used for the text4 ,benjamin ,sherbow1 who has given much time to the training of type to act for the advertiser1 took the same material the newspaper compositor had to work with1 and at the crack of his whip the words assumed a new formation4 ,keep in mind that ,mr4 ,sherbow was not attempting to improve the looks of the advertisement2 he did improve the appearance1 but what he started out to do was to make the message easy to read4 ,he labored from the viewpoint of the reader and not from that of the advertiser or printer4 ,the difficulty usually is that the merchant and typographer are too close to the details of their own daily occupations and fail to view the advertisement as does the prospective customer4 ,the important first sentence was emphasized by subordinating the type below4 ,the smaller type is nevertheless easier to read than the same words as originally arranged4 ,the border serves to catch the reader's attention1 as in the newspaper this little advertisement dominated the page4 ,,example #cha 7,insert74--,the department-store advertisement as represented by this example is really a multiplication of small advertisements4 ,it is necessary for the writer and printer to give attention in detail to each of the small paneled advertisements1 but someone must assemble them into a harmonious whole4 ,this is usually done by first making a layout in actual size4 ,such a layout as planned for the ,lord ,taylor page under consideration probably looked just as this advertisement would look if everything but the panel borders1 headlines and illustrations were removed4 ,each panel was numbered1 and the copy in each instance contained a corresponding numeral4 ,illustration3 ,,example #chc ,the name and the trademark depended on to sell goods ,the style of lettering used for the firm name 7,caslon italic7 is a sort of trademark1 as it is to be found on the store's stationery1 on its building and on its delivery cars4 ,the ornamental border1 especially the festoon effect at the head1 is used in all the newspaper advertising4 ,it will be noticed that two of the panels have been accentuated with stronger borders1 larger headlines and with decorative illustrations4 ,they are so placed in the general group as to balance pleasingly4 ,prices are emphasized1 but not as they usually are by department stores that appeal more to the class of people who for economical reasons find it necessary to take advantage of bargains4 ,the names of articles in the ,lord ,taylor advertisement are set in a neat1 bold type-face4 ,illustration3 ,,example #che ,interesting use of white space ,,example #chb4--,this is one of those easily read1 conversational styles of advertisement set in ,caslon ,oldstyle4 ,the first paragraph1 in type a size larger than the rest1 invites the attention of the reader4 ,the ornament in the upper left corner adds attraction at the introductory point4 ,illustration3 ,,example #chg ,a study in advertising values ,,example #chc4--,like the house of ,tiffany1 the makers of ,knox hats do not have much to say in their advertisements4 ,the name and the trademark are depended on to sell the hats4 ,cloister ,oldstyle1 the type-face1 surrounded by liberal blank space1 is effective4 ,,example #chd4--,the purpose of this advertisement is to popularize zinc1 and for this reason that word stands out so prominently4 ,the rule band at the head and foot attracts the attention1 and the ,caslon type-face makes the advertisement readable4 ,,example #che4--;,an easily read advertisement1 due to the size and kind of type and the use of blank space4 ,hart1 ,schaffner ,marx appreciate the value of good typography4 ,the two-line initial at the head guides the eye to the beginning of the message4 ,the signature at the foot is so placed that it is not forced on the attention1 yet it cannot be missed after the two large paragraphs have been read4 ,illustration3 ,,example #chf ,a bordered advertisement ,,example #chf4--,this arrangement of an advertisement shows a style liked by the ,mellin's ,food ,company4 ,the decorative border confines the attention to the reading matter it contains1 which is presented in ,old-,style ,antique1 a dark-toned1 interesting1 legible type-face4 ,the display lines are emphasized just enough to make them stand out from the main portion of the text4 ,illustration3 ,,example #chh ,this pictorial department-store advertisement attracted a great deal of attention in ,new ,york newspapers during the holidays ,illustration3 ,,example #chi ,the store name does not appear in this large department-store advertisement published in the ,new ,york ,city newspapers ,illustration3 ,,example #cij ,four country-newspaper advertisements1 showing slight variation in border treatment ,,example #chg4--,the principal points in this advertisement are the name of the company 7which is accentuated to catch the eyes of the many who know this house7 and the three lines at the head 7which are informative to those who may not know the ,gorham company74 ,this advertisement serves well as a study in advertising typography4 ,careless handling of it in the composing-room would have spoiled its effectiveness4 ,the border has probably been used to attract attention1 yet it does not interfere with the reading of the advertisement1 as the typographer has maintained a liberal margin around the type matter4 ,,example #chh4--,this is one of the many clever advertisements that are inserted in newspapers by ,john ,wanamaker1 and is different from most others because it is a picture-story of the goods on sale4 ,the type matter is secondary thruout excepting in the introductory panel at the head1 which is displayed merely to call attention to the style of the advertisement and to the name of the advertiser4 ,,example #chi4--;,few printers have seen a department-store advertisement just like this one4 ,it does not contain the name of the advertiser1 and there is practically no display4 ,it looks more like a story in a general magazine4 ,a few circular illustrations are so placed as to relieve the monotony of the columns of text1 and a decorative piece is placed on both sides of the heading4 ,the page is also made interesting by the use of space between paragraphs4 ,illustration3 ,,example #cia ,a good-looking page advertisement that was easily read ,illustration3 ,,example #cib ,typography and shape of this four-column advertisement suggested by the architecture of the tall building pictured ,,example #cij 7,insert74--,the most difficult copy to arrange well is probably that supplied country newspapers by their advertisers4 ,there is seldom much to the copy1 and it is almost always necessary to use display unsupported by the solid paragraphs of text that soften the contrast in advertisements that appear in city dailies4 ,here are four advertisements different in size and representative of small-town business4 ,some one has urged that fancy borders be not used in the small-town newspaper1 and that the rules for borders be the same thruout4 ,this advice is probably wrong1 as it was tried in this instance and the effect was found to be monotonous and uninteresting4 ,the same rule border is used around each advertisement1 but to obtain contrast an additional rule has been added to the coal advertisement and a holiday border and another rule to the general-store advertisement4 ,these slight variations in border treatment add a great deal of interest to the page4 ,each advertiser is entitled to an individual hearing1 and this is only possible when there is some distinct feature found in his advertisement alone4 ,in the city newspapers each department store usually has a distinctive type-face which appears in no other advertisement4 ,in the small-town newspaper it may not be possible for the publisher to render such service1 but an effort in the same direction can be made by varying the border treatment4 ,the type-faces used in this example are ,bodoni and ,bodoni ,bold4 ,with the use of the ,bold1 emphasis is given at proper points in each of the four advertisements4 ,in the largest one it is used for the name of the firm1 in the smallest one it sets forth the name of the caf1 and in the other two advertisements it emphasizes the name of the business4 ,there may be another way to arrange the names of the articles in the general-store advertisement1 but it is doubtful if any other arrangement would make reading easier4 ,typographers who are inclined to treat lightly the problems of the small-town printer should attempt to improve these advertisements4 ,illustration3 ,,example #cic ,a page in which attractive typography was possible in spite of a long list of agents ,,example #cia4--,the style of treatment of this trade-journal advertisement is influenced to some extent by the article advertised1 yet there is no reason why this treatment would not be suitable for many advertisements of another kind4 ,the heavy-and-light-line rule border is of a darker tone than the type page and for this reason adds color and interest4 ,there is sufficient blank space between the border and type matter to allow for the text being read without interference4 ,the capitals in the headings are letterspaced1 the letterspacing not only giving them character1 but making them more legible4 ,the text matter is introduced with an initial that extends upward from the first line instead of downward as most initials are placed4 ,this advertisement is of the conversational style1 arranged for easy reading4 ,,example #cib4--,some one has decreed that text types shall not be used in advertisements1 but fortunately those responsible for the planning of this advertisement paid no attention to the decree4 ,the advertisement was inserted in newspapers for the purpose of calling attention to the new building in the ,gothic style of architecture erected for the ,hampton ,shops4 ,any one who has studied the details of a ,gothic structure such as this or the ,woolworth ,building has felt the influence of the long1 narrow lines found in ,gothic architecture4 ,the shape of this advertisement and the thin1 pointed character of the text type used are in splendid harmony with the general idea4 ,,example #cic4--,there was presented to the designer of this advertisement the problem of including in legible size a long list of cities and agents and yet reserving sufficient space in which to give due prominence to the text matter4 ,the solution of the problem was the long1 narrow panel at the left4 ,while the entire advertisement is easily read1 especially in its larger form1 and probably has the approval of those who insist on legibility in advertising composition1 there is yet something about it that will also interest those who maintain that typography should be built on art principles4 ,the border1 trademark and name of the article advertised blend in tone1 while the remaining type matter shows a pleasing gray4 ,inserting the trademark in the space left by the shorter words of the heading makes the effect unusual4 ,illustration3 ,,example #cid ,an advertisement planned to sell high-priced cars ,,example #cid4--,this is one of a series of newspaper advertisements prepared for the ,locomobile ,company by ,t4 ,m4 ,cleland4 ,planned to sell automobiles costing five or six thousand dollars1 it naturally is treated differently from an advertisement that would sell cheaper cars4 ,the decorative crest is a factor in the effectiveness of this advertisement1 and the italic with the swash capitals helps to give a touch of exclusiveness4 ,it is an advertisement that will stand out on the average newspaper page4 ,illustration3 ,,example #cie ,roman lettering and ,roman architecture ,,example #cie4--,this advertisement has qualities similar to those of ,example #cib1 the typography of which was suggested by the architecture of a building4 ,here we have an illustration of a building in ,roman architecture1 hence it is suitable that the type should be ,forum1 which is based on ,roman carved lettering1 and that the border should contain lines that suggest an architectural panel4 ,of course1 this matter of harmonizing the plan of an advertisement with the architecture of a building can be overdone4 ,an advertisement is not necessarily a good advertisement because of such harmony1 yet if an advertisement is readably presented1 harmonious type selection and arrangement should add effectiveness4 ,,example #cif4--,this advertisement in a way suggests ,example #che1 and in contrast with that example furnishes a study in the use of blank space4 ,in the ,hart1 ,schaffner ,marx advertisement the margin is equal on both sides1 and monotony is avoided by having the margin at the foot of the type group more than on the sides4 ,in this ,kodak page the text group is courageously pushed to the extreme upper right corner1 and all of the blank space is assembled at the left and at the foot4 ,the use of so much space is probably for the purpose of attracting attention1 which it undoubtedly does4 ,nevertheless1 it is possible that the advertisement would look better if the text group were treated as in ,example #che4 ,illustration3 ,,example #cif ,uncommon placing of blank space to attract attention ,illustration3 ,,example #cig ,the modest display of a large magazine advertisement ,,example #cig4--,this advertisement has been reduced considerably1 as it originally occupied a large magazine page4 ,for effectiveness the typographic treatment was depended on1 and1 as will be seen1 it is unusually neat4 ,the headline and the name of the company are the only suggestions of display on the page4 ,the illustration1 of course1 is to catch the reader's attention4 ,illustration3 ,,example #cih ,the blank space emphasizes the illustration ,,example #cih4--;,altho this is a lettered advertisement1 it is a good example of blank space used to attract attention not only to the advertisement1 but to the illustration1 which here is really of the most importance4 ,it should be noticed how the blank space in the upper right portion clears the way for a view of the automobile4 ,many advertisers are using a strip of white space in their advertisements1 at the right or at the left4 ,,example #cii4--,the treatment of this advertisement proves that it is not absolutely necessary to have the typography of country-newspaper advertisements as formal as that presented in ,example #cij4 ,for general newspaper use ,bodoni modern might have preference over the more interesting ,cloister ,oldstyle1 yet a newspaper treated entirely in old-style type-faces would be likable4 ,if this advertisement were placed on the average newspaper advertising page1 it would stand out strongly because of the blank space used around the type group1 the restful and pleasing type-face and the dark-toned border4 ,,example #djj4--,the manner in which this page of advertisements is treated should have suggestion for newspaper and periodical publishers who wish to make their classified-advertising sections more interesting4 ,this page1 from a trade publication 7,the ,american ,printer71 was set in eight-point type instead of the six-point that some publications usually use4 ,it is a mistake to use type smaller than eight-point for matter that is supposed to be read4 ,the expense and the time necessary to put in initials at the beginning of each advertisement are avoided by capitalizing the first word and setting it flush with the end of the line4 ,instead of using the stereotyped 8,help ,wanted0 and 8,situations ,wanted0 headings1 human interest was introduced by phrasing each heading as a question1 as would likely be done on a larger advertisement4 ,illustration3 ,,example #cii ,a country-newspaper advertisement ,illustration3 ,,example #djj ,suggested for treatment of classified ad4 sections ,illustration3 ,,example #djc ,the neat typography and well-balanced make-up of a suburban newspaper ,illustration ,,newspapers ,we are all familiar with the modeling clay with which children amuse themselves4 ,they take a portion of gray clay1 mold it into some shape1 and decorate it with small portions of red1 yellow and blue clay4 ,after they tire of their production they knead it with their fingers and lo6 the bright colors disappear and there remains only the neutral gray4 ,illustration3 ,,example #dja ,the first and only number of ,america's first newspaper ,the only way the typographical appearance of the average newspaper can be improved is by first reducing the glaring headlines and heterogeneous assortment of type-faces to a neutral gray4 ,upon this drab background the details of suitable and harmonious typographic form can be built4 ,however1 it is easier to assert that the typography of newspapers can be improved than it is to improve it4 ,in the early days of newspaper publishing the problem was a simple one1 but today the newspapers of the large cities have hundreds of thousands of readers to serve1 and much of the prevailing poor typography has resulted from efforts to present the news to these readers in a way that editors assume will please them best1 without giving any thought to technical defects in the type work4 ,illustration3 ,,example #djb ,first number of the first ,american newspaper issued regularly ,illustration3 ,,example #djd ,front-page make-up of a ,hearst newspaper on the occasion of a big story4 ,all of the display headings are probably too large ,illustration3 ,,example #dje ,the same news story1 featured by the conservative 8,times40 ,headings are mostly well balanced4 ,note the use of panels ,the ideal newspaper would probably be one in which the reader finds it easy to locate and read the articles in which he is interested1 and in which the contents are presented in an orderly1 good-looking1 well-balanced and harmonious manner4 ,,the ,,title4--,the name of the newspaper at the head of the front page should be distinctive in design1 and it would probably add interest if the style of the letters composing the title bore some relation to that used at the time the publication was founded4 ,unfortunately1 on most newspapers the headings are altered every time a new type dress is adopted4 ,for titles1 most publishers of city newspapers seem to have a liking for ,english or ,german text letters4 ,such letters are doubtless good for the purpose1 as they are different from any that appear elsewhere in newspapers4 ,the ,new ,york ,sun1 as an instance1 uses a black ,german text letter1 altho on its first issue in #ahcc the title head appeared in modern roman capitals4 ,it has become a practice to make use of the blank space on both ends of the title line1 and in such spaces will now be found weather forecasts1 slogans such as 8,all the ,news ,that's ,fit to ,print10 and edition names4 7,see ,example #dje47 ,it was the custom at one time1 and is today to some extent1 to print under the title a quotation which defined the newspaper's editorial policy4 7,see ,example #djc47 ,a type line under the title separated by rules on both sides contains the name of the city1 the date1 the volume number1 and information regarding the price4 7,see ,example #djc47 ,usually the rules have a double line1 altho some newspapers use single rules for this purpose4 ,,the ,,text4--,the main desire of newspaper publishers1 besides preparing the news1 seems to be to have the matter set in the smallest size of type that can possibly be read4 ,the large city dailies habitually use a seven-point type-face1 which is the smallest that should appear on any newspaper4 7,see ,example #djf47 ,during the recent prevailing high cost of print paper some publishers began to use six-point in order to save paper1 but they found that this move was a mistake4 ,newspapers are published to be read1 and everything possible should be done to make the reader's task an easy one4 ,experiments by an educational body in ,england resulted in determining that ten-point should be the minimum size of type used for educational purposes4 ,from this it will be seen that the seven-point type used on newspapers is too small and a cause of eyestrain4 ,the narrow width of the columns of newspapers--twelve and a half or thirteen picas--makes reading of the small type fairly easy1 however4 ,the eye has been tested scientifically and the discovery made that a person actually sees at a glance less than an inch of a line of type4 ,hence long lines require extreme side movements of the eyeballs or of the head4 ,it is a mistake1 as will be seen1 to set editorials in a measure that extends over two columns1 as is done on some publications4 ,space between lines also helps the reader in locating the beginning of the next line1 for which reason1 and also to give them prominence1 editorials are usually leaded4 ,the beginning of an important article is sometimes leaded4 ,lengthy excerpts or quotations are usually set in the same size of type but indented one em at the right and left ends of the line4 7,see ,example #dje1 third column47 ,,the ,,headings4--,the first newspaper continuously published in this country was a letter 7see ,example #djb71 and the items it contained were not set off with headings4 ,as the quantity of news increased and newspapers became larger in size1 headings were added4 ,during the middle of the last century most of these were side headings joined to the first paragraph4 ,when it became possible to print news promptly more attention was given to displaying the headings4 ,as the ,civil ,war developed1 newspaper headlines grew1 and with the ,spanish ,war came front-page headings of poster proportions4 ,headlines not only advertise the contents of the text pages1 but assist the reader quickly to absorb the news4 ,as the reader cannot in these busy days read the entire paper1 headings assist him in locating the items in which he is interested4 ,the error of using thrilling scareheads for comparatively unimportant events was made evident when the ,european ,war started4 ,some of the publications had cried 8,wolf60 so frequently that there was no emphasis left for a really big story4 ,illustration3 ,,example #djf ,actual size of a well-treated four-deck ,heading ,head-letter type should not be intensely black1 unless the reader is expected to read only the headlines4 ,it is irritating to attempt to read the text matter in an article if strong black headlines continually glare at you4 7,see ,example #djd47 ,the head letter should be just a trifle darker in tone than the background of text type1 or if liberal leading is possible a letter the same tone as the text is suitable4 ,because of the narrowness of newspaper columns it is necessary that type for headlines shall be slightly condensed1 especially for the large lines4 ,as few type-faces are legible in a condensed form1 it is a problem to select a type-face for this purpose4 ,probably the most successful type-face of this kind has proved to be ,latin ,antique ,condensed1 a letter that has been in such use for a number of years4 7,see ,example #djf47 ,it is1 of course1 best to have all type-faces harmonious in design1 but the requirements of the newspaper are so unusual that in order to secure contrast this rule must be violated4 ,in ,example #djc will be seen the neat and restful effect that is possible by using thruout type that is harmonious1 yet there is a monotony to the page that could probably be overcome by substituting1 say1 italic for roman in several of the headings4 ,on the page of the ,new ,york ,times 7,example #dje7 will be found headings in italic4 ,lower-case italic looks well used for the main lines of a double-column heading4 ,illustration3 ,,example #djg ,the sporting page of the ,new ,york 8,tribune10 showing interesting make-up ,it is well first to harmonize the newspaper page1 as in ,example #djc1 and then add needed contrast1 as in most newspapers attempts at contrast are so frequent that the result is confusing4 ,paneled headings also add variety2 specimens of such headings will be found in ,examples #djd1 #djg and #djh4 ,restraint in the use of display headings by the ,new ,york ,times1 as compared with the noisy scareheads of the ,new ,york ,american used in reporting the same news1 will be seen by comparing ,example #dje with ,example #djd4 ,what is called a four-deck single-column heading1 as used by the ,new ,york ,times1 is shown actual size in ,example #djf4 ,latin ,antique ,condensed is used for the first two lines and ,newspaper ,gothic for the other three decks4 ,this heading as it stands is perhaps the most pleasing and legible of those used by metropolitan newspapers4 ,a four-deck heading should present in the first deck the feature of the story2 the first deck1 and if possible every other deck in the heading1 should contain a verb4 ,the third deck is really the second in importance1 and1 like the first one1 is usually set in capitals4 ,the size of the lower-case used for the fourth deck is usually smaller than that used for the second4 ,it would be a mistake to use capitals for the second and fourth decks1 as the result would be monotonous and illegible4 ,the small section of text matter accompanying the head also shows a seven-point face on an eight-point slug1 as used by the ,times4 ,,the ,,make-,,up4--,in the make-up of a newspaper the sometimes derided 8art tenets0 should not be neglected4 ,a good-looking newspaper has well-balanced headings1 properly placed illustrations1 and the various typographic details treated according to the requirements of good taste4 ,large display headings are usually alternated at the head of the page with small headings1 which arrangement not only looks well1 but enables the reader to peruse one heading without interference from another4 ,it is the practice of most good newspapers not to have advertisements appear on the front page1 which is given over to the important news of the day4 ,as will be seen by ,examples #djd and #dje1 the article of most importance1 no matter how large the heading given to it1 appears in the furthermost right column1 whence it is usually continued to the second page4 ,example #djc also shows how an important article can be featured in the center of the page4 ,interest and variety are also obtained by the use of a one-point rule around a portion of the news1 as will be seen on ,examples #djd and #dje4 ,the type matter on the inside is set close to1 but not against1 the rule panel4 ,the editorials on most newspapers are to be found on the sixth page1 and on the same page letters to the editors are also placed4 ,there is a movement1 begun by the ,hearst newspapers1 to have the editorials appear on the last page so that they may be read without the necessity of locating them in the paper4 ,the sporting page has also come to be an important feature of the newspaper4 ,an attractively arranged sporting page is shown in ,example #djg4 ,it is customary to build advertisements from the lower right corner of the page in a step or pyramid arrangement4 7,see ,example #djh47 ,this allows most of the text matter to appear at the left and in the upper portion of the page1 and also makes it easy to give position next to reading matter as required by some advertisers4 ,illustration3 ,,example #djh ,so-called pyramid make-up of a newspaper's advertisements4 ,a 8make-believe0 newspaper ,illustration3 ,,example #dji ,church book decorative treatment by ,will ,bradley ,featured on a ,thanksgiving number of 8,collier's0 ,illustration ,,periodicals ,the typography and the make-up of periodicals in the century last past were sedate and uninteresting to most ,americans4 ,as a consequence there came a change1 and publishers endeavored to make their publications more attractive to readers4 ,the letterer and the decorator were permitted to let their fancies run free over the magazine pages1 and assuming that their readers had poor taste and weak eyesight the publishers of trade journals splattered their pages with ugly black circus poster type4 ,so long as there is poor printing 7we read in the ,good ,book3 8,for ye have the poor always with you07 there will be periodicals typographically poor4 ,yet1 thanks to those who have trained themselves as typographic advisors1 many ,american periodicals are now good to look at and at the same time easy to read4 ,illustration3 ,,example #daj ,dignity in make-up and type treatment4 ,by ,walter ,gilliss ,we will consider the dimensions of the publication1 the front cover1 number of columns1 the margins1 type-faces for the text and for the headings1 make-up of the illustrations1 arrangement of headings1 the captions1 the editorial pages1 features1 and the advertisements4 99 99 99 99 99 ,,the ,,dimensions4--,whim has much to do with the selection of sizes for periodicals1 and precedent1 or what the other fellow is using1 has some influence also4 ,assembled and stood on end1 several dozen periodicals gathered at random present the appearance of a platoon of 8rookie0 soldiers before they have been ranged according to hight4 ,sixty-six business and technical publications were recently measured by the writer1 and the dimensions of about half of them approximated #i #ab inches4 ,the other half varied from #f #i to #aj #ae inches4 ,illustration3 ,,example #daa ,harmony of the type-faces used for heading and text ,examination of about two score of magazines revealed three groups of dimensions3 #g #aj1 #i #ab and #aa #ad inches4 ,these dimensions are approximate1 few magazines measuring exactly the same1 the variations amounting to half an inch in some instances and several inches in others4 ,illustration3 ,,example #dab ,advertising the story to the readers ,illustration3 ,,example #dad ,style of make-up of these three pages suggested by ,benjamin ,sherbow ,illustration3 ,,example #dac ,interesting heading treatment and inserted feature panel ,scribner's is a type of the magazine in the #g #aj class 7the actual measurement being a trifle minus72 the ,independent1 of the #i #ab class 7actual measurement #h #ab inches72 and the ,saturday ,evening ,post1 of the #aa #ad class1 measuring exactly that size4 ,there has been a movement among magazines away from the smaller dimensions toward the larger1 for the purpose of better displaying features and of enabling reading matter to be placed alongside of advertisements4 ,to a similar extent the business and technical publications have experienced reductions from the very large sizes that originally were probably inspired by the bigness of newspapers4 ,there are also a few small pocket magazines of the ,philistine size that ,elbert ,hubbard made popular4 99 99 99 99 99 ,,the ,,front ,,cover4--,typography has little to do with the average cover of the general magazine in ,america4 ,the foundation of the design is usually a painting1 the subject being seasonable or otherwise appropriate4 ,lettering and decoration are added by an artist other than the one drawing the picture4 ,in such cases the design is changed with every issue4 ,some magazines1 the more conservative ones1 use a design containing lettering and decoration only1 and with each issue merely change such lettering as refers to editorial features4 ,the ,european custom of printing a paid advertisement on the front cover of periodicals has extended to ,america1 and1 while such advertisements will not be found on the general magazines1 some business and technical periodicals have succumbed to the temptation thus offered for increased revenue4 ,when the front cover is sold1 only an inch or so is retained for the title of the periodical4 ,one publisher did stipulate that no color in the cover advertisement should come within two inches of the title2 but even this rule is now disregarded on his periodicals4 ,the time may yet come when the title of a publication will appear at the foot of the front cover in six-point4 ,illustration3 ,,example #dae ,headings and text matter in the same face of type1 ,scotch ,roman ,illustration3 ,,example #daf ,type of medium strength and use of a small illustration in heading ,illustration3 ,,example #daj-;,a ,section of text matter from the 8,world's ,work0 7,monotype ,no4 #bb-;,e1 #aj-point on #aa-point body1 #aj set7 ,a weekly technical periodical in every issue has some appropriate view made into halftone and uses it inside a large panel under the title1 and a photographic journal prints a reproduction of an artistic photograph on the cover1 changing the subject with each issue4 99 99 99 99 99 ,,columns4--,the number of columns to a page should be decided by the size of type used4 ,seven-point and eight-point type should be confined in columns twelve or thirteen picas wide4 ,ten-point1 eleven-point and twelve-point type can be read even if the columns are sixteen or more picas wide4 ,however1 no column in a book or periodical should exceed twenty-four picas4 ,neither should a column be unreasonably narrow4 ,scientific tests show that the eye is strained in the reading of wide columns4 ,the column should be of such width that reading of the matter can be accomplished with only slight movements of the eyes to the right1 after they have been focused at the beginning of the line to fit the size of type4 ,when the column is too wide the head must be moved to the right and left with the reading of every line or the eyes may be injured from the strain and repeated change of focus4 ,a look over the examples of periodical pages in this chapter will show practically an acceptance of these requirements--three columns in the periodicals of large size and two columns in those of smaller size4 ,for pocket magazines one column is naturally sufficient4 ,in several instances 7,examples #dag and #dah7 three columns instead of two would have been advisable4 ,gutenberg1 when he planned the pages of his famous ,bible1 arranged for two columns each about twenty picas wide1 altho his type was large--about twenty points in size4 ,illustration3 ,,example #dbd-;,a ,section of text matter from the 8,saturday ,evening ,post0 7,monotype ,no4 #bj-;,a1 #h-point on #i-point body1 #h set7 ,it is a great mistake to set1 as some business publications do1 six-point type in lines twenty-five or thirty picas wide4 ,to require the reader's eyes1 after being focused on such small type1 to travel back and forth that distance is almost an invitation not to read the matter4 99 99 99 99 99 ,,the ,,margins4--,blank space surrounding the printed pages in periodicals should be apportioned as it is in good books--the smallest margin at the binding side and increasing in amount in this order3 ,head1 outer side1 foot4 ,even when the total amount of margin is small it should be apportioned in this manner4 ,the rule can be stated in another way3 the largest margin at the foot1 with the type page inclining toward the bound side4 ,periodical binderies do not always give the publisher good margins1 even after he has planned for them4 ,unevenly cut paper1 careless folding and inaccurate trimming will prevent the securing of desired results4 ,in measuring margins the running headings should be ignored if they are small1 but in any event the printed page should have the appearance of being a trifle high on the leaf4 99 99 99 99 99 ,,type-,,faces ,,for ,,the ,,text4--,type-faces for the text matter of most periodicals must be chosen for reasons different from those governing the selection of type-faces for other purposes1 because of the small size1 usually eight-point or nine-point4 ,illustration3 ,,example #dbb-;,a ,section of text matter from the 8,independent0 7,monotype ,no4 #bj-;,a1 #i-point on #aj-point body1 #i set7 ,type-faces that are legible and good-looking in twelve-point may prove illegible and ill-looking in eight-point4 ,this is to some extent true of ,caslon ,oldstyle when printed on calendered surfaces4 ,such illegibility may be due to the hairlines1 which almost disappear in the small sizes4 ,commendable letters for periodicals that require small type-faces are the dark-printing kind represented by ,century ,expanded4 ,examples #dbb and #dbd are set in letters of this kind4 7,see also ,examples #dbb-;,a and #dbd-;,a for type matter as actually used47 ,as these types have short descenders the text matter is made more legible by separating lines with one-point leads or1 in machine composition1 by casting a face on a body a point larger 7as in ,example #dbd-;,a1 which shows an eight-point face cast on a nine-point body1 and in ,example #dbb-;,a1 which shows nine-point on ten-point body74 ,french ,oldstyle 7especially ,cadmus7 is not only fairly legible in small sizes but good-looking4 ,a representative of this style of type will be found in ,examples #daj and #daa1 and is shown actual size in ,example #daj-;,a4 ,modern or old-style type-faces that are legible when printed on news paper or antique paper are sometimes not so when printed on calendered surfaces4 ,a type-face such as ,caslon ,oldstyle was designed for printing on dampened paper of an unfinished surface1 and it is no wonder that it does not appear at its best in small sizes on calendered paper4 ,illustration3 ,,example #dag ,box headings are conspicuous on this editorial page ,illustration3 ,,example #dai ,excellent typography of an editorial page ,illustration3 ,,example #dah ,another way to feature the editorials ,illustration3 ,,example #dbj ,novel use of rules on an editorial page4 ,by ,sherbow ,illustration3 ,,example #dba ,news photograph on the front page ,it is absolutely necessary that the text matter of a periodical be easily read1 yet the type-face should not be selected for that reason alone4 ,it should be well formed and pleasing to look at1 and1 if possible1 be a face that makes feasible some harmony in design between text type and head letter4 ,in publications that have text matter in eleven-point or twelve-point a letter such as ,caslon ,oldstyle would doubtless be satisfactory1 and on small publications ,old-,style ,antique or ,cushing ,oldstyle render excellent service4 ,scotch ,roman1 notwithstanding the fact that it contains hairlines1 gives fairly good results1 provided the paper is not highly calendered4 ,letters with hairlines when printed on calendered paper lack the little legibility that they otherwise possess4 ,many letters could be made more legible1 especially those composed on machines1 by cutting the matrices so that the print of the thin lines is a trifle stronger4 ,the chapter on 8,type-,faces0 should be read in this connection4 99 99 99 99 99 ,,type-,,faces ,,for ,,the ,,headings4--,an ideal condition in periodical make-up is one which makes possible the use for headings of the identical design of type that has been selected for the text matter1 as in ,examples #daj and #daa1 where a ,french ,oldstyle has been used1 and in ,example #dae1 where ,scotch ,roman is the type-face4 ,it is not possible always to use the very same design of type-face for both headings and text matter4 ,after a text letter has been chosen for legibility or other reason1 the identical type in larger sizes may prove to be too plain for the sort of periodical on which it is to appear4 ,and there are sometimes special reasons1 regrettable but unavoidable1 an instance of which is this volume1 wherein the text matter is in ,scotch ,roman 7a modern letter with some relation to old-style7 and the headings and captions in a type-face of old-style form4 ,this combination is not ideal1 and the explanation follows4 ,in order that 8,the ,art and ,practice of ,typography0 could be published at a price that would enable it to be widely circulated1 the chapters1 as soon as each was prepared1 were first printed in ,the ,american ,printer4 ,the type-face used for the text matter and headings in that publication was ,scotch ,roman1 hence it was felt necessary to use ,scotch ,roman for the text of this volume4 ,however1 it was believed that a darker type-face of old-style formation would be more pleasing for the headings1 and a ,goudy letter was selected4 ,illustration3 ,,example #dbb ,fine specimen of typographic make-up ,a modern type-face 7,bodoni ,bold7 appears on the headings in ,example #dab1 #dac and #dad4 ,bodoni 7not the bold7 is also used for headings in ,examples #daf and #dbg4 ,caslon ,oldstyle is to be found used for both headings and text in ,examples #dbf and #dcj4 ,old-,style ,antique appears in ,example #dca4 ,the ,saturday ,evening ,post for many years made use of an old-style letter for its headings that as a type-face was known as ,post ,oldstyle4 ,the italic1 outlined and filled in with gray-printing lines1 is shown in ,example #dbd4 ,a ,gothic decorative letter is not out of place on a ,christmas number of ,collier's 7,example #dbe71 but is not recommended for general use on periodical pages4 ,large1 bold1 black type-faces for headings in periodicals should be avoided4 ,interest can be added1 in the treatment of department headings of technical publications1 by using slightly decorative panels1 but such decoration should be light or slight1 and not the commonplace sort sometimes found in ill-treated job work4 ,illustration3 ,,example #dbc ,an attractive first text page4 ,by ,lester ,douglas ,editorial and title headings in typographic treatment should blend with other parts of the text pages and not look1 as some do1 like quarter-page advertisements inserted in reading matter4 ,example #dbi shows good treatment4 99 99 99 99 99 ,,make-,,up ,,of ,,the ,,illustrations4--,when planning to use illustrations on periodicals both facing pages should be before the person doing the planning4 ,the text matter of the two pages forms a background of gray1 and the problem is to place illustrations1 headings and initials in positions that will not only be well balanced but so assembled that one will not interfere with another4 ,usually there should be some text matter between illustrations2 they should be placed toward the outer side of the page 7see ,example #dbb74 ,the center position is practicable when there are three columns and the illustration is but a single column in width1 or when the expense of running around may be incurred 7see ,example #dbd74 ,illustrations frequently look better separated from the heading1 as in ,example #dad1 than when joined with the heading1 as in ,example #dab4 ,the same style of illustration should1 if possible1 be used on facing pages4 ,make-up that shows a line plate on one page and a halftone on the adjoining page is inharmonious and not so pleasing as when all illustrations on facing pages are of the same character4 ,they should be1 say1 either line like that in ,example #dad or halftone like that in ,example #dab4 ,illustration3 ,,example #dbd ,illustration placed in center1 necessitating running around ,illustration3 ,,example #dbe ,feature page of a ,christmas number ,when an illustration appears on a text page1 initial letters should be plain and small1 as in ,example #dad2 but when no illustration appears the initial can be large1 as in ,example #daa1 or even decorative4 ,for regular purposes initials as used on ,examples #dji and #dbe are inadvisable4 ,illustration3 ,,example #dbf ,convention feature page of a technical journal ,pleasing use of a vignette style of illustration is to be seen in ,example #dcj4 ,it lends interest to the first text page and at the same time illustrates the leading article4 ,the illustration in ,example #dbi is also effectively placed4 99 99 99 99 99 ,,arrangement ,,of ,,headings4--,headings1 in a way1 advertise or 8sell0 the contents of a periodical1 and their arrangement depends on how far the editor or layout man wishes to go in advertising or 8selling0 the contents4 ,the ,american people have so much reading matter available that it is probably necessary in most instances almost to force them to read the various articles in periodicals4 ,encyclopedias are read even if there are no display headings and the type is in six-point1 and there are periodicals that are read without urging2 but it may as well be conceded that articles are read more when they are well advertised4 ,a well-advertised story will be found in ,example #dac4 ,the title is brought out prominently in a large1 bold type1 as is the name of the author4 ,the italic line above the title smacks of real advertising1 as does the group of type inserted in the upper part of the text4 ,the display in ,example #dab is frankly advertising in its appearance4 ,the ,saturday ,evening ,post heading 7,example #dbd7 is large1 but there is no descriptive advertising1 and there is little of the nervous fear of going unread so evident in ,examples #dab and #dac4 ,calm1 yet pleasing1 treatment of headings is to be found in ,examples #daa and #dbc4 ,it is well to give attention to the presentation of article headings1 but sometimes in the place where the heading should go there is so much noise and so much talking that1 as a means of resting the nerves1 the leaf is quickly turned or the periodical laid aside4 ,illustration3 ,,example #dbg ,news headings and make-up ,periodical titles1 as they appear on the first text page of each issue1 are variously treated4 ,the small1 neat effect of ,example #dbc is commendable4 ,it is in ,scotch ,roman and harmonizes with the article heading and text type4 ,title headings on a larger scale will be found in ,examples #daj1 #dae and #daf4 ,special lettering is sometimes pleasing1 as in ,examples #dba and #dcj4 ,the news department of trade and business periodicals requires numerous headings4 ,example #dbg is suggestive4 ,there the news articles are in narrow columns and have a newspaper style of heading4 ,caslon ,oldstyle looks well on any class of publication4 ,roman capitals and lower-case and italic may be used in the same line1 as on ,example #dbi4 99 99 99 99 99 ,,the ,,captions4--,it is customary to set captions centered under illustrations in a size smaller of the type-face used for the text matter and to arrange the caption in one or more lines no wider than the illustration4 ,when the caption is in two parts the first part is usually set in capitals and the second part in lower-case1 both centered4 ,the lower-case is sometimes roman and sometimes italic4 ,seldom do captions receive the special decorative treatment that has been accorded them in ,examples #dab and #dad4 ,even two-line initial letters have been used with them4 ,the plain double caption in roman capitals and lower-case is to be found in ,examples #dba and #dbb4 ,a single caption in italic lower-case is shown inside a rule that surrounds the illustration in ,example #dbd4 ,illustration3 ,,example #dbh ,a conservative and readable editorial page ,arrangement of captions in lines of the same length1 making a block of type 7as in this book7 is liked by many4 ,however1 the caption is to be read and its shape is not of more importance than its legibility4 ,it is a mistake to arrange a caption in several lines of capitals and then letterspace some of the words to obtain the block effect4 ,such letterspacing advertises the effort as unsuccessful and also disfigures the page4 99 99 99 99 99 ,,the ,,editorial ,,pages4--,in periodicals1 editorial pages are treated variously4 ,there is no standard style such as is found in most newspapers4 ,all five editorial pages reproduced here1 in make-up and typographic treatment1 differ from one another4 ,the ,ladies' ,home ,journal 7,example #dag7 has the title of each editorial in a small rule panel along with the publication's trademark1 and the matter is set in two wide columns4 ,the first clause beginning each editorial is composed in capitals and small capitals4 ,the page is surrounded by a double-line border4 ,collier's 7,example #dah7 begins each editorial with an initial letter1 followed by several words in capitals1 and the title in a dark-faced italic is set at the left end of the line4 ,a decorative symbolic heading is placed above all4 ,system 7,example #dai7 has a neat1 readable editorial page1 arranged in an interesting manner4 ,the name of the magazine1 of the editor1 and the month and volume are neatly placed at the top1 and the blank space that follows1 occupied solely by the small black decorative mark1 gives pleasure4 ,each editorial is introduced by a heading in small capitals and by an initial1 which is larger in the first article4 ,the editorial page of ,advertising and ,selling 7,example #dbj71 by ,sherbow1 is unlike any of the others4 ,rules are used between columns1 on both sides of headings1 and above and below the page heading4 ,the result is pleasing1 and invites reading of the page4 ,illustration3 ,,example #dbi ,caslon headings and an old-style text type ,the style of make-up of ,the ,american ,printer editorial page 7,example #dbh7 was purposely patterned after that of the conventional newspaper editorial page4 ,the editorials of conservative metropolitan newspapers are probably read more regularly than any other part of the publications1 and such reading has possibly been invited by the restful style of the typography4 ,there is reason to believe that this somewhat old-fashioned treatment and its lack of affectation have really accomplished what was intended4 ,the editorial page should be unlike the other pages of a periodical1 and these examples should assist printers and editors in determining suitable typographic treatment4 99 99 99 99 99 ,,features4--,typography can have much to do with the playing up of features in periodical make-up4 ,an instance is the page reproduced as ,example #dbf1 which consists of what would ordinarily be the notes of the convention4 ,in this instance the notes were written in a style that suggests the quaint diction of ,colonial days4 ,some of the words of the text were capitalized1 as was done in those times4 ,in the page heading a few of the letters were tilted to give an irregularity caused in old composition by defective typefounding4 ,even the brass rules were nicked 7brass rule was seldom in good condition in the old days74 ,a crude initial of ancient vintage and an illustration simulating an old woodcut added decorative interest4 ,this page was a change from the routine style of the other pages4 ,the page from ,collier's 7,example #dji1 ,insert7 was one of the features of a ,thanksgiving number4 ,its decorative border suggests the treatment found in ,books of ,common ,prayer 7see page #bg74 ,illustration3 ,,example #dcj ,caslon typography on a magazine4 ,by ,will ,bradley ,christmas feature treatment is also found in ,example #dbe1 also by ,will ,bradley4 ,the text letter used in this example for initials and headings is hardly suitable for use generally in periodicals1 but for occasional features it is not out of place4 ,verse when used will usually look more interesting set in italic1 especially when the italic has a decorative quality4 ,one of the important general magazines sets verse in ,kennerley italic in a decorative panel broken into the text page at a suitable point4 ,important parts of an article reprinted in an attractive panel on the same page would call attention to the article and invite reading4 ,a certain amount of restraint is necessary when planning typographic features for periodicals4 ,type-faces should be selected with knowledge and care1 and seldom should large sizes be used4 8,jobby0 display effects are never in order on the text pages of periodicals4 99 99 99 99 99 ,,the ,,advertisements4--,the typographic details of the editorial section of a national periodical in the field of advertising were recently revised and made more pleasing1 yet when made up and printed the work that had been done was so overshadowed and counteracted by the bold types on the advertising pages that the general result was disappointing4 ,it is useless to attempt good typography on periodicals so long as advertisements are inserted in text pages or occupy facing positions2 that is1 it is useless unless the periodicals set or reset the advertisements neatly in good taste as is done by the ,curtis publications4 ,advertisements should not be mingled with text matter4 ,according to old-fashioned ideas1 the reader buys a periodical for the text matter1 and it is for him to determine whether or not he shall read the advertising pages4 ,in some publications the text pages are yet to be found intact1 altho preceded and followed by sold space2 in others good resolves peter out as text meets advertisement toward the rear1 and in others--a majority perhaps--advertisements dominate almost all of the text pages4 ,treatment of advertisements in periodicals need not necessarily be shy and timid2 neither need it be blustering and noisy4 ,where advertisements are neatly treated and not unduly forced on the attention1 readers are likely to give as much time to their perusal as to the text pages4 ,a gentlemanly solicitor who talks clearly in low tones is more likely to sell goods than one who disturbs the entire office by his loud talk and boisterous demeanor4 ,apply this to the typography of the advertising pages4 ,editorially1 it is to be regretted that advertising must go 8alongside of reading10 but it is to be deplored that in so many periodicals1 especially of the business and technical class1 reading matter is seemingly written and placed for the purpose of accommodating the advertising4 ,the successful publication of a periodical1 as of a newspaper1 depends on liberal patronage from advertisers2 yet these advertisers are best served when the publication is planned with first consideration for the text features1 and the advertisements are prepared to harmonize and not clash with the typography of the text matter4 ,illustration3 ,,example #dca ,good typography of a pocket magazine ,illustration3 ,,example #dcb4--;,a house-organ by ,taylor1 ,nash ,taylor1 ,san ,francisco1 that features typography ,illustration ,,house-,,organs ,the house-organ is the little brother of the periodical and newspaper4 ,it is published most frequently as a means of communication between a business house and buyers of that house's product4 ,sometimes the publication is circulated only among the house salesmen or other employees4 ,examination of more than one hundred house-organs revealed a condition that prevails in every department of publishing--lack of standardization in dimensions4 ,the smallest house-organ measured about #c #e inches and the largest #i #ab inches4 ,the dimensions grew1 from the smallest to the largest1 by quarter inches and half inches4 ,there are many small pocket house-organs1 some of which fit commercial envelops and others fit baronial envelops4 ,if there is a favorite size for house-organs1 it is #f #i1 which dimensions are those of ,examples #dcb1 #dcf1 #dcg1 #dda1 #ddg and #ddh1 illustrated in this chapter4 ,another favorite size is #g #aj inches1 which are the dimensions of ,examples #ddd and #ddi4 ,house-organs planned in the style of newspapers and containing four or eight pages are usually #h #aa or #i #ab inches in size4 ,a different stock is frequently used for the covers of house-organs1 but equally popular is the self-cover style--the first page of an eight- or sixteen-page form containing the cover design4 ,the practices that govern the use of cover designs on periodicals apply to some extent to house-organs1 although typographic covers are more often found on the last-mentioned kind of publication4 ,example #dda shows a typographic cover in which most of the page is given over to a table of contents--not a bad idea when the contents are abundant4 ,should a house-organ consist of only two or four leaves1 it is unnecessary to give over the entire first page to a cover design1 as the title could be treated as in ,examples #dcf1 #dch1 #dci1 #ddh and #deb4 ,if the cover page is to be lettered1 it is well to have it treated in a style that will harmonize with the typography of the inner pages4 ,see ,example #dce4 ,seldom is there any reason for a house-organ to contain more than four or eight pages4 ,few of the more ambitious house-organs survive the first one or two issues1 or are profitable if they do4 ,a house-organ to be effective should be published regularly4 ,too many instead of being periodicals are 8spasmodicals40 ,there is more likelihood of a house-organ being published regularly if it be modest in plan and brief in contents4 ,printers err when they suggest elaborate and bulky house-organs to their customers4 ,the smaller kind1 neat and stylish in typography1 attractive in make-up1 good to look at and easy to read1 are more desirable under average conditions4 ,illustration3 ,,example #dcc ,illustration3 ,,example #dcd ,illustration3 ,,example #dce ,pages from a quaintly-treated house-organ1 by the ,seaver ,howland ,press1 ,boston4 ,both type and illustration suggest the 8good old days0 ,illustration3 ,,example #dcf ,distinctive lettering and typography ,illustration3 ,,example #dcg ,interpolated paragraphs in italic ,illustration3 ,,example #dch ,a house-organ in miniature ,illustration3 ,,example #dci ,planned after the printer's house-organ at the left ,the titles of house-organs are not usually as conventional and dignified as those of magazines and other periodicals1 although those who have a liking for the conventional select the word 8,bulletin10 adding to it as part of the title a word which connects it with the business4 ,hence we have the 8,linotype ,bulletin10 the 8,hampshire ,service ,bulletin0 7,example #dcf7 and the 8,ad4-,league ,bulletin0 7,example #ddj74 ,printers1 for their house-organs1 use a variety of titles that include 8,typographica10 8,imprint0 7,examples #dcb1 #ddb1 #dde1 #ddf1 #dej and #dea71 8,the ,typographer0 7,example #dch71 8,pica0 7,example #ddh71 8,type ,talks0 7,example #deb71 8,warde's ,words0 7,example #ddg74 ,in other lines are to be found 8,drug ,topics10 8,statler ,salesmanship10 8,the ,constructive ,banker10 8,the ,wallace0 7,example #ddd71 8,poor ,richard's ,new ,almanack10 8,selling ,sense0 and 8,the ,ambassador0 7,example #dee74 ,illustration3 ,,example #ddj ,attractive rule treatment of headings ,illustration3 ,,example #ddb ,simple1 effective typography ,the number of columns that should be used in house-organs depends1 of course1 on the size of the page4 ,one column is sufficient for the small pocket publication 7,examples #dcc1 #dcd1 #dce1 #dde1 #ddf1 #dec1 #deh and #dei74 ,the page should be made up in two columns when the size is about #f #i 7,examples #dch1 #dci1 #ddj1 #ddd1 #ddh1 #ddi1 #dej and #dea74 ,the purpose of more than one column is to make reading easier and not just to provide a narrow column4 ,on some house-organs the columns are made so narrow that it is as difficult to read them as when they are very wide4 ,illustration3 ,,example #dda ,contents outlined on the cover ,the margins on the house-organs should be of the same proportions as on periodicals and booklets--the most margin at the foot1 with the type-page inclining toward the head and binding side4 ,in fact1 such margins should be found on all printing in which there are two facing pages4 ,the type-faces used on house-organs should be legible and at the same time good-looking4 ,caslon ,oldstyle is suitable for house-organs as well as most other purposes4 ,the ,caslon style of type is used on ,examples #dcc1 #dcd1 #dcf1 #ddj1 #dda1 #ddh1 #dej1 #dea1 #dec1 and #dee4 ,other faces used on the house-organs here reproduced are ,kennerley ,oldstyle 7,examples #dcb1 #dde1 #ddf71 ,old-,style ,antique 7,examples #ddb and #ddg71 ,cloister ,oldstyle 7,example #deb71 ,bodoni ,book 7,examples #deg and #deh74 ,these and other good faces are available for house-organ purposes4 ,illustration3 ,,example #ddc ,dark-toned typography by ,griffith-,stillings ,press1 ,boston ,illustration3 ,,example #dde ,illustration3 ,,example #ddf ,rubricated typography by ,taylor ,taylor1 ,san ,francisco ,illustration3 ,,example #ddd ,suitable treatment for this silverware publication ,what has been said in the chapter on 8,periodicals0 about the suitability of type for headings applies as well to house-organs4 ,in most of the pages here reproduced it will be seen that the head letter is the same kind of type as the text letter or is harmoniously similar4 ,the treatment of display announcements or house advertising should be such as to carry out the purpose for which the house-organ is issued4 ,if1 as an instance1 the publication is issued for the purpose of presenting the attractive wares of a stationery house1 it would be well to devote half of the pages to illustrations1 descriptions and prices of stationery supplies4 ,sometimes when the display announcements are as numerous as the text pages1 an announcement is placed on the left page facing a text page at the right4 ,when this is done1 the typography should be neat in appearance2 the type sizes should not be large1 and the type itself not any blacker than1 say1 ,caslon ,oldstyle4 ,especially is it a mistake to use dark faces when illustrations of merchandise are a part of the page4 ,dark type-faces subordinate and render ineffective such illustrations4 ,a house-organ designed entirely--display announcements included--in the original ,caslon ,oldstyle by someone who knows how to get the best out of the type1 would be ideal4 ,the capitals1 small capitals and lower-case of roman1 and the capitals and lower-case of italic1 can be manipulated so as to produce an abundance of typographic variety and interest4 ,illustration3 ,,example #ddg ,easily read and pleasingly illustrated4 ,by the ,warde ,press1 ,pittsburgh ,while house-organs should be edited with the purpose of presenting useful technical and business information to customers1 there should be sufficient light matter and features to maintain interest4 ,not unimportant is the typography of such features4 ,in the make-up of all house-organs are spaces at the end of articles that are available for feature purposes4 ,example #dcb shows how one bit of blank space was made attractive by well-arranged small capitals1 and in ,example #dej similar use has been made of italic4 ,articles of merchandise that are old-fashioned in their appeal furnish a motif for typographic treatment that can be made a feature4 ,examples #dcc and #dcd show ,colonial typographic treatment1 the use of italic and spaced small capitals1 added to which is a feature page topped by an old-fashioned woodcut4 ,there is a suggestion of ancient rubricated books in the typographic handling of ,example #dde1 appropriate for a printer who does typography especially well4 ,borders around the text pages of house-organs can be made to act as features if they are designed with proper restraint1 as was done in ,examples #dcb and #dej4 ,rules and decorative borders1 ornaments and initials are not out of place on house-organs when used as they are in ,examples #ddj1 #ddc1 #ddd and #dde4 ,when the house-organ is issued monthly an old-fashioned 8almanack10 with appropriate matter interpolated1 makes a good feature1 as in ,example #deg4 ,illustration3 ,,example #ddh ,a typographic house-organ ,illustration3 ,,example #ddi ,an editorial page of typographic neatness ,illustration3 ,,example #dej ,attractive use of rules and italic ,illustration3 ,,example #deb ,a page in ,cloister type ,illustration3 ,,example #dea ,an elaborate house-organ title-page ,illustration3 ,,example #dec ,use of paragraph marks4 ,from ,cottrell's ,magazine ,as a novelty1 house-organs have been printed on blotter stock4 ,the general treatment for blotter house-organs is not different from that of other kinds4 ,the appearance of a publication is maintained and the matter is merely adapted to the dimensions of the blotter4 ,illustration3 ,,example #ded ,a good specimen of house-organ cover ,illustration3 ,,example #def ,cover of 8,the ,philistine0 issued about two months before ,elbert ,hubbard went down with the 8,lusitania0 ,house-organs are sometimes successful when laid out in newspaper style for four pages about #i #ab inches in size4 ,the text matter is planned for three columns1 the text type being eight- or nine-point1 such as is customarily found on machines4 ,headings are graduated on the newspaper plan according to their importance4 ,illustrations are included at suitable points in such newspaper-like house-organs4 ,illustration3 ,,example #dee ,blank space used to good advantage4 ,text page from 8,the ,ambassador0 ,there is suggestion for a novel house-organ treated in old-time newspaper style in the reproductions of the first two newspapers published in ,america4 7,see ,examples #dja and #djb of the chapter on 8,newspapers407 ,a western printer1 who has found the house-organ to be effective in his business1 expressed himself in these words3 ,nowadays children are entertained as they are taught1 and they learn unconsciously and much more readily than when study was made a task and a hardship4 ,that is the principle we must embody in a house-organ--entertain and instruct simultaneously4 ,make your readers smile and enjoy themselves while they are learning the value of good printing1 prompt service and square dealing4 ,create in them a desire to be as particular about their printing as they are about their company or the set of a collar1 but keep them entertained and interested the while4 ,of course this can be overdone1 so don't make the mistake of having too much outside matter1 but keep to your subject in a tactful way4 ,the day is past when business secrets can be kept from the buying public4 ,during the past ten years magazine and general advertising policies have educated consumers along entirely new lines1 and now they insist on knowing why they pay special prices for specific articles4 ,they not only want to know why1 but what it is1 where it comes from1 who makes and sells it1 and how4 ,the sooner we tell them these things1 just that much sooner will confidence be established and buyers of printing acquire a knowledge that will enable them to buy intelligently1 to distinguish between the economy in good service and the extravagance in poor service4 ,in a house-organ there is unlimited opportunity for preaching the gospel of good service and for educating the public to the fact that that kind of service is the cheapest4 ,illustration3 ,,example #deg ,an 8almanack0 feature ,illustration3 ,,example #deh ,bodoni typography ,illustration3 ,,example #dei ,cover of a small house-organ ,i consider the establishment of this confidence between the printer and customer one of the strongest pulling features of a house-organ4 ,i do not mean by that that one should open his books to the public1 but give enough information to let your readers know that you are in a business that requires capital for its conduct1 that it is a dignified business1 that you give efficient service1 and that such efficiency costs you proportionately as much as it costs him4 ,having let your readers into this much of your business secrets1 keep hammering away on your service and efficiency1 but do it in a tactful way4 ,don't bore him4 ,entertain him4 ,remember the old proverb1 8,he who tries to prove too much proves nothing40 ,so give it in homeopathic doses1 but mighty regular ones4 ,a feature of the house-organ as issued by a printer should be specimens of actual work4 ,small cover designs and pages from booklets and other specimens can be saved and collected from overruns and presented in the house-organ4 ,it would be better to use but one or two specimens in each issue than to overload the publication4 ,only creditable work should be included in this manner4 ,if1 say1 a bit of four-color process work is produced1 it should not be used as an exhibit merely because there is color in it1 but it should be tested by answering these questions3 ,is it a good drawing8 ,are the colors properly blended1 or is there an unpleasant predominance of red and yellow8 ,are the plates in good condition8 ,have they been properly printed8 ,unless the answer is affirmative1 it would be better to include neat1 modest black-and-white specimens4 ,many house-organs are made ineffective by the anxiety of the business house issuing it to include everything possible4 ,a number of issues should be planned and each should contain a limited amount of text matter and illustration4 ,many of those to whom the house-organ is sent also receive dozens of others1 and examination and reading of the publication should not be discouraged4 ,when there is too much of an abundance1 the house-organ is either thrown in the waste basket or laid aside and never looked at again4 ,loose inclosures should not be numerous4 ,attention is frequently taken away from the house-organ itself by the variety of envelop slips1 calendars and blotters that are included in the mailing4 ,there should be nothing but a return post card1 and this should be clipped to the inside of the rear cover and not tucked in on top of the title-page1 as is too often done4 ,several return cards are reproduced 7,examples #dfj1 #dfa and #dfb74 ,when these post cards are planned the postal regulations governing their use should be investigated4 ,it may be well to quote from the ,united ,states ,postal ,guide3 ,post cards manufactured by private persons1 consisting of an unfolded piece of cardboard in quality and weight substantially like the ,government postal card1 not exceeding in size #c-i_/af by #e-i_/af inches1 nor less than #b by #d inches1 bearing either written or printed messages1 are transmissible without cover in the domestic mails 7including the possessions of the ,united ,states71 and to ,canada1 ,cuba1 ,mexico1 ,republic of ,panama1 and city of ,shanghai 7,china71 at the postage rate of #a cent each1 and in the foreign mails at the rate of #b cents each1 to be paid by stamps affixed4 ,advertisements and illustrations may appear on the back of the card and on the left half of the face4 ,the right half of the face must be reserved for the address1 postage stamps1 postmark1 etc4 ,illustration3 ,,example #dfj ,illustration3 ,,example #dfa ,illustration3 ,,example #dfb ,suggestions for treatment of the return post cards that usually accompany house-organs ,illustration3 ,,example #dfc ,comparison of the same type forms printed on a hard-finished paper1 and also on a soft-finished paper4 ,the good qualities of these type-faces 7,caslon ,oldstyle1 ,baskerville ,roman1 ,kennerley ,oldstyle and ,bodoni ,book7 are more evident and the print of the types more legible on the soft-finished paper ,illustration ,,type-,,faces ,,type-,,faces1 at first acquaintance1 are no more easily remembered than the faces of people we meet4 ,many persons look alike and many type-faces look alike1 until we get to know them intimately and are able to distinguish their characteristics4 ,the average man or woman is unable to identify ,caslon ,oldstyle1 ,scotch ,roman1 ,bodoni ,modern1 or any specific letter used in printing1 altho there are those who have a vague idea of the existence of types known as 8old-style0 or 8modern40 ,illustration3 ,,example #dfd-;,a ,roman alphabet from the inscription on the base of the ,trajan column1 ,rome1 about ,a4 ,d4 #aad4 ,from ,johnston ,the fact that there are thousands of type-faces on the market adds to the difficulty of recognizing and naming them1 and the situation is further involved by the practice of composing-machine makers in using only numbers to designate type-faces and by various typefounders giving different names to the same design of type4 ,the special type-faces of private presses are usually given the name of the work on which they are first used4 ,,six ,,representative ,,standard ,,roman ,,type-,,faces ,believing that such a service would be appreciated by printers and users of typography1 the author made a study of the thousands of ,roman type-faces on the market1 with the purpose of selecting a half-dozen representative standard faces4 ,it was felt that these type-faces should be legible and good-looking1 and possess character2 that their merits should be acknowledged by authorities1 and that the types should be capable of wide serviceability on both book and job work4 ,illustration3 ,,example #dfd-;,b ,proportions of ,roman capitals as found in the ,trajan alphabet1 and a few additional letters ,illustration3 ,,example #dfe ,evolution of ,roman lower-case type-faces4 7,a7 ,pen-made ,roman capitals4 7,b7 ,development into ,minuscules or lower-case thru rapid lettering4 7,c7 ,black ,letter or ,german ,text developed from ,roman ,uncials4 7,d7 ,white ,letter1 the open1 legible ,caroline ,minuscules1 on which ,jenson based his ,roman type-face of #adgj4 7,e7 ,a recent type-face closely modeled on ,jenson's ,roman types4 7,f7 ,joseph ,moxon's letters of #afgf4 7,g7 ,caslon's type-face of #agbb ,the face first selected--and without hesitation--was ,caslon ,oldstyle as originally designed4 ,scotch ,roman was the second selection1 ,cheltenham ,oldstyle the third1 ,cloister ,oldstyle the fourth1 ,bodoni ,book the fifth1 and ,french ,oldstyle the sixth4 7,all shown in ,example #dfg47 ,type-faces designed and cut for private use were not considered in making these selections1 as it was believed best to adhere to type-faces that are procurable from most foundries and that are available for machine composition4 ,it may be well to inject here a warning that most so-called ,caslon ,oldstyles are not as good as the one selected 7,example #dfg-;,b72 that ,jenson ,oldstyle is inferior to ,cloister ,oldstyle 7,example #dfg-;,a7 as a representative of the original ,jenson type4 ,however1 good representatives of ,scotch ,roman 7,example #dfg-;,d7 are obtainable under the name of ,wayside1 of ,national ,roman1 etc4 ,illustration3 ,,example #dff ,two standard type-faces that rate high in legibility1 but that are colorless in the mass and lacking in the pleasing irregularities of form that characterized ,roman type-faces before the nineteenth century4 ,the various qualities of legibility found in ,modernized ,oldstyle have been converted to narrower letter shapes and more 8modern0 form in ,century ,expanded ,illustration3 ,,example #dfg ,six standard representative ,roman type-faces1 approved by authorities for both beauty and legibility1 and selected by the author from the thousands of type-faces available for hand and machine composition ,selection of these faces was also made just as a person makes a wise selection of records for a ,victrola--for permanency and investment4 ,as standard records can be selected which will 8wear0 for a long time1 so standard type-faces can be selected which will look well for many years4 ,good type-faces are like good music4 ,we will discuss these six faces4 99 99 99 99 99 ,cloister ,oldstyle4--,use in ,american printing of a standard type-face based on the ,roman letter cut by ,nicholas ,jenson about #adgj has been retarded by the fact that typefounders in this country some years ago used as a model ,morris's interpretation of the ,jenson face instead of going direct to the original letter4 ,jenson's face had been copied by ,bruce ,rogers1 ,t4 ,j4 ,cobden-,sanderson1 ,frederic ,w4 ,goudy and others1 and the fonts used privately1 but for general use it was not until #aiad that a creditable copy of the face was made available by the good judgment displayed by the ,american ,type ,founders ,company in bringing out ,cloister ,oldstyle4 ,this is probably the best rendition of the spirit of an old ,roman type-face that a modern type foundry has made4 ,if there is a fault1 it is that the lower-case letters set a trifle too close4 ,illustration3 ,,example #dfh ,type-face used in ,italy by ,sweinheim and ,pannartz in #adfe4 ,from ,de ,vinne ,illustration3 ,,example #dfi ,the ,roman types of ,john and ,wendelin of ,spires1 ,venice1 #adfi4 ,greek letters were to be written in the line now half blank4 ,from the original in ,typographic ,library and ,museum1 ,jersey ,city1 ,n4 ,j4 ,illustration3 ,,example #dgj ,the beautiful 8,white ,letter0 ,roman type-face of ,nicholas ,jenson1 #adgj1 from 8,eusebius10 the first book printed by him at ,venice4 ,the dot over the 8i10 small and slightly to the right1 is found1 also1 in the manuscript specimen here inserted4 ,from the original in the ,typographic ,library and ,museum1 ,jersey ,city1 ,n4 ,j4 ,illustration3 ,,example #dga ,section of manuscript of the fifteenth century1 in the ,charlemagne 8,white ,letter0 on which ,jenson may have modeled his ,roman type-face4 ,from ,humphrey ,jenson's face was not the first ,roman type made1 as is sometimes supposed2 others had previously been used 7,example #dfi71 but it was the first ,roman type to meet the approval of those who preferred the ,italian ,white ,letter to the ,gothic ,black ,letter4 ,illustration3 ,,example #dgb ,type-face used by ,paul ,manutius at ,venice in #aeff ,sweinheim and ,pannartz were ,german printers who1 in #adfe1 began to print near ,rome4 ,until this time the black ,text letter such as ,gutenberg had printed with ten years before was the only one used in typography1 but book buyers in ,italy wanted ,italian lettering4 ,the ,german printers attempted to cut an ,italian face1 but in appearance they did not advance far from ,gothic lettering 7,example #dfh74 ,illustration3 ,,example #dgc ,cloister ,oldstyle set in imitation of the ,jenson title on page #ad4 ,printed and zinc-etched1 as was the original ,illustration3 ,,example #dgd ,type-face cut in #afic1 now used by the ,national ,printing ,office1 ,paris4 ,notice slight projection on lower-case 8l10 a decorative feature used by ,gutenberg in his types ,illustration3 ,,example #dge ,the first line is set in ,cloister ,oldstyle2 second reproduced from ,elzevir page opposite2 third set in ,cadmus2 fourth in ,caslon ,oldstyle4 ,these lines are zinc-etched ,john and ,wendelin of ,spires1 ,germans1 began to print at ,venice in #adfi with a type-face that was more ,italian in character1 yet it had ,gothic characteristics4 ,nicholas ,jenson1 a ,frenchman1 who began to print in #adgj at ,venice1 was more successful1 and he gave to the world the fine ,roman type-face that he used on his first book1 shown1 together with a sample of contemporary lettering of similar design1 as ,example #dgj4 ,more facts about ,jenson will be found on page #ad4 ,illustration3 ,,example #dgf ,cheltenham ,oldstyle1 with the capitals a size smaller1 set in imitation of the ,plantin typography on page #af ,illustration3 ,,example #dgg ,type-faces used by ,daniel ,elzevir at ,amsterdam in #afge4 ,from 8,the ,american ,printer0 library ,illustration3 ,,example #dgh ,the ,roman types of ,fournier1 the ,french founder1 taken from his type book of #agff ,illustration3 ,,example #dgi ,a capital alphabet drawn by ,joseph ,moxon 7#afgf7 to a scale of forty-two small squares ,illustration3 ,,example #dha ,earliest known specimen sheet of printing types1 issued by ,william ,caslon in #agcd ,as time went on1 printers and typefounders made changes in the ,jenson design1 but these alterations were not numerous 7the cross stroke in the lower-case e was one1 ,example #die71 and fairly close resemblance to the ,jenson types is found in the ,roman types of ,paul ,manutius1 #aeff 7,example #dgb71 ,daniel ,elzevir1 #afge 7,example #dgg71 and ,fournier1 #agff 7,example #dgh74 ,illustration3 ,,example #dhj ,moxon's lower-case alphabet1 which he says was patterned after the letters of a ,dutch punch cutter ,in selecting a page from ,jenson's book1 8,eusebius10 to be photographed1 the writer had great difficulty in finding one of sufficient evenness and clearness of print4 ,it may be that ,jenson1 in his endeavor to enhance the 8,white ,letter0 effect of his types1 used a minimum of ink1 and1 under these circumstances it was perhaps more difficult for him to maintain consistent page color than it was for ,gutenberg to do so with his 8,black ,letter0 pages4 ,bruce ,rogers's printing of his ,jenson-like pages of typography would be a revelation to the old-time ,venetian printer4 ,jenson made his ,roman letter in only one size1 and that fairly large 7about sixteen-point71 so that the open design of the characters would admit white light from the paper background4 ,when1 some years later1 he was required to print cheap devotional books1 he cut and used a compact ,black ,letter ,text type for the purpose4 ,there is now a movement away from the mechanical style of type-face1 restricted in design by arbitrary craft rules1 in the direction of the graceful1 interesting yet legible faces represented by ,cloister ,oldstyle4 ,this type will be found in use in ,examples #aga1 #bdj1 #bef1 #bff1 #bhf1 #caf1 #ccg1 #cdj1 #cda1 #cde1 #ceg1 #cei1 #cgb1 #chc1 #cii and #deb4 ,the ,italic that accompanies ,cloister ,oldstyle is based on the ,italic of ,aldus ,manutius4 99 99 99 99 99 ,caslon ,oldstyle4--,this is a historic ,american type-face4 ,it was used by that renowned ,american printer1 ,benjamin ,franklin2 it appears on eighteenth-century school books1 and even our paper money was printed with it4 ,it was the type-face used by ,john ,dunlap1 the ,philadelphia printer1 in setting up and printing the first published copies of the ,declaration of ,independence1 a few hours after it had been passed by ,congress1 ,july #d1 #aggf4 7,see facsimile that appears as a frontispiece to this book74 ,it was one of these copies that was read to the ,continental ,army4 ,illustration3 ,,examples #dgi-;,a and #dhj-;,a ,the ,moxon alphabets inked in and reproduced in a smaller size ,today1 nearly two hundred years after the first font was cut1 ,caslon ,oldstyle has the approval of the good printers of ,america1 who regard it1 in its original form1 as the best and most useful ,roman type-face available1 as it is one of the few old faces the punches and matrices of which have been preserved and placed at the disposal of all printers4 ,the ,caslon foundry in ,england now casts the original letter as 8,caslon ,old-face40 ,in this country1 all typefounders make some sort of ,caslon1 and it may be procured practically in its original form1 with long descenders1 kerned f and j1 old special characters1 decorated ,italic capitals and all1 from the ,american ,type ,founders ,company1 which has named it 8,caslon ,oldstyle #dga0 7,example #eag74 ,other foundries are preparing to furnish the letter more in its original form1 and composing-machine makers are doing likewise4 ,the monotype company1 after cutting several faces in imitation of imitations of ,caslon's type1 finally copied the original fairly successfully1 and this1 as now obtainable1 is known as ,caslon ,oldstyle ,no4 #ccg4 ,the linotype company is recutting its ,caslons and is making a sincere effort to reproduce the original letter as closely as possible4 ,mechanical difficulties prevent an exact duplication in every detail of the ,caslon type in machine composition1 yet the companies that are attempting it show a spirit that augurs well for the future quality of printing in ,america4 ,caslon ,oldstyle is not at its best printed on a smooth1 highly-calendered surface4 ,when properly composed and printed1 it presents as a page a dark-gray tone1 formed of a pleasant mixture of black ink and white paper2 its letters show more of a contrast in thick and thin strokes than do the ,roman types of ,nicholas ,jenson1 and have more color and interest than the modernized old-styles of the nineteenth century4 ,in the sizes above ten-point it measures up in legibility and beauty to the requirements of the best printers and other students of typography4 ,caslon did not create an entirely new ,roman letter1 but with the elements that had already been provided by ,jenson and the type designers of ,holland he did1 with good taste and skill1 build a type-face that is distinctive1 legible and beautiful4 ,the illustration of the evolution of ,roman lower-case in ,example #dfe furnishes opportunity for study of this point4 ,the story of the designing of ,caslon ,oldstyle has been often told1 yet a few brief facts may be of interest here4 ,illustration3 ,,example #dhb ,there were two slightly different faces to many of the ,caslon fonts4 ,from the specimen pages in ,luckombe's 8,history of ,printing10 published in #aggj ,typefounding and printing had deteriorated in ,england1 and the product of the printing press was pathetically poor 7the author was surprised1 in examining important volumes printed in ,england about #agjj1 at the consistently poor work of typefounder1 compositor and pressman71 when1 in #agbj1 ,william ,caslon1 an engraver on metal1 was called upon to cut a font of ,arabic characters1 to be used in printing a ,new ,testament for the poor ,christians in ,palestine and ,arabia4 ,at the same time1 for use at the foot of the proofs of his ,arabic types1 he cut his own name in ,roman1 pica size4 7,this was at the time when ,benjamin ,franklin was working as a journeyman at ,watt's printing office47 ,the pica size1 however1 was not cast immediately4 ,so far as is known1 the size of ,roman first to be cast by ,caslon was that called 8,english0 7about fourteen-point71 which he cut in #agbb4 ,additional sizes followed1 and at about the period of his death1 in #agff1 there were at least thirty fonts of ,roman 7pearl to five-line pica71 nineteen fonts of ,italic1 ten fonts of ,black ,text1 and various fonts of ,greek1 ,hebrew and other alphabets1 together with more than a half-hundred fonts of flowers and bands4 ,the fonts that have been preserved to us1 and that are purchasable1 do not include all4 ,there were ,nos4 #a and #b faces in nonpareil1 brevier1 bourgeois1 long-primer1 small-pica1 pica1 english and double-pica 7two-line small-pica74 ,the ,no4 #a face in each case was a trifle larger than that of ,no4 #b1 and a third face1 still larger1 was made in bourgeois and long-primer4 ,these faces were all shown1 in honor of the memory of ,william ,caslon and as a tribute to the merit of the type1 in ,luckombe's 8,history of ,printing10 published by ,adlard ,browne1 ,london1 in #aggj 7,example #dhb74 ,it is probably the smaller and lighter ,no4 #b faces that have been preserved to us in the ten-point 7long-primer7 sizes and under4 ,the lighter1 more open eighteen-point 7great-primer7 ,italic 7,example #eag71 so different from the ,italic of the other sizes1 is as ,caslon made it4 ,in some respects it is better than the ,italic of other sizes4 ,while the general appearance of all sizes of the ,roman is the same 7and of the ,italic also1 with the exception noted71 there are slight differences in details of design in the various sizes4 ,for this reason1 when ,caslon ,oldstyle is compared with the original letters1 the comparison should be with the same size in each instance4 ,de ,vinne1 perhaps influenced by the prejudices and practices of nineteenth-century typefounders1 in one of his books points out as defects in the original ,caslon types features that typefounders and composing-machine makers are today restoring to the face as used in ,america4 ,the 8defects0 were supposed to be3 8,too long a beak to the f and j2 unnecessary narrowness in the s and a1 and in some capitals2 too great width of the c1 o and v40 ,typefounders and composing-machine makers have filled the type cases of the printers of this country with ,caslons that have been improved 7671 recut1 modified1 adjusted to 8lining0 systems1 made bold1 disfigured1 sawed-off and ill-treated generally2 and as they bring out good copies of the original letter1 it is to be hoped that1 so far as possible1 sale of the defective and offending type-faces and matrices will be discontinued4 ,william ,caslon died in #agff1 and the business was continued by ,william ,caslon the second1 and then by ,william ,caslon the third4 ,mrs4 ,henry ,caslon conducted the business in #agif1 when was brought out the modernized ,caslon 7,example #dhd-;,b7 that was probably the model for the type we know as ,scotch ,roman4 ,this modernization was a concession to the demand for types in the new style that had been designed by ,giambattista ,bodoni1 an ,italian typefounder4 ,the influence of ,bodoni's ideas in type design was such that ,caslon ,oldstyle was not included in the #ahje specimen book of the ,caslon foundry1 and did not again appear therein until #ahfj1 a year after the face had been reintroduced to ,america by a ,philadelphia foundry4 ,the story of the revival of ,caslon ,oldstyle in ,england has been told in these words3 ,in the year #ahdc1 ,mr4 ,whittingham1 of the ,chiswick ,press1 waited on ,mr4 ,caslon to ask his aid in carrying out the then new idea of printing1 in appropriate type1 8,the ,diary of ,lady ,willoughby10 a work of fiction1 the period and diction of which were supposed to be of the reign of ,charles ,i4 ,the original matrices of the first ,william ,caslon having been fortunately preserved1 ,mr4 ,caslon undertook to supply a small font of great-primer4 ,so well was ,mr4 ,whittingham satisfied with the result of his experiment that he determined on printing other volumes in the same style1 and eventually he was supplied with a complete series of all the old fonts4 ,america took part early in the revival of ,caslon's old-style types1 for in #aheh matrices were brought to the ,united ,states by the ,johnson ,type ,foundry1 afterward ,mac,kellar1 ,smiths ,jordan1 now the ,philadelphia branch of the ,american ,type ,founders ,company4 ,the first size made in this country was brevier1 which was announced in the 8,typographic ,advertiser10 the company's house-organ1 of ,january1 #ahei4 ,six months later thirteen sizes were shown1 and in #ahfe ,caslon ,oldstyle was made in sizes from pearl to six-line pica4 ,the decorative ,italic types1 known as ,swash letters1 were not until #aiaf included in the ,american fonts1 but these1 redrawn by ,t4 ,m4 ,cleland1 are now procurable4 ,selection of ,caslon ,oldstyle1 in #ahib1 for the text and advertisements of ,vogue1 the use of the letter by ,will ,bradley at the ,wayside ,press1 in #ahif1 and the general old-style revival1 influenced by the work of ,william ,morris1 of the ,kelmscott ,press1 in ,england1 were causes that led to the present popularity of ,caslon ,oldstyle4 ,this ,caslon style of type-face is one of the few standard letters that has practically unlimited usefulness4 ,properly treated1 it looks well on any class of printing1 from a business card to the text and advertising pages of periodicals4 ,it may be seen in action in this book by referring to ,examples #ah1 #cd1 #fd1 #fe1 #ff1 #fg1 #fh1 #ha1 #hb1 #hf1 #if1 #aai1 #aba1 #abf1 #abg1 #acb1 #acc1 #acd1 #ace1 #ach1 #aej1 #aea1 #afg1 #afh1 #afi1 #agb1 #agh1 #ahj1 #ahh1 #aij1 #aia1 #aie1 #bjc1 #bae1 #bba1 #bbb1 #bbc1 #bbd1 #bbe1 #bbh1 #bcj1 #bca1 #bcb1 #bcf1 #bci1 #bde1 #bdf1 #bdg1 #bdh1 #bdi1 #bej1 #bfj1 #bfb1 #bfh1 #bgd1 #bhb1 #bhd1 #bhg1 #bhi1 #bij1 #bib1 #bid1 #bif1 #big1 #cjj1 #cgd1 #cge1 #chb1 #chd1 #che1 #cic1 #cid1 #cif1 #dbf1 #dbi1 #dcj1 #dcc1 #dcd1 #dcf1 #dch1 #dci1 #ddj1 #dda1 #ddh1 #dej1 #dea1 #dec1 #dee1 #dei1 #dfj and #dfa2 the frontispiece2 upper specimen1 page #ba2 reproductions1 page #bc2 insert opposite page #cb2 upper specimen1 page #cc4 ,illustration3 ,,example #dhc ,on the left is a reduced reproduction 7from ,reed7 of ,baskerville's types used in a book of #ageh1 and on the right1 for comparison1 is the same matter set in ,baskerville ,roman1 twelve-point size1 introduced to ,america in #aiag ,illustration3 ,,example #dhd ,the possible descent of ,scotch ,roman4 7,a7 ,baskerville ,roman1 based on ,baskerville's letter of #ageh4 7,b7 ,mrs4 ,caslon's 8modern0 ,roman of #agif4 7,c7 ,scotch ,roman1 as we know it today ,bodoni ,book4--,when a representative of the ,bodoni type family was selected for a place in the group of standard faces1 ,bodoni ,book was chosen for its refinement and legibility4 ,in its lower-case1 especially when printed on other than gloss-surfaced paper1 it seems to have more of the qualities of the best types of the ,parma printer than does ,bodoni1 the first series brought out by the ,american ,type ,founders ,company4 ,scientific tests have demonstrated that in the small sizes usually used for text purposes1 type-faces with considerable contrast of hairlines and heavy strokes strain the eyes4 ,the contrast found in ,bodoni ,book is moderate4 ,john ,baptist ,bodoni was born in ,italy twenty years after ,william ,caslon cut his first font of ,roman letter4 ,bodoni's subsequent career as a printer and typefounder doubtless resulted from his entrance1 when eighteen years old1 to the printing house of the ,propaganda1 in ,rome4 ,he began his important work in ,parma in #agfh4 ,the print of his books is remarkable for clearness1 and in both type-cutting and printing he was skilful to a high degree4 ,his types are not quite so regular in design as the recent ,bodonis1 and were given additional character by being impressed firmly in paper that did not have the enameled surface so much in use in our day4 ,his type-faces were a change from those previously used--different from the type-faces of ,jenson1 the ,elzevirs and ,caslon4 ,the change was principally in the serifs1 which were straight1 thin strokes2 and the general character of the letters was also distinctive4 ,he used a few fonts in which the straight serifs were rounded by being filled in slightly at the corners1 and these fonts probably suggested to ,scotch1 ,english and ,american founders the style known as 8modern10 as compared with the 8old-style0 faces in use before ,bodoni's time4 ,the reader can compare for himself the resemblance of ,bodoni ,book to one of the text types of ,bodoni as used in #aghi4 ,in order that the comparison could be fairly made1 the ,bodoni ,book 7,example #dhf7 was printed on antique paper and etched on zinc1 as the original ,bodoni page had been 7see page #bf74 ,this type is not only lighter1 but other details are different from a #agij type of ,bodoni 7,example #dhg-;,a71 which may have served as a model for the present-day type-face called ,bodoni4 ,compare the capital ,rs1 and notice that the cross stroke on the lower-case t in the #aghc alphabet is low and distinct1 while on the #aghi page it is high and joined with the upper end of the vertical stroke4 ,the latter treatment prevails on many of ,bodoni's types1 as it does on practically all type-faces4 ,excepting for the straight serifs1 many of ,bodoni's types have some general resemblance to other ,roman types of the seventeenth and eighteenth centuries4 ,in designing the present-day ,bodoni1 the typefounders gave it much of the 8finish0 in design that was given type-faces by ,scotch and ,american founders during the nineteenth century4 ,typefounders seldom succeed in faithfully reproducing old type-faces1 for the reason that they 8correct the faults0 of the old faces1 and in doing so lose much of the humanistic spirit of the original4 ,were it not that the punches of some of ,william ,caslon's types were preserved1 we would not have the true rendering of this old-style that we now possess4 ,modernized ,oldstyle represents the ,caslon face corrected and improved as the typefounders of the nineteenth century thought it should be4 ,some ,american founders1 however1 are making excellent progress in reproducing the spirit of old type-faces1 and it is possible that we may yet have a satisfactory copy of the famous 8silver0 types of the ,elzevirs4 ,bodoni types are shown in use on page #bf1 and in ,examples #bf1 #cf1 #dh1 #age1 #agf1 #aid1 #bgh1 #caj1 #cbb1 #ccj1 #ceb1 #cee1 #cfe1 #chg1 #cij1 #dab1 #dac1 #dad1 #daf1 #dbh1 #dcg and #deh4 99 99 99 99 99 ,scotch ,roman4--,during the nineteenth century ,english1 ,scotch and ,american typefounders took ,bodoni's type-faces1 redesigned them more along mechanical lines1 filled in the corners of his straight serifs so as slightly to round them1 and gave to the ,english-speaking world what are best known to printers as the modern ,romans4 ,looking over the specimen books of the type foundries of the last century--those of ,bruce1 ,mac,kellar1 ,smiths ,jordan1 and others--one marvels at the wonderful skill in the cutting of the hairlines and the general mechanical excellence of the modern ,romans4 ,because of their continued use on newspapers and in books of reference1 these letters are in wide use today1 altho there is a movement away from them4 ,the most generally used type-face on small city newspapers in ,america is the linotype company's ,modern ,roman ,no4 #b 7,example #dhi74 ,in the hand-set days this broad1 open-faced letter was so made for the reason that it would stereotype easier than would the narrower letters4 ,it was adopted by the ready-print and plate houses1 and when the newspapers installed linotypes they naturally selected the same face1 so that the type matter thruout the publication would match4 ,the larger city dailies give more attention to the details of the faces they use for body purposes4 ,if ,no4 #b is selected1 or the leaner ,no4 #a1 modifications are frequently made in some of the letters or figures4 ,the ,no4 #a ,modern ,roman is used by the ,new ,york ,times 7,example #djf74 ,however1 instead of the selection of a severe letter1 such as the so-called ,scotch-cut ,modern ,roman as a representative type-face in the group of six standard ,roman letters1 the more interesting ,scotch ,roman won the place4 ,this type-face was first made in ,america by ,a4 ,d4 ,farmer ,son1 and the eight-point and ten-point sizes were used as body type by ,the ,american ,printer first in ,april1 #aijb4 ,in ,september of that year there appeared in that publication showings of the eight-point1 ten-point1 eleven-point1 twelve-point and fourteen-point sizes1 with the statement that other sizes were in preparation4 ,the name1 8,scotch ,roman10 probably comes from the fact that ,miller ,richard1 the ,edinburgh typefounders1 made a similar letter in sizes from eight-point to twelve-point4 ,however1 they call it 8,old ,roman40 ,scotch ,roman is the link that connects the graceful old-style and the severe modern ,roman4 ,compare it with the letter 7,example #dhd-;,b7 made at the foundry owned by ,mrs4 ,henry ,caslon in #agif1 and notice the resemblance4 7,as a further study1 there is added an alphabet of ,baskerville ,roman1 recently introduced to ,america47 ,scotch ,roman is also procurable under the names of ,wayside ,roman and ,national ,roman4 ,scotch ,roman has been used in ,examples #ch1 #ci1 #gg1 #gh1 #he1 #adc1 #aeb1 #aec1 #aed1 #ahe1 #ahf1 #bch1 #bga1 #cag1 #djj1 #dbj1 #dbc1 #dbg1 #dbh and #ddd4 99 99 99 99 99 ,french ,oldstyle4--,this is the title by which is known among printers a style of type-face made1 under the name of 8,elzevier10 by the ,gustave ,mayeur foundry of ,paris in #ahgh4 ,its design1 ,m4 ,mayeur tells us1 was suggested by types used in a book printed in ,leyden by the ,elzevirs in #afcd4 ,in #ahhi1 ,farmer1 ,little ,co4 of ,new ,york procured drives of five sizes from ,france and began making the letter in ,america1 naming it 8,cadmus40 ,the type foundry of ,phelps1 ,dalton ,co4 of ,boston had as early as #ahhd made a similar and rather pleasing letter in capitals only1 which it called ,french ,oldstyle4 ,theodore ,l4 ,de ,vinne was the first to use the ,mayeur ,french ,oldstyle in ,america4 ,it was a favorite with ,walter ,gilliss1 who adopted it in remodeling the catalogs and other printed matter used by the ,metropolitan ,museum of ,art1 ,new ,york4 ,illustration3 ,,example #dhe ,a study of the ,french ,oldstyle design of ,roman capitals ,the capitals of ,french ,oldstyle are especially pleasing1 and when this letter is employed they should be used in display with frequency4 ,the ,mayeur letter would be even more attractive if the proportions of its capitals were nearer those of early ,roman lettering 7,example #dfd-;,b71 as are some other ,french ,oldstyles4 ,french ,oldstyle is tall and formed with liberal space between the strokes of the lower-case letters4 ,it should always be leaded1 as its open character and large lower-case demand that it shall not be crowded4 ,like ,cheltenham1 it is best suited for pages that are narrow and long1 such as the #abmos issued in the seventeenth century by the ,elzevirs4 ,the ,mayeur ,french ,oldstyle has a slight resemblance to the type-faces found in the ,elzevir seventeenth-century books 7,example #dge71 but is a rather free rendering of those types4 ,the capitals of the ,elzevirs are more in the proportions of ,jenson's 7see ,cloister ,oldstyle1 ,example #dfg-;,a71 and the small letters 7o7 of the lower-case are not so large in comparison with the tall letters 7l7 as they are in ,french ,oldstyle4 ,the ,mayeur letter also contains the shortened descenders and short-kerned f of the nineteenth-century typefounders4 ,in fact1 both ascending and descending strokes have been shortened4 ,examples #de1 #ahc1 #ahd1 #bag1 #daj1 #daa1 and the ,jacobi specimen on page #cc show ,french ,oldstyle in use4 99 99 99 99 99 ,cheltenham ,oldstyle4--,this extremely popular type-face was designed in ,america and here developed into the most numerous family known to typefounding--at least thirty series4 ,a pamphlet issued in #aije by the ,mergenthaler ,linotype ,company tells the story of its origin4 ,ingalls ,kimball1 director of the ,cheltenham ,press1 ,new ,york1 was commissioned to suggest and supervise the making of a letter that would have both beauty and legibility4 ,cheltenham ,oldstyle resulted1 the drawings of which were made by ,bertram ,g4 ,goodhue4 ,it was realized by the designers of this type-face that space between lines increases legibility1 and experiments seem to show that the upper half of lower-case letters are easier to read than the lower half4 ,for this reason the lower-case was then designed with long ascending strokes and short descending strokes4 ,while the theory regarding the superior legibility of the upper half was announced as a new one1 it had been put forth about #ahhb by ,dr4 mile ,javal1 a ,parisian oculist4 7,see the demonstration in ,example #ejh-;,g47 ,the first announcement by the ,american ,type ,founders ,company of ,cheltenham ,oldstyle in ,the ,american ,printer1 ,january1 #aijc1 showed eleven sizes--eight-point to forty-eight-point4 ,claim was made that it was a 8compact and legible book type10 and that it would become the most popular job type4 ,because of its lean formation and close set it has been frequently used for narrow booklets4 ,a ,roman type-face entirely new in design would be a freak and unreadable in the mass4 ,as a completed design1 ,cheltenham ,oldstyle was different from others in use in #aijc1 yet it is made up of features of ,roman type design in vogue between the designing of ,jenson's letter and ,caslon's types4 ,study ,examples #dgj1 #dgb1 #dgf1 #dgg and #dgh4 ,compare with the ,portuguese capitals1 especially ,g1 ,p1 ,w1 in ,example #dhe4 ,cheltenham ,oldstyle has strength1 readability1 and a certain amount of beauty4 ,its capitals are awkwardly large in comparison with its lower-case4 ,it is shown in use with smaller capitals in ,example #dgf4 ,because of the smallness of most of the lower-case and the close set of the letters1 very little space is needed between words2 yet1 as used by printers generally1 much of the legibility the type-face possesses is lost by wide spacing between words1 especially on machines4 ,because the eye1 as a rule1 gives less attention to the lower part of a line of reading matter1 the descenders were cut off almost entirely in the designing of ,cheltenham4 ,it would be as reasonable1 because the eye usually sees only the upper part of a man1 to amputate his legs4 ,this amputation of the legs of type-faces by modern founders has maimed many other letters1 notably ,caslon ,oldstyle as we most frequently see it4 ,the serif1 which is supposed to distinguish modern types from old-style1 is very small in ,cheltenham ,oldstyle1 and is more like the serif found in modern types4 ,the general character of ,cheltenham1 however1 is extremely old-style4 ,this letter has been used in the composition of ,examples #ce1 #dj1 #dg1 #ajf1 #abb1 #abe1 #bji1 #bfg1 #bgc and #cej4 ,,development ,,of ,,the ,,roman ,,type-,,face ,in the beginning1 ,roman letters were in capitals only 7,example #dfd-;,a71 and1 carved on stone1 were at their best about the beginning of the ,christian era4 ,the present so-called ,roman1 ,italic and ,text types are descended from them4 ,illustration3 ,,example #dhf ,resetting in ,bodoni ,book of the #aghi ,bodoni specimen on page #bf4 ,like the original1 this specimen was printed and then zinc-etched ,use of the pen and brush in lettering and the tendency to letter rapidly finally gave us the lower-case type of today4 ,the evolution is pictured in ,example #dfe4 8,a0 shows the ,roman capital alphabet as made with the pen 7compare with the chiseled letters of ,example #dfd-;,a74 ,in 8,b0 we have the result 7known as uncials7 of hurried writing of the ,roman capitals1 and one can see how the lower-case letters were forming4 ,at about this point in the development1 the minuscules1 or lower-case letters1 took two separate growths--one in the direction of the 8,black ,letter0 or ,german ,text types of today1 and the other toward the 8,white ,letter0 of the ,caroline ,minuscules1 which1 as ,roman lower-case1 are now used almost exclusively in ,america1 ,england1 ,france and other countries in ,north and ,south ,america and ,europe1 the notable exception being ,germany4 ,illustration3 ,,example #dhg ,comparison of one of ,bodoni's alphabets with a new type-face4 ,both are rough1 having been zinc-etched ,when ,gutenberg began to print he used a black ,text type designed after the bold lettering of the ,german manuscript books1 and when ,germans went to ,italy to print they had difficulty in rendering into types the character of ,italian lettering4 ,example #dfh shows the efforts in this direction by ,sweinheim and ,pannartz in #adfe1 and in ,example #dfi1 types by ,john and ,wendelin of ,spires1 an improvement is noticed4 ,it remained1 however1 for the ,frenchman1 ,jenson1 to design and cut a letter that is the alpha of ,roman type-faces 7,example #dgj74 ,jenson was fortunate in the selection of a model1 and it is interesting to include in the corner for comparison a section of an ,italian manuscript of the same century4 ,development of the ,roman letter into the beautiful and legible form known as 8,caroline ,minuscules0 was due to the encouragement of ,charlemagne4 ,why it is called 8,white ,letter0 in contradistinction to 8,black ,letter0 may be seen by comparing the light-gray tone of the ,jenson page 7,example #dgj7 with the missal specimen opposite page #ad4 ,it may be well to explain that the seeming disfigurement of the capitals in the ,jenson page is due to the custom that book decorators had of placing a stroke of vermilion over the capitals4 ,in the reproduction these strokes came out black4 ,both the ,spires and the ,jenson specimens were reproduced from the original volumes in the ,typographic ,library and ,museum at ,jersey ,city4 ,example #dfe also shows1 for comparison with the style of lettering known as the ,caroline ,minuscules1 a type-face based on ,jenson's letter of #adgj1 following which are ,moxon's and ,caslon's lower-case alphabets4 ,the faithfulness with which ,jenson's type-face was followed in the designing of ,cloister ,oldstyle may be seen by comparing the ,cloister alphabet 7,example #dfg-;,a7 with the ,jenson letters as they are found in ,example #dgj4 ,a very interesting comparison can also be made of ,jenson's capitals1 on page #ad1 and ,cloister ,oldstyle1 in ,example #dgc4 ,if a comparison of present-day type-faces with very old faces is to have any value1 the present-day type-faces should be printed on antique-finished paper dampened if possible4 ,and if the old face is reproduced by zinc etching from an old book the other type-face should also be zinc-etched4 ,printing and zinc etching were resorted to in the case of this example and in other instances in this chapter4 ,in some works reproductions of type-faces are valueless and misleading1 for the reason that they have been retouched by an artist1 redrawn1 or cut in wood4 ,illustration3 ,,example #dhh ,modern ,romans of the nineteenth century in three tones ,the influence of the ,jenson style of ,roman was seen for some years1 but in #aeff 7,example #dgb7 we find a change of form4 ,the type is more condensed1 and instead of a diagonal stroke on the lower-case e there is a horizontal stroke close to the top of the letter4 ,this style1 as used by ,paul ,manutius in #aeff1 seems to have been maintained with little alteration in the work of ,daniel ,elzevir a hundred years later 7,example #dgg7 and two hundred years later in the types of ,fournier1 the ,french founder 7,example #dgh74 ,this style of letter was also used by ,plantin1 the ,antwerp printer1 in #aefi1 and for the interest there may be in it the reproduction of a bit of his work 7see page #af7 should be compared with ,example #dgf4 ,this last-mentioned example has been set in ,cheltenham ,oldstyle4 ,however1 ten-point capitals have been used with twelve-point lower-case4 ,it may be that the appearance of most reading matter would be improved if the capitals were a trifle lower in hight than the ascending strokes of the lower-case letters b1 d1 f1 h1 k1 l4 ,illustration3 ,,example #dhi ,modern ,roman as it is used on many ,american newspapers4 ,six-point1 seven-point and eight-point ,linotype ,roman ,no4 #b4 ,a readable but not a handsome type-face ,the ,national ,printing ,office at ,paris is using on some of its productions a type-face designed in #afic by ,grandjean4 ,while it is greatly like other letters of that period1 it has peculiarities1 one of which is a slight dot on the left center of the lower-case l1 a feature also present in the ,black ,letter of ,gutenberg1 and in the types of ,fust and ,schffer 7see inserts opposite pages #g and #ab74 ,we have a key to the formation of the ,roman types of the seventeenth century in the alphabets drawn by ,joseph ,moxon1 an ,english typefounder1 and published in #afgf 7,examples #dgi and #dhj74 ,these are here reproduced from ,moxon's 8,mechanick ,exercises10 as reprinted1 under the supervision of ,theodore ,low ,de ,vinne1 by the ,new ,york ,typothet in #ahif4 ,moxon says these letters are copied from the letters of ,christopher van ,dijk1 a punch cutter of ,holland4 ,as will be seen by the scale in the upper left corner of ,example #dgi1 he attempted to show how the shapes of letters were 8compounded of geometric figures1 and mostly made by rule and compass40 ,each letter was to be plotted on a framework of small squares1 forty-two squares in hight and of a proportionate width4 ,passing up this idea as impractical1 ,de ,vinne said3 ,it is admitted that the characters are rudely drawn1 and many have faults of disproportion2 but it must not be forgotten that they were designed to meet the most important requirement of a reader-- to be read1 and read easily4 ,here are the broad hair line1 the stubby serif on the lower-case and the bracketed serif on the capitals1 the thick stem1 the strong and low crown on letters like m and n1 with other peculiarities now commended in old-style faces and often erroneously regarded as the original devices of the first ,caslon4 ,the writer was curious to see how these letters of ,moxon's made up into type1 and for this purpose had the outlined alphabets inked in and reproduced in smaller size 7,examples #dgi-;,a and #dhj-;,a74 ,when ,william ,caslon1 in #agbj1 cut his first ,roman letter he may have had ,moxon's ,roman alphabet before him4 ,there are some resemblances1 but that he did not slavishly follow the ,moxon letters may be seen by comparing both type-faces 7,examples #dfe-;,f and #dfe-;,g74 ,we could be more familiar with the types of ,baskerville than we are1 but now that the typefounders are reproducing them 7,example #dhc7 we shall come to a realization that they rival the letters of ,caslon in beauty and readability4 ,john ,baskerville1 the ,english typefounder and printer1 spent six years and thirty thousand dollars in designing and cutting his first font of type4 ,in #ageh he had cut eight fonts of ,roman1 but other printers would not buy his types1 preferring those of ,caslon4 ,two years later he attempted to sell his types and retire from the printing business4 ,after his death1 in #agge1 his widow sold all his type and type-making material and they were removed to ,kehl1 near ,strassburg4 ,there is a legend that the types finally reached ,france and were melted into bullets for the ,french ,revolution4 ,it is a pity that ,baskerville's original punches are not available1 like those of ,caslon1 so that printers of today could make use of the splendid type-faces that were unappreciated in his lifetime4 ,however1 ,baskerville ,roman is a satisfactory reproduction of the types of ,john ,baskerville4 ,like ,caslon ,oldstyle1 however1 it should be printed on other than gloss-surfaced paper 7,example #dfc71 as then1 especially in the smaller sizes1 the good qualities of the letter are brought out and it is made more legible4 ,when ,mrs4 ,henry ,caslon1 in #agif1 8,bodoni-ized0 the types of ,william ,caslon the first1 she was probably influenced as much by the types of ,baskerville as by those of ,bodoni4 ,this is borne out by the comparisons in ,example #dhd4 ,in 8,a0 is shown an alphabet of ,baskerville ,roman as now made in ,america1 and in 8,b0 ,mrs4 ,caslon's ,modern ,roman4 ,the third type-face 7,c7 is ,scotch ,roman1 one of the six selected representative type-faces 7,example #dfg-;,d74 ,john ,baptist ,bodoni made some very good type-faces1 but it is not difficult to lay at his door the responsibility for throwing typography out of gear for almost a century4 ,thru his influence and the desire of ,scotch typefounders to improve on his work1 the nineteenth century was inflicted with those stiff 8,modern ,romans0 7,example #dhh7 that in all their inhuman 8perfection0 yet abide with us and are still liked by ,victorian persons of staid tastes4 ,many of our school children are being brought up on them1 and in lighter form 7,example #dhi7 they are being fed to millions of ,americans thru the homely typography of most newspapers4 ,this double influence works for a lowering of typographic taste among printers and buyers of printing that for many years will keep the general standard of printing below what it should be4 ,to return to ,bodoni4 ,this ,italian typefounder's types1 as a rule1 were not so faultlessly finished as are the recent types that bear the name4 ,there may be seen in ,example #dhg the alphabet of a type-face cut by ,bodoni in #agij1 together with an alphabet recently cut in ,america4 ,the ,bodoni type of the ,american foundry is a clever copy of the original1 yet there is in the copy much of the modernization of the ,scotch founders of the nineteenth century4 ,bodoni ,book is a better-looking and more readable type-face4 ,illustration3 ,,example #dia 7,a7 ,optical changes caused by adding ,vs at end of strokes4 7,b7 ,appearance of vertical stroke altered by adding small horizontal strokes1 or serifs1 and by joining both with curved line4 7,c7 ,cross strokes or serifs added to ,e ,illustration3 ,,example #die 7,a7 ,the diagonal stroke of the first ,roman type-faces4 7,b7 ,the lower cross stroke or serif extended to right on the ,roman type-face of ,jenson ,the ,scotch typefounders also attempted to improve the types of ,william ,caslon1 and the result of their labors is known as ,modernized ,oldstyle 7,example #dff-;,a74 ,this kind of type was first made about #aheb for ,miller ,richard of ,edinburgh1 ,scotland4 ,with ,caslon ,oldstyle unknown1 ,modernized ,oldstyle would be a rather satisfactory letter1 but with ,caslon ,oldstyle procurable there seems to be no need of the ,scotch letter4 ,there was brought out in #ahhd by the ,mac,kellar1 ,smiths ,jordan ,company a decorative ,modernized ,oldstyle under the name of ,ronaldson ,oldstyle4 ,,characteristics ,,of ,,roman ,,type-,,faces ,the ,serif4--,the serif is that portion of a type-face indicated by the small black sections in ,example #dib4 ,it has a powerful influence in determining the character and style of a face of type4 ,as an experiment1 we will make three vertical lines exactly the same length 7,example #dia-;,a71 leaving one as it was first drawn1 but on the other two adding ,v-shaped marks1 because of which the character of the line is changed and the length seemingly affected4 ,however1 the serif1 when properly used1 has a decorative quality and is to type what the capital is to the column and the cornice to the building in architecture4 ,illustration3 ,,example #dic ,by altering the serifs1 8old-style0 type is changed into 8modern40 ,from ,bullen ,after further experimenting with three vertical lines that we will now identify as capital ,is 7,example #dia-;b71 there can be no doubt that the serif is necessary as a finishing stroke4 ,the serifless ,i suggests a man in the public streets without hat or shoes4 ,the crudest manner of adding a serif is to place a small horizontal stroke at the head and foot of the long vertical line1 but the sharp angles thus formed can be softened and one stroke joined to another by a curve1 with the corner filled in1 as is shown4 ,these two illustrations of the serif are merely for the purpose of introducing the novice to the subject4 ,the fact that there are so many different faces of type is due somewhat to the manipulation of the serif--changes of length1 thickness1 direction and curve4 ,illustration3 ,,example #dib ,the black sections indicate the serifs1 and show the differences in serif construction on several well-known type-faces4 ,from ,bullen ,it is by the serif that in most cases old-style types are distinguished from the so-called modern ,romans4 ,an interesting demonstration of this was made by ,henry ,l4 ,bullen with ,century ,expanded1 a modern ,roman 7,example #did74 ,the first line shows the letter unchanged4 ,as the serifs in most old-style faces project diagonally1 he1 in the second line1 altered the modern serifs to conform to this idea4 ,the third line shows ,century ,oldstyle as it actually appears in type4 ,there is1 of course1 more to a true old-style face than mere change of serifs1 and in the actual cutting of the types other minor alterations were made1 as will be seen by study of the third line4 ,illustration3 ,,example #did ,by altering the serifs 8modern0 type is changed into 8old-style40 ,from ,bullen ,illustration3 ,,example #dif ,in most ,roman alphabets all vertical strokes are thick1 excepting in ,m1 ,n1 ,u4 ,horizontal strokes are thin4 ,diagonal strokes running down from left to right are thick and from right to left are thin1 excepting ,z1 z4 ,this process was reversed by ,mr4 ,bullen1 and in ,example #dic certain serifs of ,caslon ,oldstyle are in the letters i1 n1 k1 p1 h made horizontal1 and in the letters ,e1 ,l1 s made vertical4 ,modernized in this manner1 ,caslon ,oldstyle resembles ,scotch ,roman 7,example #dhd-;,c74 99 99 99 99 99 ,thick and ,thin ,strokes4--,the inbred good taste and instinct for beauty possessed by the ,roman calligrapher which directed him to add the serif to his lettering also impelled him to vary the width of the strokes 7,example #dfd-;,a74 ,illustration3 ,,example #dig 7,a7 ,no serifs or stroke contrast4 7,b7 ,serifs added4 7,c7 ,with serifs and thick and thin strokes ,illustration3 ,,example #dih ,vertical thick strokes were made with pen held straight ,illustration3 ,,example #dii ,diagonal thick strokes were made with pen held at a slant ,the most uninteresting kind of lettering is that which is not only serifless but without contrast in the width of its strokes--lettering that is known to the printer as ,block1 or ,gothic 7,example #dig-;,a74 ,dignity and something of good looks are given to it by adding serifs 7,example #dig-;b71 yet it is not eligible for admission to the select society of pure ,roman type-faces until the various strokes show1 properly proportioned1 a difference in thickness 7,example #dig-;,c74 ,the difference should be at least as two to one4 ,it is about that in ,cloister ,oldstyle1 but in ,baskerville ,roman 7,example #dif7 it is as six to one4 ,when the difference in thick and thin lines is exaggerated1 as was done in the nineteenth century1 the result is a caricature and type that is almost impossible to read1 even in large sizes4 ,illustration3 ,,example #ejj ,heavy strokes in the lower left and upper right part of curves ,illustration3 ,,example #eja ,heavy strokes in vertical positions ,generally the distribution of thick and thin lines in ,roman letters1 as shown in ,example #dif1 is as follows3 ,all vertical strokes are thick 7excepting in ,m1 ,n1 ,u74 ,horizontal strokes are thin4 ,diagonal strokes running down from left to right are thick1 and from right to left are thin 7excepting ,z1 z74 ,when this rule is reversed1 as was actually done by a nineteenth-century typefounder in a weird attempt at novelty1 there is begotten a monstrosity4 ,good typography requires that basic principles be adhered to4 ,in the recent recutting of the ,roman type-face of ,nicholas ,jenson1 the founders went all the way back to his type for their models1 and did not content themselves1 as they did near the end of the last century1 with copying ,morris's type or the faces of other foundries4 ,as ,jenson based the design of his types closely on ,italian manuscripts1 we have in such a face as ,cloister ,oldstyle many of the characteristics of the pen-made letters1 one of which is the position of the thick strokes on round letters4 ,the thick strokes on the ,o1 as an instance1 instead of being vertical1 are diagonal4 ,this is due to the manner of holding the pen when lettering4 ,when held to write vertically and horizontally1 the pen makes lines as in ,example #dih2 when held at a slant1 the pen makes thick lines diagonally as in ,example #dii4 ,the ,caroline ,minuscules1 upon which the lower-case types of ,jenson were based1 were written with a slanted pen4 ,in ,example #ejj are to be seen two well-known type-faces on which the slanted-pen thick strokes are used4 ,in ,example #eja are two faces that could be made by writing vertically4 ,it was ,mr4 ,goudy who reintroduced into type forms a characteristic of ,jenson's ,roman--that of having the lower serifs extend more to the right than to the left1 as shown by ,example #die-;,b4 99 99 99 99 99 ,ascenders and ,descenders4--,not a little of the beauty of ,roman type-faces lies in the ascending and descending strokes1 and one reason why our types are becoming more beautiful is that we are going thru a period of restoration--the long-missing ascenders and descenders are being given back to us1 after an absence of many years4 ,what should be the length of these strokes8 ,edward ,johnston1 in 8,writing and ,illuminating and ,lettering10 illustrates this point 7,example #ejc71 and says3 8,the lines in massed writing are kept as close together as is compatible with legibility4 ,the usual distance apart of the writing lines is about three times the hight of the letter o4 ,the descending strokes of the upper line must clear the ascending strokes of the lower line40 ,bodoni1 the ,italian typefounder1 had a system of measurement for the proportions of his lower-case letters3 8,divide the body of the type into seven parts and let two at the top and two at the bottom be for the ascenders and descenders and the three in the middle for the other letters40 ,the ascenders and descenders1 as found in ,cloister ,oldstyle and in the original ,caslon ,oldstyle1 approximate the proportions given by ,bodoni4 ,half the letters of the lower-case alphabet--thirteen--are of the hight of the o1 and we will call them the small letters4 ,the letters with ascending strokes number eight1 with descending strokes five 7,example #ejb74 ,because the descending letters are only five in number1 they are most frequently picked out for mutilation4 ,this sawing off of a portion of the descending strokes cripples the letters just as the sawing off of a portion of a man's legs cripples his body4 ,not only is typography made imperfect by missing descenders1 but1 generally1 the practice has worked toward the degeneration of type print1 making it less easy to read1 as the lines set too close together4 ,when the descenders are of proper length they maintain a strip of blank space between lines1 but when they are cut off the printer must add leads to recover the space--which he seldom does4 ,the printer and user of typography have been using false logic in favoring type-faces that have descenders cut off4 ,they think they are getting more for their money when they obtain a normal twelve-point type-face on an eleven-point body1 but as the one-point linear space must be restored by leading1 there is nothing gained4 ,scientists1 in the study of eye hygiene1 have ascertained that a certain amount of space between lines is necessary to save eyestrain1 and the descenders are essential in furnishing some of this needed space4 ,illustration3 ,,example #ejb ,of the twenty-six letters of the alphabet1 eight have ascending strokes1 five have descending strokes1 and thirteen have neither ,the descending curves of the lower-case g are a thing of beauty when allowed freedom 7,example #ejd-;,a71 but on the shortened plan they resemble a man cramped with rheumatism1 in need of crutches4 99 99 99 99 99 ,proportion of ,letters4--,one of the elements in the beauty of the ancient ,roman stone-carved alphabet is the proportion of its letters4 ,goudy1 drawing lettering and designing type-faces modeled after the inscription capitals of the ,romans1 has had a large influence in reviving good proportion in type4 ,cloister ,oldstyle 7,example #dfg-;,a71 designed by ,l4 ,m4 ,benton after ,jenson's letter1 is an excellent study of the old proportions introduced in present-day type-faces4 ,however1 there is no type that has the beauty of proportion to be found in the ,roman capitals 7,example #dfd-;,a7 reproduced from an inscription on the ,trajan column at ,rome4 ,the author has endeavored1 in plain lines1 to trace these capitals and show their proportions on a background of squares4 ,it will be seen that the width of the letters ,b1 ,e1 ,f1 ,l1 ,p1 ,s is less than half their hight1 and about half the width of ,o1 ,m1 ,q1 ,c1 ,g and ,d4 ,it is this contrast in width as well as in shape that makes the alphabet as a whole so pleasing4 ,comparison of the capitals of the six standard faces in ,example #dfg will show that 8old-style0 faces tend toward the old ,roman proportions and that 8modern0 types1 such as ,bodoni ,book and ,century ,expanded 7,example #dff-;,b71 reveal an effort to make the capitals as uniform in size as possible4 ,typewriter types are an example of what happens when this idea of uniformity is carried to its logical end4 ,it is really not necessary to throw ,beauty out of the back door as ,utility is admitted at the front4 ,both can live happily under the same roof4 ,as will be seen by ,example #ejg1 the lower-case letters are made up of a variety of curved lines1 and vertical1 horizontal and diagonal strokes1 the purpose being the same as that of having capitals of different widths1 to make them when joined together in words readable and pleasant to look at4 ,the word 8minimum0 is an example of unpleasant monotony in the repetition of similar forms4 ,illustration3 ,,example #ejc ,in good lettering1 the descending strokes are as long as the ascending strokes4 ,from ,johnston ,illustration3 ,,example #ejd 7,a7 ,how descenders are frequently cramped4 7,b7 ,compression of upper or lower ends of letters as found in 8improved0 ,caslon ,oldstyle ,,legibility ,,of ,,type-,,faces ,type matter should be easy to read1 and this end is attained not only in the designing of type-faces but in the manner of their use4 ,many tests for legibility have been made in this country and in ,europe1 but none of them1 so far as the writer knows1 has considered the manner of printing the types and the character of the paper surface as factors in legibility1 altho glossy paper has been condemned because of its reflection of light1 and cream-white paper preferred to blue-white4 ,there is shown as ,example #dfc a test made in the printing of the same type-faces on a hard-finished paper and on a soft-finished paper4 ,the ,caslon and ,bodoni types are not only more legible on the soft-finished stock1 but the character of the designs is brought out4 ,the results of this demonstration should not be wondered at1 as the original ,caslon and ,bodoni types were intended to be printed on soft-finished stock1 and not on highly calendered coated paper4 ,studies in legibility are presented in ,example #ejh4 ,as there are many details that count in the production of good-looking typography1 so there are seeming trifles which go to make typography easily read4 ,in 8,a0 there are groups set in ,cheltenham ,oldstyle and ,cloister ,oldstyle4 ,as ,cheltenham is narrower in form and closely set1 it is more suitable for long1 narrow pages or columns4 ,cloister1 on the other hand1 conforms better to wider pages and columns4 ,in lighter types 7,b7 ,bodoni ,book and ,caslon ,oldstyle are similarly compared4 ,for further illustrations of this point see ,examples #eji and #eaj4 ,one of the tests previously referred to proved ,gothic 7,c7 the most legible type-face4 ,this unshaded1 serifless type1 which has long been popular on sales bills and for advertisements in some newspapers and trade publications1 is not approved by those who believe there should also be character in type-faces1 as it lacks the two essentials of typographic beauty--serifs and contrasting thickness of strokes4 ,then1 again1 it is not as legible in the mass as in single lines4 ,illustration3 ,,example #eje ,in the old-style ,arabic numerals1 five figures descended1 two ascended and three did neither4 ,the modern style is to have them of one hight ,while bold-face types1 especially those with decided contrasts in thickness of strokes1 are legible when used in groups of two to a half-dozen words1 they greatly tire the eye when used for entire pages of text4 ,for this reason ,bodoni ,book is to be preferred over ,bodoni for text purposes 7,d74 ,the writer came to this conclusion when1 during the reading of a book set in ,bodoni1 he found it necessary frequently to stop because of eye fatigue produced by the sharp contrasts and bewildering medley of light and shade4 ,it is generally conceded by authorities that lower-case types in the same size of letter are more legible than capitals 7,e7 and should be used for headings and for display lines in advertising matter1 where easy reading is essential4 ,assuming that the largest possible face on the smallest possible type body results in legibility and allows more matter on a page1 both users and makers of type have in many fonts caused the descending and ascending strokes to be shortened4 ,the lower-case letters g1 j1 p1 q and y have been the principal sufferers1 as they are the only ones with descending strokes4 ,the ascending strokes of letters b1 d1 f1 h1 k and l have been treated with more respect1 and their principal ancestor1 the ,caroline ,minuscule1 would not have so much difficulty in recognizing them4 ,the left portion of section ,f of ,example #ejh shows what this practice has done to ,caslon ,oldstyle4 ,it has also affected legibility by lessening the space between lines 7see also ,example #eji71 and reading1 already difficult1 is made still more so by the excess space that careless hand compositors and 8speedy0 machine operators place between words4 99 99 99 99 99 ,illustration3 ,,example #ejf ,the space between words in good lettering1 according to ,johnston1 is less than the width of letter 8o0 7lower-case7 ,illustration3 ,,example #ejg ,the lower-case letters grouped according to formation4 ,as generally mixed in various combinations1 distinctive word groups are formed4 ,the word 8minimum0 is an exception ,space ,between ,words4--,the eyes can1 in the same space of time1 read many more words if the words are narrowly spaced than if they are widely spaced4 ,the early printers knew this and set type accordingly4 ,when lower-case letters are widely spaced one letter must be read at a time 7#ejh-;,i74 ,when words are widely spaced one word must be read at a time4 ,a person accustomed to reading reads by thoughts--groups of words or sentences4 ,even in the schools they are discarding the long-used method of teaching the ,a-,b-,cs1 and instead of at first learning each letter separately1 the child learns to know words by their formation and to read by word groups4 ,the present prevalence of wide spacing in the composition of books1 catalogs1 pamphlets1 periodicals and newspapers is a legacy from the ante-machine period4 ,in hand-set days1 job and book compositors1 when they were called on to set so-called straight matter1 were required to use great care in spacing4 ,in the spacing out of a line the conscientious compositor would remove thick spaces and insert thin spaces rather than add much extra space between the words4 ,the newspaper compositor1 on the other hand--he usually being a piece worker--seldom thin-spaced1 but liberally added space between words1 especially on occasions when his 8take0 was to 8meet0 that of another compositor4 ,when machine composition was introduced the spacing practices of the news-room hand compositor were passed along to the machine1 with the result that today a page of machine matter set in the average careless way shows open spaces running irregularly down the page1 resembling a trench map of a modern battlefield4 ,close spacing and the resultant neat and readable appearance of the page are possible in machine composition1 as many users of these machines are obtaining such results2 but the general standard1 due not a little to the demand for rapidity and somewhat to ignorance of the fundamentals of good typography1 is humiliatingly low4 ,the design and form of the type-face1 of course1 determine the amount of space between words4 ,johnston tells letterers that 8the average space between two words is less than the width of the letter o40 ,example #ejf is illustrative4 ,a newspaper editor some years ago asked the hand compositors to thin-space1 as there was a great deal of copy that day1 whereupon the printers all laughed in ridicule of the lay notion that such a procedure would be of much use4 ,that the request was not such an impractical one was recently borne out by an experience of a periodical publisher1 who1 on the machines in his own shop1 produced close-spaced matter4 ,in an emergency an outside machine-composition house was called on to set a part of the copy4 ,when the work of making up was completed1 it was found that there were several galleys of matter that could not be used1 altho there was no more copy than usual4 ,by again referring to ,example #ejh-;,f it will be seen that in the left group spacing between words is lavish1 while in the right group there is no waste of such spacing4 ,altho there is more space between the lines of the right group1 it contains three more words than the left group4 ,in the lower part of ,example #ejh is the word 8,typography0 set in small six-point1 and near the word is the lone letter a1 same size4 ,it is difficult for a person without excellent eyesight to identify the small six-point 8a10 but he can more easily and as quickly read the word made in the same size from ten letters4 ,when the letters of the word 8,typography0 are widely spaced 7even in larger size1 as shown7 they must be read one letter at a time1 but when closely assembled they can be seen at a glance and read ten times as rapidly4 ,an experienced proofreader does not read a galley letter by letter1 but recognizes a wrong type because the natural formation of the word has been broken4 ,carrying the experiment further1 place in 8open formation0 the words 8,art and ,practice of ,typography10 and they must be read slowly one word at a time1 but group the words closely1 as has been done in the lower left of the same ,example #ejh1 and the entire group of words can be read practically at a glance4 ,just as an illiterate person laboriously reads letter by letter1 a young child beginning to read will see only one word at a time4 ,while on rudimentary primers the words should be isolated1 there is no necessity for wide spacing between words in text matter intended for adults4 ,illustration3 ,,example #ejh ,legibility and other qualities illustrated ,length of ,lines4--,this leads to consideration of the effect length of lines has on reading4 ,the ,board of ,education of the city of ,new ,york disqualifies textbooks in which the length of line is more than #ajj millimeters 7about twenty-four picas1 or four inches74 ,the maximum length of line recommended by the ,british ,association for the ,advancement of ,science in #aiab is about the same4 ,professor ,huey1 in 8,the ,psychology and ,pedagogy of ,reading0 7#aijg71 says3 8,there is a general consensus in favor of the shorter as against the longer lines1 with a tendency to favor #ij millimeters as a maximum1 some placing the maximum at #ajj millimeters40 ,dr4 ,javal1 the ,french oculist1 who thirty-five years ago made tests in typography1 believes the maximum should be considerably below #ij millimeters 7about #ba picas74 ,it would be well1 in order to arrive somewhere in determining the proper length of line1 to consider the size and kind of type that makes up the line4 ,the author asks consideration of ,examples #eji and #eaj4 ,the length of line is limited by authorities because the eye finds it difficult to read a long line of comparatively small type4 ,isn't it true that healthy eyes can read a line of type twelve inches long set in fifty-four-point ,caslon ,oldstyle1 say1 with the same ease as a line four inches long set in eighteen-point ,caslon ,oldstyle8 ,by the same reasoning1 the line of twelve-point ,caslon ,oldstyle set three inches wide 7,example #eji7 is as easily read1 after the eyes are focused on it1 as the line of eighteen-point ,caslon set four inches wide4 ,the author suggests1 then1 that the proper length of type lines be ascertained by measuring one-and-a-half alphabets of the lower-case of the desired type1 as is demonstrated in ,example #eaj4 ,let us try out the top group--,caslon ,oldstyle4 7,this type-face seems smaller1 according to body sizes1 than ,scotch ,roman1 for the reason that its descending strokes have not been cut off1 while those of the ,scotch ,roman group have been shortened2 but of this more later47 ,a lower-case alphabet-and-a-half of twelve-point ,caslon ,oldstyle 7with long descenders7 measures #ag picas in length1 as will be seen in ,example #eaj4 ,how it appears set in words in two lines of the same measure is to be seen in the upper part of ,example #eji4 ,according to the working out of the plan1 #ag picas is the ideal length of line for books using this twelve-point type4 ,by referring back to ,example #abg in the chapter on 8,books10 the theory will be found borne out in practical use on a model book page4 ,testing the length of lines by reading 7,example #eji71 it will be found1 if the distance between the eyes and book is lengthened as the sizes grow larger1 that the line is short enough not to necessitate a hunt for the beginning of the second line after the first is read4 ,the optical disadvantage of using in one piece of printing type-faces of any great contrast in sizes may be proved by focusing the eyes so as easily to read the eighteen-point size and then changing quickly to the eight-point size1 attempting to read the latter without again focusing the eyes to fit the smaller type4 ,there is a technical as well as an optical reason for determining the length of line by measurement of the types themselves4 ,it will be seen by ,example #eji that the copy adjusts itself to the various lengths of lines1 or1 in the vernacular of the printer1 8works out line for line40 ,if fourteen-point type1 instead of twelve-point type1 were set in lines measuring fifteen picas in length1 the compositor would have more difficulty in adjusting the spaces between words1 as these spacing points would number two less4 ,this difficulty is usually solved by regrettable wide spacing between words or more regrettable spacing between letters4 ,testing types used on newspapers1 selecting for the purpose the most used newspaper linotype face 7see lower part of ,example #eaj71 we find that the length of line for six-point should be thirteen picas and for seven-point fourteen picas4 ,as actually used in newspapers1 the length of line is usually twelve and a half or thirteen picas4 99 99 99 99 99 ,approved ,type ,sizes and ,space ,between ,lines4--,the type in the upper part of ,example #eji also illustrates the sizes of type and the amount of space between type lines that investigators have determined are minimum for use on schoolbooks4 ,dr4 ,cohn1 whose findings in these matters have been practically indorsed by educational boards and writers on school hygiene1 stipulates that for first-year school children the vertical measurement of the lower-case o should be at least #b4f millimeters1 with space between lines 7measuring vertically between a lower-case o in one line and a lower-case o in the line above or below7 of #d4e millimeters4 ,twenty-two-point ,caslon ,oldstyle1 with long descenders 7not shown here71 conforms to these measurements4 ,for the second and third years1 the measurement of the o should be at least #b millimeters1 with space between lines of #d millimeters4 ,eighteen-point ,caslon ,oldstyle1 with long descenders 7as shown in ,example #eji71 conforms to these measurements4 ,the fourteen-point size meets the requirements for the fourth school year--at least #a4h millimeters1 with space between lines of #c4f millimeters4 ,after the fourth school year the type should measure not less than #a4f millimeters1 with space between lines of #c millimeters1 to which twelve-point ,caslon ,oldstyle1 with long descenders1 conforms4 ,the descending strokes are sufficiently long in the eighteen-point size to maintain between the lines of type the amount of spacing stipulated by ,dr4 ,cohn1 but in the fourteen-point size it was necessary to add a two-point lead and in the twelve-point size a one-point lead4 ,in comparing one font of type with another1 it is not accurate to compare1 say1 eleven-point with eleven-point4 ,not infrequently one type-face has been pronounced more readable than another1 when the preferred type-face was really a twelve-point face on an eleven-point body1 with the descending strokes mutilated to allow for such an arrangement4 ,the faces should be compared by the ,cohn method given above4 ,the panel inserted in ,example #eji is illustrative4 ,the three letters 7,hdp7 at the left are twenty-four-point 8lining0 ,caslon2 the three letters 7,hdp7 at the right are thirty-point ,caslon ,oldstyle ,no4 #dga4 ,the economical printer too often prefers the 8lining0 fonts1 as he does not need to buy waste 787 metal4 ,it is the same sort of reasoning that sees in the park spaces of the cities real-estate waste4 ,the laws of compensation in good typography require1 where one point or two points or more are unwisely removed by shortening descenders1 that these points shall be restored by leading4 ,so where is the gain by mutilation8 ,,italic ,,types ,italic1 the graceful1 inclined1 feminine type that is now mated with most ,roman types1 was not known by ,jenson or his contemporaries4 ,it made its appearance for the first time in #aeja on a book printed and published at ,venice1 ,italy1 by ,aldus ,manutius4 ,in that volume1 an edition of ,virgil1 ,aldus gave credit for the cutting of the face to 8,francia of ,bologna10 who has since been identified as the great painter and contemporary of ,leonardo da ,vinci4 ,the legend has been passed along for many years that ,italic was fashioned after the handwriting of the ,italian poet ,petrarch1 but specimens of his handwriting do not bear the proper resemblance1 and there are now those who scoff at the story4 ,however1 the ,aldus ,italic is not1 as one writer declares1 merely an inclined ,roman4 ,as it has been recut by the ,american ,type ,founders ,company and mated with ,cloister1 the recut ,roman letter of ,jenson1 there is opportunity to compare ,italic and ,roman lower-case1 which is done in ,example #eae4 ,it will be seen that1 while there is a family resemblance1 there are many differences other than that of mere inclination4 ,italic capitals1 however1 are inclined ,roman letters1 but it should be remembered that ,aldus and ,francia did not make or use ,italic capitals1 but that with the slanting lower-case letters ,aldus used small ,roman capitals4 ,example #eac shows how this was done1 and this example1 by the way1 is a resetting in ,cloister ,italic and ,roman small capitals of the ,aldus page1 reproduced on page #ae of the chapter on 8,the ,spread of ,typography40 ,in that chapter are included further facts about this famous printer4 ,illustration3 ,,example #eji ,the various sizes of type set to lengths determined by measuring as in ,example #eaj4 ,also showing the space between lines needed for easy reading4 ,the size of type-face and space between lines of the eighteen-point1 fourteen-point and twelve-point of the ,caslon group have been authoritatively recommended for schoolbook printing 7,read page #ahh7 ,illustration3 ,,example #eaj ,ascertaining the proper optical length of line by measuring a lower-case alphabet-and-a-half of each size and style of type4 ,this method furnishes a practical rule for determining lengths of line4 7,read pages #ahg and #ahh47 ,the accompanying scales may be used for measurements ,illustration3 ,,example #eaa ,moxon's ,italic capitals of #afgf ,examples #eaa1 #eab and #ead are reproductions of ,moxon's drawings 7#afgf7 of the ,italic types of a ,dutch punch cutter4 ,they show the character of ,italic used in the seventeenth century4 ,the long s of that time is included in ,example #eab1 and ,example #ead shows the decorated ,italic capitals that we know as 8,swash letters40 ,illustration3 ,,example #eac ,resetting in ,cloister types of an example on page #ae of this book of the original ,italic types of ,aldus and ,francia ,swash ,italic capitals and the old-style long s are to be had with ,caslon ,oldstyle4 ,see ,example #eag4 ,the ,italic mates of a few of the present-day ,romans are shown in ,example #eaf4 ,illustration3 ,,example #eab ,the ,italic lower-case of ,moxon1 with long 8s0 77 ,illustration3 ,,example #ead ,decorated capitals1 or ,swash letters1 as drawn by ,moxon from ,dutch sources ,illustration3 ,,example #eae ,the first ,italic was not made merely by inclining the ,roman lower-case letters4 ,cloister ,oldstyle 7upper line7 is modeled after one of the first ,roman types1 that of ,jenson1 cut in #adgj4 ,cloister ,italic is modeled after the first ,italic type of ,aldus and ,francia1 #aeja ,italic types1 besides the instances previously mentioned1 may be seen in use on pages #ag1 #ah1 #ai1 #bj1 #bb1 #bc1 #bd1 #be1 #bf1 #cb1 and in ,examples #de1 #ih1 #ajj1 #abh1 #ach1 #aci1 #add1 #aeb1 #aeh1 #afh1 #afi1 #agj1 #aga1 #ahj1 #ahe1 #aia1 #bae1 #bbb1 #bbc1 #bbd1 #bcb1 #bdj1 #bde1 #bdf1 #bej1 #bfb1 #bhb1 #bib1 #bid1 #big1 #bii1 #caj1 #caa1 #cac1 #cad1 #cae1 #caf1 #cbe1 #cbf1 #cbi1 #cca1 #ccb1 #ccf1 #cdb1 #cdc1 #cde1 #cdf1 #cdi1 #cfc1 #cgb1 #cgd1 #cge1 #chd1 #chg1 #cij1 #cid1 #cif1 #cih1 #cii1 #dja1 #djb1 #djd1 #dje1 #djf1 #dab1 #dac1 #dad1 #dah1 #dbj1 #dbc1 #dbd1 #dbf1 #dbh1 #dbi1 #dgb1 #dgg1 #dha and #dhc4 ,illustration3 ,,example #eaf ,a few ,italic type-faces ,,text ,,types ,gutenberg and other ,german printers who followed him fashioned their type-faces after ,black ,letter1 the formal writing of the ,german scribes1 as ,jenson fashioned his type-face after ,white ,letter1 the formal writing of the ,italian scribes4 ,the ,white ,letter of ,jenson grew into the ,roman types that today are used almost exclusively in ,france1 ,england and ,italy and in our own country1 while ,black ,letter developed into the ,german types that are almost exclusively used in the ,german ,empire4 ,as this is being written1 the ,great ,war is being fought4 ,america has just entered it1 and it is a coincidence that the countries favoring ,white ,letter are on one side in the struggle and the countries favoring ,black ,letter on the other side4 ,the years that follow the war may see1 so far as general reading purposes are concerned1 the gradual elimination of the letter we know as ,text and the largely increased use of ,roman characters in the books and newspapers of all races4 ,the ,germans are already favoring a ,roman half ,text in character 7,example #eba74 ,illustration3 ,,example #eag ,complete ,roman and ,italic alphabets of ,caslon ,oldstyle with 8,swash letters0 and long 8s0 77 ,text type1 besides being known as ,black ,letter1 is also called ,gothic and ,old ,english2 ,gothic because of its preference by ,gothic or ,german peoples1 and ,old ,english because of its use by ,wynkyn de ,worde and other early printers of ,england4 ,moxon1 in #afgf1 drew an alphabet of ,text letter in both capitals and lower-case 7,examples #eah and #eai71 and ,caslon1 in the eighteenth century1 cut a ,text letter similar but somewhat thinner in form4 ,alteration in capitals works great changes in ,text type4 ,text letter in a variety of designs is used in ,america for special purposes--sometimes as headings of newspapers or for a line on stationery1 but because it is generally considered illegible it seldom is given place1 except in ,german-language newspapers1 on body portions of printed work4 ,the story of the evolution of ,text type from ,roman capitals has already been told on pages #e and #f of the chapter1 8,when ,books ,were ,written10 and under the head1 8,development of the ,roman ,type-,face10 in this chapter4 ,it is illustrated in ,example #dfe4 ,illustration3 ,,example #eah ,illustration3 ,,example #eai ,text capitals and ,text lower-case letters as drawn by ,moxon in #afgf ,illustration3 ,,example #ebj ,two standard ,german type-faces1 the ,fractur and the ,schwabacher ,illustration3 ,,example #eba ,the half-,gothic and half-,roman type-face now favored in ,germany as the nearest approach to the ,roman allowed by national prejudice of readers ,text type may be seen in use1 even to a small extent1 on pages #e1 #g 7insert71 #h1 #i1 #ab1 #ac 7insert71 #ad 7insert71 #af1 #ag1 #ah1 #bg 7insert71 #ca1 and in ,examples #ai1 #bg1 #cb1 #cg1 #ge1 #gf1 #ajg1 #aae1 #aag1 #aah1 #acg1 #adc1 #ade1 #adf1 #adg1 #aeg1 #aeh1 #aei1 #bjj1 #bja1 #bjb1 #bjd1 #bjf1 #baf1 #bai1 #bbj1 #bba1 #bbg1 #bbh1 #bcb1 #bcc1 #bcg1 #bda1 #bdc1 #bdd1 #beg1 #bgg1 #bhe1 #bhg1 #cja1 #cjg1 #cai1 #ccc1 #ccf1 #cdg1 #cec1 #ced1 #ceh1 #cfa1 #cib1 #djd1 #dje1 #dba and #dbe4 ,illustration3 ,,example #ebb ,several representative ,text types ,,block ,,types ,the style of letter known as 8,block10 because of its plain1 square appearance1 is more in use than it should be 7,example #ebc74 ,it serves a purpose for very small sizes of lettering on lithographed stationery and on blank work1 its capitals being more legible than regular ,roman capitals in diminutive form2 but its use on periodical and newspaper advertising1 books and general job work is deplorable4 ,it is an unfinished ,roman letter1 as shown by ,example #dig4 ,it is really not admissible to the company of the educated and informed until serifs have been added and a difference in thickness of strokes is visible4 ,some ,american typefounder many years ago called this style of face 8,gothic10 and under that name this rather questionable type is widely known1 probably better known than many worthier faces4 ,it is possible1 also regrettable1 that it is the 8best seller0 of the type foundries' product4 ,over in ,scotland and ,england the type is called 8,sans-,serif0 and 8,grotesque02 in ,germany it is known as 8,block02 in ,france and ,spain as 8,antique40 ,examples showing use of 8,block0 type or 8,gothic03 #bfc1 #bgf1 #bia1 #cje1 #cah1 #cbj1 #cba1 #cgc1 #djd1 #dje1 #djf4 ,poster artists of ,germany and ,austria have developed the 8,block0 type into a very strong letter of wide strokes1 which1 when printed in color1 show forth color values attractively 7,example #bce1 chapter on 8,announcements074 ,this style of letter has been brought out in type form in ,germany and in ,america4 ,alphabets of the ,american type 7,publicity ,gothic and ,advertisers' ,gothic7 are shown in ,example #ebd4 ,as indicated by the titles1 these types serve a special purpose4 ,,bold ,,types ,there is a legitimate use for bold type-faces1 especially in small sizes1 on books of reference1 schoolbooks1 catalogs1 and similar printed work1 but it is safe to wager that half the bold types in use1 and almost all of the large sizes1 could well be dispensed with4 ,when used to a great extent1 the printed work on which it appears is unattractive4 ,bold type is to typography what the bass drum is to music3 it fits in nicely for purposes of accentuation and emphasis2 but who likes a bass drum solo8 ,however1 a slight strengthening of lines sometimes serves special purposes well4 ,daniel ,elzevir used a letter with slightly deepened strokes for the main line in ,example #dgg4 ,old-,style ,antique has long been popular with good printers for typography requiring a darker tone than is given by ,caslon ,oldstyle2 the so-called ,caslon ,bold will never really take its place4 ,most of the standard type-faces referred to in this chapter are procurable in bold form4 ,cloister ,bold1 ,caslon ,bold1 ,bodoni ,bold and ,cheltenham ,bold are included with a few other faces in ,example #ebf4 ,,ornamental ,,types ,typography has its periods of abstention and fasting1 which usually follow periods of revelry in decorative types in which good taste and dignity are not infrequently sinned against4 ,after the typefounders of the nineteenth century had twisted1 distorted1 decorated1 shaded and otherwise disguised the ,roman alphabet until ,jenson1 ,aldus1 the ,elzevirs1 ,caslon and ,franklin would no longer recognize it1 the users of printing1 the printers and the typefounders became sobered and realized what they had done4 ,a period of fasting set in1 but1 recollections of the old typographic carousal wearing off1 ornamental letters again began to appear4 ,they were on different models1 however--some of them very good--and were acceptable for informal typography 7,example #ebg-;,c74 ,some ornamental types of historic origin are based on the eighteenth-century letters of ,fournier1 the ,french typefounder1 and on those of ,english founders 7,examples #ebg-;,a and #ebg-;,b74 ,illustration3 ,,example #ebc ,block types1 serifless and of one thickness of stroke ,illustration3 ,,example #ebd ,modern-art poster type2 the upper alphabet being known as ,publicity ,gothic1 and the lower one as ,advertisers' ,gothic ,illustration3 ,,example #ebe ,mc,farland 7lower line71 based upon the ,french ,oldstyle 7upper line71 the strokes having been made bolder ,illustration3 ,,example #ebf ,a few representative bold-face types ,,types ,,for ,,special ,,purposes ,there are numerous other faces1 many of them admirable1 which for lack of space cannot be shown or described here4 ,there are type-faces for special purposes1 such as the imitation copperplate-engraving faces1 made in ,english and ,french ,scripts1 ,romans1 ,texts and ,gothics2 imitation typewriter faces1 gray-printing 8halftone0 faces1 such as were used for many years as a head-letter on the ,ladies' ,home ,journal4 ,illustration3 ,,example #ebg-;,a ,the eighteenth-century ornamental types of ,fournier1 the ,french founder ,illustration3 ,,example #ebg-;,b ,early nineteenth-century ornamental types of ,english founders ,a dozen pages1 were they available1 could well be given over to exhibits of the privately designed types of the ,riverside ,press1 ,merrymount ,press1 ,university ,press1 ,village ,press and other notable printing offices4 ,,the ,,influence ,,of ,,goudy ,a liberal showing would be worth while of the various fonts designed by ,frederic ,w4 ,goudy1 who has done much in influencing type design during recent years1 but it will be necessary to be content with the exhibit of ,kennerley1 in ,example #dfc1 and other faces by ,mr4 ,goudy in use in preceding chapters4 ,kennerley1 the best known and most characteristic of the ,goudy letters 7#aiaa71 is shown in ,examples #ahg1 #cac1 #cbi1 #cfd1 #cie1 #dcb1 #dde and #ddf4 ,forum1 made in capitals only1 is to be found in ,examples #bj1 #bbi1 #ccd1 #cfj1 #cff and #cie4 ,goudy ,oldstyle is used in ,examples #cbd and #cia4 ,camelot1 which was ,mr4 ,goudy's first effort at type designing 7#ahif71 appears in ,examples #dd and #abd4 ,pabst1 another early effort of ,mr4 ,goudy1 but not so good in design as his later types1 will be found in ,examples #cj1 #ajj and #bad1 and also used in this book for headlines1 captions1 title-page and cover labels4 ,illustration3 ,,example #ebg-;,c ,type-faces of the ornamental kind ,frederic ,w4 ,goudy is wielding a large influence over art work and typography in ,america4 ,his style of lettering1 decoration and type designing is now to be found on much of the good printing produced in our country4 ,his type-faces are original2 in their completed form they are not just like any one type-face previously used1 but they revive details in letter forms that for many years had been considered obsolete by typefounders4 ,mr4 ,goudy is a humanist2 he believes that type-faces should be more expressive of the art of the letterer than the skill of the typefounder4 ,he is speaking3 ,type must be finely and boldly designed to be beautiful4 ,in the majority of cases where these points are claimed for a type1 it will be found that the claims rest on their perfect finish1 exact lining or ranging1 perfection of curve1 precise angles1 straightness of stem1 or sharpness of serif and hair line4 ,none of these points give beauty or legibility1 altho they may be present in a type both beautiful and legible4 ,finish in the design of a letter is a merit only when it improves1 but if made at the expense of design it constitutes a defect4 ,ruskin's universal law1 that 8neither architecture nor any other noble work of man can be good unless it be imperfect10 applies no less to our type designs4 ,types are made to use1 and when spontaneous in design1 the natural irregularities and deficiencies are signs of life and sources of beauty1 giving credit to the designer for careful craftsmanship according to his ability4 ,the demand for perfection is evidence of a misunderstanding of the true ends of art4 ,illustration3 ,,example #ebh-;,a ,the first 8imprint10 as found on ,fust and ,schffer's ,psalter of #adeg ,from ,de ,vinne ,illustration3 ,,example #ebh-;,b ,colophon and imprint by ,peter ,schffer1 #adgf ,from the original in the ,typographic ,library and ,museum1 ,jersey ,city ,illustration ,,imprints ,the printer's name or device should1 with all regard to good taste1 be placed on every well-executed piece of work produced by him4 ,that this is not more often done is due to neglect of advertising opportunities and to fear of the customer's objection4 ,why should not the printer mark his product as other craftsmen and manufacturers do8 ,each piece of clothing he wears1 from hat to shoes1 probably carries the name or trademark of its maker1 as do automobiles1 pianos1 watches1 silverware and many other articles he owns4 ,the maker's name and trademark are a guarantee of a certain quality of product2 in fact1 they are absent only on cheap or imitative articles4 ,if the printer is doing careless work and giving no thought to quality1 he had better hide his identity1 but if he is really producing good printing1 as a duty to the craft of which he is a member he should 8let his light shine before men40 ,illustration3 ,,example #ebi ,the first imprint-device1 and three marks based on it ,illustration3 ,,example #ecj ,aldus's anchor-and-dolphin device1 and adaptations by modern printers ,if a commercial printer has not been in the habit of placing an imprint on his product1 and he decides to do so1 customers should tactfully be made acquainted with the innovation4 ,they probably stand ready to be convinced of its reasonableness4 ,it may be an excellent plan for the printer to mail his customers an announcement to this effect3 8,the standard of quality attained by the ,smith ,printshop is such that it is due our customers and ourselves so to mark each piece of printing produced by us as to identify it as a product of the ,smith ,printshop4 ,this we will do hereafter40 ,as a further precaution1 all proofs receiving the ,o4 ,k4 of the customer should contain the imprint just as it is to be used1 and on important large orders1 where there is any doubt1 permission should be obtained4 ,there are instances where customers have refused to accept printed work for the reason that an imprint was placed on it4 ,it is only necessary to have printing-office patrons become accustomed to the new order of things4 ,john ,dunlap1 who printed the ,declaration of ,independence for ,congress1 placed his imprint on it 7see frontispiece of this volume74 ,if some friend had suggested to ,john ,gutenberg that he imprint his name on his work1 the discussion that has since arisen as to whether or not he printed the 8,bible of ,forty-two ,lines0 would not have taken place4 ,the commercial printer's imprint should be unassuming and placed inconspicuously4 ,decorative imprints could be used on booklet and catalog work1 and in addition the decorative device should find place on every piece of the printer's own stationery and advertising matter1 even on the office door4 99 99 99 99 99 ,the use by printers of decorative devices dates back to one of the first printed books1 the famous ,psalter of #adeg4 ,for a great many hundred years previous1 pictures and devices in various forms had been relied upon to convey information and to act as distinguishing marks for various purposes4 ,figures such as the white horse and the red lion1 hung as signs in front of taverns and public houses during the last two centuries1 were outgrowths of the coats-of-arms of titled folk who in ancient times hung the family device in front of their estates as emblems of hospitality to the weary traveler4 ,illustration3 ,,example #eca ,the most popular imprint-device as early used by printers1 and modern interpretations ,emblems and devices seem always to have had place in human history4 ,the sign of the ,cross in the eleventh century led the ,crusaders against the followers of the ,crescent4 ,the cross of ,st4 ,george 77 furnished inspiration for the ,english in their warfare with the ,scots1 who rallied around the cross of ,st4 ,andrew 771 and the combined crosses of ,st4 ,george1 ,st4 ,andrew and ,st4 ,patrick now inspire the patriotic ,britisher4 ,it would seem that printers could do better work if they were to select some device which would represent an ideal1 and then attempt to live up to it4 ,while the ,gutenberg ,bible of ,forty-two ,lines1 generally accepted as the first book printed with separate metal types1 contained neither device nor printer's name1 the ,book of ,psalms1 or ,psalter1 of #adeg1 not only has the names of ,fust and ,schffer and the date1 but an imprint device which has the distinction of being the first ever used on a book typographically printed4 ,this famous ,psalter was the product of ,johann ,fust and ,peter ,schffer1 who succeeded to ,gutenberg's printing office4 ,at the end of the book1 printed in red ink1 is the colophon of the printers 7,example #ebh-;,a71 a translation of which follows3 8,this book of ,psalms1 decorated with antique initials1 and sufficiently emphasized with rubricated letters1 has been thus made by the masterly invention of printing and also of type-making1 without the writing of a pen1 and is consummated to the service of ,god1 thru the industry of ,johann ,fust1 citizen of ,mainz1 and ,peter ,schffer of ,gernszheim1 in the year of our ,lord #adeg1 on the eve of the ,assumption40 ,the colophon contains a typographic error1 perhaps the first to be made by a typesetter1 the second word showing 8spalm-0 for 8psalm-40 ,on several of the ,psalters still in existence 7one is without it7 the colophon is accompanied by the decorative device shown in ,example #ebi1 consisting of a pair of shields suspended from the limb of a tree4 ,the significance of the characters on the shields is not definitely known4 ,humphreys1 in his 8,history10 asserts that the shields contain the arms of ,fust and those of ,schffer4 ,it is conceded that the shield on the left is ,fust's and the shield on the right ,schffer's4 ,in ,rietstap it is found that one branch of the old ,german family of ,faust bore a coat-of-arms containing on a shield two crampons in saltire 7crossed74 ,bullen claims the character in the ,fust shield is the ,greek letter ,chi 77 and that in ,schffer's shield the ,greek letter ,lambda 771 and that they had some connection with secret societies to which ,fust and his son-in-law ,schffer belonged4 ,illustration3 ,,example #ecb ,arms supposedly granted the ,typothet1 a society of master printers1 by ,frederick ,,iii ,schffer's device was used for many years by his descendants1 ,example #ebi showing its use as late as #agdg by ,peter ,schffer1 of ,bois-le-,duc1 in the ,netherlands4 ,illustration3 ,,example #ecc ,the imprint-device of ,england's first printer1 its probable derivation1 and two notable devices evolved from it ,this device of ,fust and ,schffer furnished inspiration to several printers of the same century1 chief among whom were ,michael ,furter and ,nicolas ,kessler1 whose devices are shown in ,example #ebi4 ,furter1 who printed at ,basel1 ,switzerland1 in #adij1 was once credited with being the inventor of printing1 thru an error in a book1 the date of which was made to read #addd 7,m4,,cccc4,,xliiii71 instead of #adid 7,m4,,cccc4,,xciiii74 ,illustration3 ,,example #ecd ,two modern designs with ancient motifs ,what is considered to be the most classic of all imprint-devices 7,example #ecj7 is that used by ,aldus ,manutius1 the great ,venetian printer1 who introduced the italic face of type4 ,the device1 an anchor1 around which is twisted a dolphin1 is said to be symbolic of the proverb 8,hasten slowly40 ,the anchor represents stability and the dolphin swiftness4 ,the mark was taken by him from a book he had printed1 8,reveries of ,polyphilus10 and was used as the ,aldus device for the first time in an edition of ,dante of #aejb4 ,in a spirit of affection and regard for the famous ,venetian1 the device of ,aldus has been adopted or adapted by several well-known printers4 ,there is a nice sentiment connected with the use of this mark by ,william ,pickering1 the noted ,english publisher4 ,in place of the 8,,al-,,dvs0 of the original1 ,pickering's adaptation contained a motto in which he announced himself as the ,english disciple of ,aldus4 ,the reproduction of the ,pickering device shown is from a book published by ,pickering and printed by ,whittingham in #ahdj4 ,by #ahib we find a lion added to this device1 as used by the ,chiswick ,press4 ,the ,mc,clure ,publications of ,new ,york have a conventionalized interpretation which shows the dolphin and anchor in white upon a black circular background 7,example #ecj74 ,bruce ,rogers1 at the ,riverside ,press1 has most interestingly adapted the ,aldus device4 ,it seems that he always had a fondness for the thistle1 the national flower of ,scotland1 and when seeking a motif for his mark1 naturally turned to it4 ,when the time came for putting it into use1 the first requirement happened to be for an ,aldine page1 so it was cast in a form that would distinctly suggest the ,aldus anchor and dolphin4 7,compare the two designs in ,example #ecj47 ,while on the subject of ,bruce ,rogers's device it may be interesting to relate that later1 when he desired to use it on a book modeled on ,french sixteenth-century work1 he reshaped it as shown in ,example #edj1 which carries a suggestion of one of ,robert ,estienne's marks shown with it4 ,rogers redrew his personal device1 or that of the ,riverside ,press1 to blend with the motif of the book on which it was to be used1 a practice that embodies the highest use of the printer's mark4 ,illustration3 ,,example #ece ,the pun1 as found in two printers' marks 99 99 99 99 99 ,one of the most famous imprint-devices is that adopted by the ,society of ,printers of ,venice in #adha 7,example #eca71 about the time of the death of ,nicholas ,jenson1 who is supposed to have originated the design4 ,various explanations have been given of the significance of this device1 the most reasonable being that the globe and cross refers to the millennium1 when1 according to prophecy1 ,god shall reign upon earth4 ,the globe-and-cross symbol was frequently embellished with supplementary characters having other religious significance4 ,the mark of ,androw ,myllar 7,example #ece7 contains a figure #d1 which denoted the ,supreme ,being4 ,people of antiquity frequently composed the name of the ,deity in four letters4 ,the globe in the ,venetian device probably represented the earth1 altho the fact that the earth was round was not common knowledge in the early days4 ,the theory1 however1 was accepted by the educated priest and layman long before ,columbus sailed1 as he thought1 for ,india4 ,the double-cross in the ,roman church today is associated with the authority of an archbishop1 and as a decorative form of the cross1 extends back many centuries4 ,the ornamental double-cross pictured in this connection was once the property of ,st4 ,waudru of ,belgium1 who died in #fgj4 ,the double cross or ,lorraine cross was used by ,geofroy ,tory as a small mark on his wood engravings 7see lower left corner of the ,tory mark in ,example #ecf74 ,illustration3 ,,example #ecf ,devices used by notable printers of the sixteenth and seventeenth centuries ,illustration3 ,,example #ecg ,a colophon-imprint by ,d4 ,b4 ,updike1 from 8,petrarch and ,his ,masters10 #aijg ,illustration3 ,,example #ech ,the ,lion of ,st4 ,mark appropriately adapted by ,bruce ,rogers to a book on ,venetian life ,illustration3 ,,example #eci-;,a ,the ,lion of ,st4 ,mark as a printshop device ,illustration3 ,,example #eci-;,b ,the ,oswald ,press mark designed by ,t4 ,m4 ,cleland ,in further consideration of the cross-and-globe device it may be well to mention that an astronomical sign consisting of a circle with a cross above it 77 was used by the ,egyptians many years before the ,christian era4 ,such a sign is yet used astronomically and also to indicate the male in botany4 ,another astronomical sign bearing on the subject is that of a cross within a circle 771 by which the earth is indicated4 ,illustration3 ,,example #edj ,robert ,estienne's mark1 and ,bruce ,rogers's adaptation of it ,illustration3 ,,example #eda ,an appropriate mark for a printer to adopt ,the cross-and-globe device of the ,venetian ,society of ,printers has proved the most popular of any of the old imprints4 ,when ,elbert ,hubbard established the ,roycroft ,shop at ,east ,aurora1 ,n4 ,y41 in #ahif1 he adopted it as a work-mark1 placing an 8,r0 in the lower half of the circle in place of the dot4 ,fra ,elbertus's interpretation of the device established the circle as 8the emblem of the perfect 7the complete71 and the lines puncturing the circle the attempt to make a perfect article1 to do perfect work40 ,when the advertising manager of the ,national ,biscuit ,company was looking about for a trademark this old device of the ,lorraine cross and circle must have appealed to him strongly1 and such is the power of advertising that printers may some day be accused of copying the design from this biscuit house4 ,the remarkable adaptability of the device is also demonstrated by the ,griffith-,stillings imprint1 in which it forms a part of a clever modern decorative design 7,example #edg74 ,frederic ,w4 ,goudy incorporated the ,venetian printers' device most interestingly in the decorative mark of the ,village ,press 7,example #eca74 ,the imprint-device of the ,gould ,press 7,example #edc7 may have originated with the ,venetian printers' design4 ,it is an interesting variant4 ,these numerous uses by printers and others of the old circle-and-cross design suggest a paraphrase of an ancient proverb3 8,a good device lives forever40 99 99 99 99 99 ,william ,caxton1 ,england's first printer1 used an imprint-device 7,example #ecc7 that in appearance resembles a rug1 which it may have been intended to represent1 as ,caxton is supposed to have used this mark when he was a merchant at ,bruges in ,belgium4 ,the characters contained in the design have caused much discussion4 ,the 8,w0 on the left and the 8,c0 on the right are generally accepted as the initials of ,caxton4 ,the center characters have been claimed by some to be the figures 8#gd10 but the most reasonable explanation is that they form a trade device used by the merchants of ,bruges4 ,this explanation is seemingly confirmed by the discovery of a memorial plate to one ,john ,felde1 containing his trademark as a merchant1 which trademark is very similar to the characters in the center of ,caxton's imprint-device4 ,the reproduction of the ,felde design shows that if the top stroke were taken away and a loop added the result would be ,caxton's characters4 ,wynkyn de ,worde1 when he succeeded ,caxton as ,england's printer1 adopted ,caxton's characters 7probably a sentimental act7 and in the device shown added his own name at the foot4 ,william ,morris1 in planning an imprint-device for the ,kelmscott ,press1 evidently made a study of de ,worde's design1 for there is resemblance in shape and in the placing of the name at the foot4 ,t4 ,c4 ,hansard1 on the title-page of his 8,typographia0 7#ahbe71 uses a device which tradition tells us was granted by ,emperor ,frederick ,,iii of ,germany to a corporation of master printers known as the ,typothet4 7,see ,example #ecb47 ,references by writers to the origin of this design are generally contradictory4 ,the ,united ,typothet and ,franklin ,clubs of ,america1 an association of employing printers1 has adopted the device and uses it in the conventionalized form shown4 ,the design in its original form tends to heraldic elaborateness4 ,there is represented an eagle holding a copy guide in one claw and a composing stick in the other4 ,surmounting the design is a griffin 7eagle-lion7 grasping two ink balls4 ,the ,winthrop ,press mark 7,example #edc7 and other printers' devices have been inspired by this emblem1 as the griffin copyholder and ink balls are familiar decorative forms4 99 99 99 99 99 ,in ,great ,britain the printer whose name would allow a pun has always been considered fortunate4 ,john ,daye1 a ,london printer of #aefj1 had an elaborate device1 paneled1 in the center of which is a picture of a reclining man being aroused by a figure which1 pointing to the sun1 says1 8,arise1 for it is day40 7,example #ece47 ,androw ,myllar1 who printed in ,edinburgh1 ,scotland1 in #aeaj1 used a device which portrayed a miller climbing to his mill 7,example #ece74 ,the arrangement of his name in the lower part of the design suggests de ,worde's1 and the characters in the shields have meanings that may be determined by a study of the religious symbolism of the ,middle ,ages4 ,illustration3 ,,example #ecf-;,a ,the printer's device and imprint here occupies two-thirds of the title-page4 ,from a book by ,robert ,estienne1 ,paris1 ,france1 #aedd ,the imprints of some of the notable printers of the sixteenth and seventeenth centuries are interesting4 ,the first mark in ,example #ecf shows one of the devices of ,geofroy ,tory of ,paris from his 8,champ ,fleury0 of #aebi4 ,it consists of a broken pot filled with instruments and the ,latin phrase ,non plus 7nothing more74 ,the ,lorraine cross in the lower left corner is interesting in connection with the use made of it by the ,venetian ,society of ,printers 7,example #eca74 ,tory1 an accomplished scholar and noted wood engraver and printer1 was1 according to an epitaph written by a compatriot1 8the first man to discuss seriously the art of printing10 and 8taught ,garamond1 chief of engravers40 ,his work on the derivation and formation of ,latin characters had considerable renown4 ,he claimed1 according to ,fournier1 that all the letters are formed of ,i and ,o4 ,proportions are arrived at by dividing a square into ten lines1 perpendicular and horizontal1 forming one hundred squares completely filled with circles1 the whole giving form and figure to the letters4 ,illustration3 ,,example #edb ,use of the oval shape in the designing of printers' marks ,illustration3 ,,example #edc ,modern imprints suggested by ancient forms ,the troublous times of the ,reformation1 during which ,john ,bebel was imprisoned1 may have had some influence on his selection of a device4 ,it consisted of a tree1 in the branches of which was a prostrate man1 and over him was a large flat thing representing the platen of a printing press 7,example #ecf74 ,on the platen were words meaning 8,do not press poor me to death40 ,christopher ,plantin1 printer and publisher of ,antwerp1 ,belgium1 whose famous printing office1 preserved as a museum1 was one of the shrines of worshiping printer-pilgrims up to the beginning of the ,european war1 employed a device which is emblematic of the saying of ,jesus1 8,i am the vine40 ,a device used by the ,elzevirs at ,leyden1 ,holland1 in #afbj1 shows a tree with spreading branches4 ,on one side of the trunk is the figure of a man and on the other a scroll with the words ,non solus 7not alone74 ,robert ,estienne had a similar device in #aedd 7,example #ecf-;,a74 ,this device as shown is slightly reduced from the original1 while those previously mentioned are greatly reduced in size4 ,john ,froben of ,basel1 ,switzerland1 who was a close friend of ,erasmus1 the philosopher and patron of learning1 in #aebj used a device containing a staff surmounted by a dove and entwined by two serpents4 7,example #edb47 ,the legend1 8,be ye wise as serpents and harmless as doves10 occasionally accompanied the design4 ,sometimes these printers' marks were so large as to leave little room for the title-page proper1 in contrast to which is the extreme modesty of ,ulrich ,zell of ,cologne1 ,prussia1 whose works are numerous and who is credited with starting the story of the invention of printing by ,coster4 ,zell scarcely ever placed even his name on a book1 yet his work may easily be identified4 99 99 99 99 99 ,the ,heintzemann ,press device in ,example #ecd has an antique appearance and its designer evidently received inspiration for his anchor1 foliage and scroll from such devices as those of ,aldus and ,plantin4 ,the ,rogers-,riverside ,press mark1 too1 has ancient motifs4 ,the anchor-shaped thistle1 as already stated1 is based upon ,aldus's device1 and the frame suggests old designs in metal4 ,illustration3 ,,example #ede ,a mark that has to do with mythology ,there is a suggestion of the pot device of ,tory in the decorative portion of the ,merrymount ,press imprint shown as ,example #ecg4 ,this appeared at the end of the book as a colophon1 the style in which the imprint is written fitting it for that position4 ,it will be remembered that the printers of ,italy usually had the beginning and ending set in capitals to differentiate them from the body of the book4 ,elbert ,hubbard used the idea commercially on his advertising booklets1 as in ,example #eej4 ,perhaps the device shown as ,example #eda is a bit too suggestive for practical use by printers of the present day4 ,stephen ,dolet's name1 in its literal meaning1 has something to do with an ax1 hewing and cutting4 ,dolet was a scholarly printer of the sixteenth century who suffered martyrdom at the stake in #aedf4 ,the oval shape for imprint designs is not unpleasant1 as will be seen by ,example #edb4 ,the ,fezandat device was designed by ,tory4 ,the pheasant is a pun on the printer's name4 ,the device as a whole is pleasing4 ,the ,riverside ,press device is classically ,greek in motif4 ,pan and his pipes appear on many of the marks of this press in various designs4 ,the one shown is from 8,pan's ,pipes10 a ,riverside ,press publication4 ,illustration3 ,,example #edd ,printers' marks based on architectural motifs ,the winged ball1 torch and other symbolic decorative devices are blended pleasingly on the mark 7,example #edb71 which appeared on the title-pages of the famous ,eliot six-foot shelf of books1 8,the ,harvard ,classics10 #aiji4 99 99 99 99 99 ,illustration3 ,,example #edf ,the monogram is an attractive form for printers' devices ,illustration3 ,,example #edg ,representative of the large variety of devices in use by ,american printers and publishers ,an interesting feature of some early ,venetian books is the use by printers of decorative devices designed upon the winged ,lion of ,st4 ,mark4 ,recent adaptations of this device are the ,oswald ,press imprints 7,examples #eci-;,a and #eci-;,b7 and the ornament on a title by ,bruce ,rogers 7,example #ech74 ,the ,lion of ,st4 ,mark is interesting in its significance4 ,tradition has it that long ago1 when ,john ,mark1 the missionary companion of ,paul1 was traveling by way of ,aquileia 7,roman ,secunda7 for the purpose of preaching the gospel of ,jesus1 he found himself1 after a violent storm1 on one of the ,rialto ,islands that now form the city of ,venice4 ,in a dream an angel appeared saluting him 7,pax tibi ,marce ,evangelista meus7 and announcing that on those islands his bones would some day find peace4 ,in fulfilment of this prophecy1 in the year #hbi1 several ,venetians went to ,alexandria1 where the body of ,mark had been buried1 removed it surreptitiously1 and took it to ,venice4 ,such was the enthusiasm caused by this event that ,st4 ,mark supplanted ,st4 ,theodore as the patron saint of the city4 8,viva ,san ,marco0 was heard as the battle cry of the ,venetians1 and the winged lion1 symbolic of ,st4 ,mark1 became the glorious sign of the republic4 ,in ,venice today there are numerous statuary reproductions of the winged ,lion of ,st4 ,mark1 holding with one claw a book of the gospels4 ,the exposed pages of the book usually contain the salutation of the angel4 ,the story of ,st4 ,mark's vision and of the bringing of the body to ,venice is pictured in mosaic work in ,st4 ,mark's ,church1 ,venice1 where his bones rest4 ,the four-winged beasts mentioned in the fourth chapter of ,revelations are accepted as symbolic of the four evangelists1 the winged lion typifying ,st4 ,mark4 99 99 99 99 99 ,example #edc shows four designs with motifs taken from ancient sources4 ,the ,matthews-,northrup device of the mythical phnix rising from the fire is emblematic of immortality2 the torch probably signifies the intellectual light resulting from the invention of printing4 ,the ,winthrop ,press imprint has already been mentioned as having relation to the ancient ,typothet arms4 ,the ,binner-,wells design suggests that of ,froben1 by the shape and lettering between lines4 ,the possible derivation of the ,gould ,press device from the ,venetian master printers' emblem has been suggested4 ,the unique mark of the ,de ,vinne ,press 7,example #ede7 probably pictures a page from a manuscript book4 ,the legend connected with the ,greek lettering is mythical and has to do with one ,prometheus1 who1 while chained to a rock1 tells of the benefits he conferred on mankind4 ,a literal translation of the ,greek at this point reveals the appropriateness of the quotation as used3 8,and further1 ,i discovered for them numeration1 most striking of inventions2 and composition1 nurse of the arts1 producer of the record of all things40 ,three imprint-devices1 based upon architectural motifs1 are shown in ,example #edd4 ,in the ,rogers design the architectural panel is surmounted by a silhouetted heraldic figure that adds much to the attractiveness of the device4 ,a ,colonial architectural panel frames the title of the ,bartlett-,orr ,press4 ,the ,egyptian winged ball1 asps and open book are well blended with the monogram circle that fits the ,roman arch in the ,trow imprint4 ,illustration3 ,,example #edh ,decorative imprints constructed with typefounders' ornaments and suitable type-faces ,initials in monogram form are frequently adopted by printers1 and three such devices are shown in ,example #edf4 ,reversing one of the initials is a favorite method when the nature of the letter allows it1 as in the ,patteson ,press device4 ,fitting the initials to a general shape calls for clever work1 as in the shield shape of the ,corday ,gross design4 ,illustration3 ,,example #edi ,type imprints1 and the various interesting effects possible with them ,of the large variety of devices in use by other publishers and printers1 those shown in ,example #edg are representative4 ,the ,griffith-,stillings device1 as has already been mentioned1 includes elements of the mark of the ,society of ,printers of ,venice4 ,the ,american ,printer mark shows an ,american eagle standing on books1 and the initials ,a4 ,p4 used decoratively in the upper right corner4 ,the dimensions of this oblong and the background are borrowed from the ,venetian mark4 ,unusual in shape and in wording is the ,stillson device1 which develops attractiveness when printed in several colors and embossed4 ,illustration3 ,,example #eej ,quaint book-ending1 or colophon1 as used by ,elbert ,hubbard ,notwithstanding the cumbersome size of the acorn1 the ,sparrell ,print device is not unattractive4 ,with a decorative quality that suggests the sixteenth century1 the ,ginn device is appropriate in its use of the horn book1 an old-time teaching help4 ,rather clever is the manner in which ,goudy has hung the ampersand decoratively on the double-,t monogram that is part of the ,taylor ,taylor mark4 ,the diamond-shaped ,wright ,joys device1 with its conventionalized tree1 is also interesting4 99 99 99 99 99 ,it is possible to construct really creditable decorative imprints with typefounders' ornaments and suitable type-faces4 ,example #edh presents several such designs as demonstrations of what can be done in this respect4 ,in building these imprints the author has kept in mind the rules that govern combinations of type and ornament1 as explained in the chapters relating to harmony1 appropriateness1 tone1 contrast and ornamentation4 ,in the ,church ,press design the border is made in outline to reflect the ornament4 ,the types used in the ,smith-,brown1 ,willis ,works and ,gothic ,shop imprints harmonize with the ornamentation in both tone and shape4 ,italic type and the fleur-de-lis are ,french in motif4 ,the ,caslon type-face and the old-style parentheses go well together4 ,the block1 or gothic1 type-face in its plainness of stroke suggests early ,greek letters1 and blends with the plain illustration4 ,the money-bag ornament is an attempt at a pun1 in the ,stuff imprint4 ,the pleasing gray tone of the ,horner ,wilburn device is due to harmony of ornament and type-face4 99 99 99 99 99 ,the printer will more often be called on to use a small1 inconspicuous type-imprint than the prominent decorative device1 and it is just as desirable to have distinction in these small type lines as in the elaborate devices4 ,there are grouped in ,example #edi1 a variety of effects suggested for this purpose4 ,the type used in an imprint should harmonize and blend with the typography of the work on which it is used4 ,an imprint in old-style type would not blend with a page set in modern type4 ,it was the custom at one time to electrotype imprint lines so that they could be easily handled1 but now the linotype furnishes a convenient method of casting them4 ,it is well1 tho1 to strengthen the face by having the slugs copper-faced1 which work is done by electrotypers4 ,,appendix ,holiday ,greetings ,illustration3 ,,holiday ,,greetings furnish opportunity for expression of the art of printing4 ,the more than one hundred specimens reproduced in miniature in this section 7received by the editors of 8,the ,american ,printer0 from friends7 contain many suggestions of typographic interest ,illustration3 8,everybody in our house wishes everybody in your house a ,merry ,christmas and a ,happy ,new ,year0 ,illustration3 8,volumes of good wishes to friends of ours from friends of yours0 ,illustration3 8,,christmas3 ,a time for giving and for getting and forgiving and forgetting0 ,illustration3 8,may all that thou wishest and all that thou lovest come smiling around thy sunny way0 ,illustration3 8,at ,christmas be merry ,and thankful withal1 ,and feast thy poor neighbors1 ,the great with the small0 ,illustration3 8,,gloria ,,in ,,excelsis ,,deo ,,et ,,in ,,terra ,,pax ,,hominibus ,,bonae ,,voluntatis0 ,illustration3 8,ule6 ,ule6 ,three puddings in a pule-- ,crack nuts and cry ,ule60 ---------------------------------------- -------------------------------- ,,transcriber',s ,,notes #a4 ,many illustrations may appear to be out of order4 ,the book was in two columns of text4 ,the text read top to bottom then left to right as normal4 ,however1 the illustrations were usually numbered left to right then top to bottom4 ,the illustrations were inserted as close as possible in the normal flow of the text4 ,some illustrations were out of order1 e4g4 ,example #af4 #b4 ,the illustrations are displayed in direct proportion to their size in the original4 #c4 ,added #8the' between #8of' and #8customer' on p4 #aai4 #d4 ,silently corrected typographical errors4 #e4 ,retained anachronistic and non-standard spellings as printed4 #f4 ,enclosed italics font in underscores4