The ART &• PRACTICE o/

TYPOGRAPHY
By EDMUND G. GRESS
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 Digitized by tine Internet Arcliive
in 2012

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Tie ART ^^ PRACTICE o/

YYPOGRAPt
A Manual
i of American Prmtmg WIj

INCLUDING A BRIEF HISTORY UP TO THE

TWENTIETH CENTURY. WITH REPRODUC-
TIONS OF THE WORK OF EARLY MASTERS
OF THE CRAFT ^ AN EXTENSIVE REVIEW
AND ELABORATE SHOWING OF MODERN
COMMERCIAL TYPOGRAPHIC SPECIMENS

By
EDMUND G. GRESS
i •>.UT»OR THE AMERICAN MANDAi,
AUTHOR
THE AMERICAN HANDBOOK OF PRINTING-
TYPE DESIGNS IN COLOR

t* YJRK' SWALD PUBLISHING COMPANY -1910

i
The ART is PRACTICE o/
TYPOGRAPHY
-A Jytanual
i of American Printing
INCLUDING A BRIEF HISTORY UP TO THE
TWENTIETH CENTURY. WITH REPRODUC-
TIONS OF THE WORK OF EARLY MASTERS
OF THE CRAFT y AN EXTENSIVE REVIEW
AND ELABORATE SHOWING OF MODERN
COMMERCIAL TYPOGRAPHIC SPECIMENS

By
EDMUND G. GRESS
EDITOR AND CO-AUTHOR THE AMERICAN MANUAL OF TYPOGRAPHY
AUTHOR
•THE AMERICAN HANDBOOK OF PRINTING"
•TYPE DESIGNS IN COLOR-

NEW YORK -OSWALD PUBLISHING COMPANY 1910

i
P I ^ D
TO THE TYPOGRAPHER
WHO
SEEKING KNOWLEDGE
AND INSPIRED BY AMBITION
GOES ABOUT HIS WORK
WITH A
STOUT HEART
AND
SENSITIVE CONSCIENCE
SUCCEEDING
IN SPITE OF
EVERY DISCOURAGEMENT
THIS BOOK
DEDICATED
IS

P I ~ID
 TABLE OF CONTENTS
PAGE
SYNOPSIS OF CONTENTS VII
LIST OF REPRODUCTIONS XVII
LIST OF DESIGNERS XXIII
AUTHORS PREFACE XXV

WHEN BOOKS WERE WRITTEN 1

THE ORIGIN OF TYPOGRAPHY 7

THE SPREAD OF TYPOGRAPHY 13

TYPOGRAPHY IN COLONIAL DAYS 19

TYPOGRAPHY IN THE 19th CENTURY 27
THE "LAYOUT" MAN 35
HARMONY AND APPROPRIATENESS 41

TONE AND CONTRAST 47

PROPORTION, BALANCE AND SPACING 53
ORNAMENTATION 59
THE TYPOGRAPHY OF BOOKS 67
BOOKLETS 75

CATALOGS 83
PROGRAMS 91

ANNOUNCEMENTS 99
TICKETS 107
LETTERHEADS AND ENVELOPS Ill

BILLHEADS AND STATEMENTS 119

BUSINESS CARDS AND BLOTTERS 123

POSTERS 129
THE TYPOGRAPHY OF ADVERTISEMENTS 135

TYPE-FACES . 143
IMPRINTS 153

THE TYPOGRAPHY OF A CIRCULAR i

THE TYPOGRAPHY OF A BUSINESS CARD ix

THE TYPOGRAPHY OF A BLOTTER xvii

 — ——

SYNOPSIS OF CONTENTS
PART ONE THE ORIGIN OF TYPOGRAPHY
Page 7
WFIEX BOOKS WERE WRITTEN
The invention of typography marked the beginning of a
Paf/e 1
—
new civilization The beginning and end of the Middle
The printer <ind typography —The Middle Ages and tlic Ages— Printing with separate metal types an evolution
—
Dark Ages I^tin in written books kept knowledge alive —
Demand for playing cards and sacred pictures Engraved
Meaning of "manuscript" Writing materials — Arrow- — wood blocks — Block books, and method of printing them—
shaped writing of the Chaldeans — Papyrus rolls of tiic —The oldest
Coloring cards and pictures by means of stencils
Egyptians — Ink, paper and block-printing supposedly in- dated specimen of printing—The block books probably
first

vented by the Chinese — Dressed skins and palm leaves used Latin grammars —The "Art of Dying," the "Bible of the
by Hindoos —The Hebrews wrote upon stones and animal Poor," and the "Mirror of Human Salvation" —When, where
skins —We owe the present Roman alphabet to the Phoe- and by whom was typography invented .*— The inventor
nicians —The word "alphabet" derived from the first two failed to print his name on his product—Almost every
letters of the Greek alphabet. Alpha and Beta —The bards European country claimed the honor —All claims disproved
of Greece — Manuscripts written by slaves — Papyrus im- excepting those of Germany and Holland Weight of evi- —
ported from Egypt — Development of parchment, and what dence is with —
Germany Typography was practiced by
—The great Alexandrian library — length
it is —Story of rolls Gutenberg at Mainz some time during 1450-1455 —Claims of
of "Septuagint" — Destruction the Alexandrian library
of priority for Coster of Haarlem —Story of the invention by
Rome supersedes Alexandria as an intellectual center Ulrich Zell the earliest testimony on the subject — Dierick
Caesar credited as the founder of the first newspaper Coornhert's version —The unfaithful servant — Dignified gray
"Short-hand" writing —The {)eriod of Emperor Augustus a heads point out the house of "the printer" — Hadrian
first

memorable one in literature — Producing large editions of Junius and his "Coster Legend" — Fashioning the bark of a
manuscript rolls — Books were and cheap — Elab-
plentiful beech tree in the form of —Changing the
letters to lead letters

orate parchment rolls —Origin of books — Hinged

flat-sheet and then to tin —Old wine flagons melted into type—A work-
waxed tablets — Destruction of the library Constantinople
at man, John Faust, steals the type-making instruments
—Drift of literature toward the East —Transcribing and Cornells, an old book binder —The story dissected —Peter
decorating holy writings in the monasteries of Europe Scriverius has another version —A clap of thunder—^Con-
Monopoly of learning gave power to Church of Rome fusion of dates —A Haarlem
statue erected to Coster in
Since the seventh century monastery manuscripts in Latin, "True and rational account" by one Leiz — Gerard
Meer-
the official language of that church —Translation of Bible man's story —The sheriff who wooden types^
printed with
into "Vulgar tongue" forbidden —^William Tyndale's English Robbed by a brother of —
Johan Gutenberg Jacob Koning
translation — Martin Luther's German translation — Making awarded a prize for his essay on the invention — Makes re-

of manuscript books in the Middle Ages — St. Benedict sets searches in Haarlem archives —Corroborates some details in

the monks to work copying manitscripts — Popularity of — For many years Coster given
preceding stories honor ecjual

—The scriptorium and the rules governing scribe or

cloisters with Gutenberg— Investigations by Dr. Anton Van der
copyist—Tools and materials —Rubrics — Illuminating —The Linde— Forgeries and misrepresentations revealed — Haar-
copyist work — A beautiful Irish book — Illuminators'
at lem practically surrenders its claim and alters its school

colors and binding of manuscript books — Missal, Psalter, books —Records of Louwerijs Janszoon and Laurens
Book of Hours —Donatus, books associated with the Middle Janszoon Coster —Van der Linde goes to Germany, alters his

Ages — First types were imitations of current Gothic lettering name and writes a book — Hessels translates the book into

—Types cut style of Roman lettering—Ancient Roman

in English, and afterward becomes a Haarlem advocate
writing capitals — Evolution of Roman capitals into small
all Coster proofs —
are weak Haarlem claimants unable to

or lower-case —The uncial and half-uncial— Minus-

letters agree as to Coster's identity —Gutenberg a tangible human
cule and majuscule —Development of writing toward both being, and probable inventor of the art — Parentage of
heavy pointed Gothic and the Roman style used by Nicholas Gutenberg —The family removes from Mainz presumably
Jensen — Cursive, a "script" letter. to Strassburg^Was the new art practiced at Strassburg?
 — —

VIII SYNOPSIS OF CONTENTS

Records of a lawsuit— Gutenberg agreed to teach Andrew prenticed to a merchant and goes to Bruges — Becomes

Dritzehen certain trade secrets — Fust lends money to Governor —Enters the service of the Duchess of Burgundy
Gutenberg and takes a mortgage on his printing office Translates a "Historic of Troye" and learns how to print it

Fust seizes all types, presses and books Records of this — Returns to England and sets up a press at Westminster
suit evidence of Gutenberg's invention —The famous Forty- Abbey — Peculiarities of Caxton's work —Wynken de Worde
two Line Bible —Gutenberg again establishes himself as a succeeds to Caxton's business — Introduced the Roman
printer—An appointment from the Bishop of Mainz— Dies letterinto England — Richard Pynson at London— Richard

about 1468 —H. Noel Humphrey's tribute— Peter Schoeffer Grafton as a printer of English Bibles translated by William
— Copies books at the University of Paris — Becomes Guten- Tyndale and Miles Coverdale —Tyndale suffers death
berg's assistant— Assumes charge after master's death his Grafton imprisoned for printing the "Great Bible" —Ed-
Marries Fust's daughter—The new firm publishes a Psalter ward Whitechurch — John Daye also imprisoned
his partner

—First book with a printed date— Features of the book. — Fox's "Acts and Monuments" — In Scotland—Andrew
Myllar and Walter Chepman at Edinburgh — In Ireland
THE SPREAD OF TYPOGRAPHY Humphrey Powell at Dublin— In North America— John
Cromberger at Mexico City — In the United States
Page IS
Stephen Daye at Cambridge, Mass.
—
The city of Mainz A conflict between two archbishops
—
The city is set afire Fust and Schceffer's printing office TYPOGRAPHY IN COLONIAL DAYS
—
burned The workmen flee to various parts of Europe
A table of the spread of typography from Mainz — In Ger-
Page 1!)

many— John Mentel at Strassburg —Albrecht Pfister at Martyrs in typographic history— Ecclesiastical and politi-
Bamberg— Ulrich Zell at Cologne never printed a book in cal conditions in Europe from the sixteenth to eighteenth
the German language —Arnold Ter Hoorne first to use centuries —A book of treaties on the intended marriage of
Arabic numerals — Gunther Zainer at Augsburg first in Queen Elizabeth — Oliver Cromwell encourages printing
Germany to print with Roman characters Heinrich Kefi'er — and literature — ^First edition of Milton's "Paradise Lost"
at Nuremberg —
John Sensenschmidt at Nuremberg and Thomas Roycroft prints Brian Walton's Polyglot Bible
—
Bamberg The Bamberg Missal Anthony Koburger at — The first book published in England by subscription — Paper
Nuremberg had twenty-four presses in operation In Italy — for the work allowed to come in duty free — Cardinal Mazarin
First type printing done in the monastery at Subiaco—
discovers a copy of Gutenberg's Forty-two Line Bible
Conrad Schweinheim and Arnold Pannartz brought from
(^hap-books and something about them — Poor representa-
Germany — Ulrich Hahn first printer in city of Rome proper
tives of the art of typography — Woodcuts and type bat-
— John de Spira first typographer at Venice and had ex-
tered and worn — Peddled by chapmen — Dicey books
clusive right —Nicholas Jenson comes to Venice and uses a
Broadsides — Puritans land at Charlestown and begin to
—
new Roman type-face Story of his introduction to the art
settle Cambridge and Boston —Rev. Jesse Glover solicits
The first page of displayed type composition J, U and — W —
money for press and types Contracts with Stephen Daye
not in books printed by Jenson —His office passes to Aldus
—
come to new country Rev. Glover dies Daye reaches —
Manutius — Italic introduced —Aldus reduces the size of
to

—
Cambridge with outfit Begins printing in 1639 The first —
books and suggests the printing of a polyglot Bible — Works — —
work The first book Poorly printed President Dunster —
of Peter Paul Porrus and Augustin Justinian —Aldus as-
Harvard College appoints Samuel Green Daye
Constantinople— His com-
of to succeed
sisted by scholar-refugees from
plete name — Venetian printing offices and their product
—Another press and types added —An inventory —The
Bernardo Cennini at Florence — Johan Nunieister Foligno at
printing office — Printing the colonies of
discontinued in

— In Switzerland — Bertold Ruppel Basel —This

at city
Massachusetts and Virginia — Pennsylvania second English
gave France its first typographers — John Froben Basel at
colony to have typography —William Bradford prints an
Erasmus has him books — In France— Ulrich
almanac— Bradford arrested Philadelphia for printing an
in
print his

Gering, Martin Crantz and Michel Friburger at Paris

—
address — Type pages as evidence "Pied" by a juryman

Gering becomes rich —Sectionalwood border on book Bradford goes to New York — First printshop there
printer — Publishes the
printed by Philip Pigouchet for Simon Vostre Henry — Official New York newspaper
first

Estienne at Paris —^First of illustrious family of typographers Benjamin Franklin — Indentured brother James —The
to his

—Robert Estienne best known and most scholarly — Flees New England "Courant"— James imprisoned — Benjamin is

to — Dies there after a labor

Geneva, Switzerland, for safety becomes the publisher—The brothers disagree— Benjamin
of love — In the Netherlands—A press erected Utrecht at ships to New York — Meets William Bradford and goes to

Colard Mansion and William Caxton at Bruges produce Philadelphia — Secures employment with Samuel Keimer
the first book printed in English —Van der Goes at Antwerp Leaves for England to buy printing equipment— Goes to
—Christopher Plantin Antwerp gave renown that
at to city work London — Returns to Philadelphia and
in a starts

—His printing now a museum — A polyglot Bible

office his printing — One of the
office jobs — Publishes "Poor
first

greatest work — Louis founder a family

Elzevir, learned of of Richard's Almanack" — Proverbs widely quoted— his Sells

printers, atLeyden —The second Louis Elzevir Amster- at shop to David Hall — Quaintness of Colonial typography
dam — Johannes Andriesson Haarlem — In England
at Comments on reproductions — Page from a Caslon specimen
William Caxton the type
first that country — Ap-
to set in book of 1764.
 — —A

SYNOPSIS OF CONTENTS IX
TYPOGRAPHY IN THE 19th CENTURY PART TWO
Page 27
THE "LAYOUT" MAN
'

William Morris" declaration —The first printed book a

testimony to genius —The first cylinder press and first lino-
Page 35
type were crudely constructed —Typography highest
at its Typography in the twentieth century —Artistic printing
point — Italian and German styles contrasted — These styles abundant —-The commercial artist deserves credit —The
blended into the Colonial —Franklin as a typographer com- necessity of carefully preparing a job —Every printshop
pared Aldus and Plantin — Beginning
to the nineteenth of should have a layout —When a building erected
man is

century — and
Utility —William Nicholson plans a
art cylin- Quality printing not accidental —Shop
is —Layout men style

der press — Dr. Kinsley constructs a model — A new ronian in large and small shops — Please the customer—Typog-
type-face designed — Ornaments and borders discarded raphy essentially a business vocation— Orders obtained
Style of typography becoming uninteresting — Transition il- thru "dummies" submitted —Selecting a layout man
lustrated by four —Charles Whittingham and
title-pages Type equipment should be appropriate and — sufficient

William Pickering— introduced— Punches

Artistic qualities working for the layout man — Portfolio of sample
outfit

of Caslon old-style recovered — page in Colonial style

^A —
sheets ^Laying out a small booklet — Paper, margins, type
Punctuation marks omitted — Fifty years ahead of their page and of type— Words to a square inch — Arrange-
size

time— Job printing of modern development — Newspaper, ment of title-page— Specimen pages available body type in

book and job work—Typography should be based upon art L'se of crayon and pencil — Dummy submitted to customer

foundations —A Book of Common Prayer —Title-pages Duplicating the workrooms — Dummy sheets for period-
it in

without ornamentation — Job printers take to fancy typog- icals and large catalogs — Incorporating the illustrations in

raphv — Imitations of copperplate engravers' work—A busi- text matter—-Marking copy for machine composition —The
ness card and a bill of fare —Changing styles applied to com- average stationery job— A patchwork of typographic styles

mercial headings — MacKellar, Smiths & Jordan —A card Different handled by a layout man — Studying color
results if

with apologies—A longing for pictures, color and decoration harmony — Determining color combinations —The colder
— Brass rule and blocks— Remarkable
tint exhibited skill color should predominate— Indicating the finished result-

The '"Modern Renaissance" — Machinery led typography Proofs the colors and on the stock
in be used — Blending to

away from — Printers thought they were doing

art artistic paper stock— Laying out advertisements.
work — Inspiration wTongly interpreted — Forming of a
curious chain of events — The Kelmscott Press — William HARMONY AND APPROPRIATENESS
poet, designer and craftsman — Franklin and
Morris, artist, Page U
the Franklin stove— Morris and the Morris chair — The in-
"Leit-motif" —The composition — Har-
central idea in
fluence of Morris on house furnishing and typography
His — Learned — and make paper — Designs
home to print to
mony and appropriateness —Undervaluing thei^ impor-
— "Golden" "Troy" — Draws decorative initials
—
tance What is appropriate.' — Discriminating judgment re-

quired — Discreet selection of type, ink and paper— makes

tvpe-faces
and borders —Additional designs by Burne-Jones — Morris
It

a difference— As to type-faces — As to inks —As to papers

criticised— Revolutionizes typography—Aubrey Beardsley Simplicity synonymous with good typography —The ideal
Will Bradley — A country printer— Studies Chicago art in
—
The "Wayside Press" "Bradley: His Book" — Inspired
printshop —Harmonious type-faces, ink colors and paper
by both past and present — A new typography — Combines stock—Certain amount of contrast desirable—All capitals
lower-case— Harmony of type-faces and borders
with the University Press — Becomes an
or all il-
subject interesting

discussion — An opinion by George French — Attempts

lustrated — Typographic — In typography there should
sins
for —
be a motive "Is appropriate?" — An architectural motive
another new style of typography — Profuse ornamentation it

Works rapidly — Bradley and his clients —His personality — In which strength the motive—Design suggested by an
is

old lock-plate — Typographic motive found woodcut

Influence upon the American style of typography — Other in

of early printers — A millinery booklet

influences—Theodore L. De Vinne — Has a college degree- borders and initials

cover— A page severely plain and non-sentimental —

Apprentice in a country printshop — Job compositor with
program church service appropriate to the environ-
Francis Hart —Takes charge of the business—A writer on ment —A page
for a
keeping with a festive spirit Typographers —
printing subjects— Exponent of the conservative and dig- in

should give support to artists—The Colonial arch and a

nified in typography — Should be no between the conflict
harmonious title-pag(^-The better the typographer, the
stylesof Morris, De Vinne and Bradley — For different pur-
poses — The compositor must decide— De Vinne a leader in
more restraint \

perfecting modern methods — Designs a typc-face— Per-

TONE AND CONTRAST
suades printers to group wording— Charles T. Jacobi—
Has done much for typography England — Responsibilities
in Page ^7
of the modem typographer — Underrating the value of his-
A story of white and black —A combination popular with
— All knowledge valuable.
tory- is
writers, printers and readers—Uniformity of tone or depth
of color- A mixture of irregular gray and black tones in-
[The chapters foUoyoing are devoted
excusable —Art principles too often ignored— Contrast
to the contideration of typography
a» practiced in the twentieth century. ] necessary, but uniformity should not be sacrificed —Art
 — —

SYNOPSIS OF CONTENTS
makes concession to utility — A right way and a wrong way ornaments with discrimination —Study of significance and
Unjust blaming of the customer—A German example of appropriateness —Motive or reason in ornamentation
uniform tone — Practical demonstration of uniform tone Italian and German influences — Harmony because of sym-
Four ornaments, upon which four pages are constructed— pathy between arts and crafts — Inharmonious ideas of

and utility— Lessening

Contrast, from the viewpoints of art several —Relation of typography to architecture
persons
the contrast between print —A compromise— Im-
and paper shown — Roman and Gothic—Ornamentation
in alphabets

pressing the print firmly on antique paper — Setting the both inventive and imitative— Conventionalized ornament
print daintily upon glossy paper — Lack of feeling artistic re- With or without perspective— Things which have inspired the
sponsible for unpleasant contrasts — Great contrast is decorator — work
Artists' of meaning — Leaves, mythical
full

eccentricity — Mark Twain and contrasts — Cover-page should beings, sacred animals — Architectural designs on title-pages

be darker than —The tone of a massed page

title-page — Egg-and-dart and bead ornaments— Results of observa-
Controlled by spacing— Duplicating the tone of a pen-and- tion^Designs thousands of years old —Typographic borders
ink —A spotted black tone—Equalizing the tone
illustration —Triple division of taste—The severely plain, Doric—The
by using lighter ink— Spaced capitals and open-line illustra- slightly ornamental, Ionic — The elaborately ornamental,
tion — A interpretation of uniform tone— Character-
classic Corinthian —Sturdiness and grace— Difference ideals and in

istics and tone superbly blended — and headpiece Initial preferences — Some delight magnificence, others
in plain- in

should approach the tone of the type page— Uniform tone ness — The three divisions of taste applied to typography
between display and border— Catalog
line illustrations The style of architecture and home furnishings influence
should stand out —Outline type-faces to obtain
in relief typography —The "mission" style and straight lines

gray tone on newspaper page— Letter-spacing. The frivolous rococo style and curved lines — Rococo type
ornamentation not successful —A style to please those who
PROPORTION, BALANCE AND SPACING like neither the severely plain nor the elaborately ornamen-

Page 53 tal—Ornament secondary—Should not distract attention-

Excess of embellishment — Chippendale made furniture
beauty — What has
first
Symmetry necessary
is to do art to
serviceable, then added ornament — Regularity and variety
with printing? —Two views—The book printer and the job repetition — Four classes of ornament — Based upon
printer — Pleasing the few or being all things to all men
in

upon the inanimate, and

Printing as a business and as an art —Art is essential to
geometrical
—
lines, upon foliage,

as means of ornamentation
printing —Study of art arouses ambition —Unfolds a new
upon the animate Initials

—Decoration with a motive—Reversing

world — Proportion—Book pages—The width and length Corner ornaments
a design —A page with but a single ornament
of a page— Position of the page— Margins—The job printer half of

Present-day preferences are for Gothic rather than for

—
and proportion Relation of shape of type-face to page —
type ornaments — The reason "Ornament con-
—
Condensed types for narrow jiages Extended types for wide
Italian

— —
pages Architecture as an example V^ertical and horizontal
struction but do not construct ornament."

lines—The relation of to proportion — A page with

lines

proportion — Irregu-
THE TYPOGRAPHY OF BOOKS
ornament, type-face and page design in

larity and when may be introduced — A type

it large line
Page 07

or small by contrast —The happy medium — Balance, an im- Good taste important in production of books — Judg-
portant subject— Type horizontally centered
lines —Safety ment perfect in one respect and erratic in others — Good
from blunders— Out-of-the-center balance—The point df taste and conservatism —Catering to fashion leaves un-
verticalbalance above center— Testing balance to the limit salable stock —Conservatives in the minority, yet their in-

—-Diagonal arrangements show lack of imagination — Spa- fluence is —Tendency

greater of job printers is radical

cing— proper apportionment —An important feature when

Its Printed things that please for the moment —Art reasons
lettersare designed — The capital — Emphasis by means of Iv in book typography applicable to job typography —The job
spacing—The of separate
effect —Should be an even lines compositor drawing closer to his book brother —The book
page tone— Distributing display over the entire page
lines typographer governed by precedent —The conservative man
Grouping them the point of balance— Spaced words in
at constructive —The radical destructive — Masterpieces dis-

narrow measures —A good sign when one recognizes im- carded for frivolous things —^Morris set out to change book
perfections. typography—He offered the good things the old masters of

Age not proof of merit— Good typography always good

ORNAMENTATION Book industry America tremendous—Carnegie at
in first

Page 59 ridiculed,now acknowledged a benefactor—The need of

The human race has a liking for ornamentation — Natural good books well printed— Majority of books poorly printed
and artificial beauty —Nature furnishes motives for man's Rarely do reading pages, title-page and cover harmonize
work —The average man giving thought to art — Beautiful Cover only part given —Should be honestly
artistic attention

things all about — Privileges of museums and art galleries what it seems —A book model —Not a cap-
in its way line in

available to printers — Take less thought of food and rai- —Only two
itals of type on
sizes — Chapter head-
title-page

ment and these things shall be added — Is ornamentation ings cling type page— Margins — Surface covered
to
necessary to art typography.' — Paper as embellishment- Proportion — Bruce Rogers — Designs books for the Riverside
Covering poor stock with decoration — Ornaments under Press — Regard for the appropriate— The motive the literary

lock and key — Revising ideas of art —Abstinence—Using cue— Suggesting a product of the middle nineteenth century
 — —

SYNOPSIS OF CONTENTS XI
—Two pages with faults — Inharmonious tj'pography plates already made — One design on every page — Charac-
The cost of an appropriate title-page ridiculously small teristics of border should be studied —Subduing the colors
Provide display faces to match machine —
letters Artist and The printer is limited, the artist not — Artistic results
is

typographer and the literary motive — Composite Colonial possible with type alone —Inharmonious ornaments should
and modern —Unfinished — Books that lend them-
effect not be used — Printer should design own booklets —When his
selves decoration — Serious books — Typographic
to results leaving itthe other man, accept
to ideas — A and his rich dig-
exceptionally good — General use border— Title-page an
of nified combination — Bradley's radicalism — A that has style
excellent example— Reading matter close to border— One waned — Booklets more conventional — Both printer and ar-
margin —Style the modern novel — Modern book com-
of —Antique paper,
tist in binding and typography
inks,
position on the linotype—An unconventional page
set Narrowing type-work a pet —The conventional
to style style
Page from a book written and illustrated by Will Bradley —Limited knowledge— Competition— Poorer and better
Harmony between type-face and decoration Effectiveness — work—A neat and refined — An
style dignified, interesting
of a plain initial —Title-page of classic design —Dignified interpretation a renaissance panel — Imitative woodcut
of
beauty —Adaptation of an old Colonial title-page —A serious —Related pages — Good use lower-case— Limitless
effects of
effort — Page from a book by De Vinne
by the Roycrofters opportunity type founders' material — A subdued tone
in

An ecclesiastical — Improving typography

book by Updike in Small and
capitals combination —An unusual
italic in ar-

America—A book with a French motive— Avoiding com- rangement which hyphens are omitted— Simple typog-
in

monplace types — Fonts from old matrices — Specially de- raphy on Japanese paper — Live in an artistic atmosphere
signed faces — Arrangement of a book — Fly leaf, sub-title, Advice by Sir Joshua Reynolds —The helpful atmosphere
title-page, copyright notice, imprint, table of contents and of the trade paper — Printers depend too much on artists

illustrations, preface, frontispiece, dedication, index- Possibilities of type arrangement have not been exhausted
Numbering the pages —The space under running titles A good printer and a good artist working together is ideal.

Lowering of the chapter headings —The space around in-

itials — Position of a book page —Em-quad or en-quad be- CATALOGS

tween sentences ? Page 83
BOOKLETS Three branches of architectural virtue applied to the cat-
Page 75 alog —Act well, speak well, look well —The days when the
"A diminutive book" — Brochure and pamphlet are other catalog was a heterogeneous collection of woodcuts and
titles —Chap-books prototypes of the booklet —The booklet type-faces —Now care and taste are shown—The catalog is

bom when the dodger or hand-bill ceased to be effective a portable show-case— Proper display of goods makes selling

Obsolete mediums of publicity — Messages now conveyed by easier

— "Playing up" the ordinary—Treatment suitable
a dozen methods — Booklet next to the salesmen's samples for one may be unsuitable for another — How should a jew-

and the catalog — mission educational— Best written a

Its in eler's catalog be treated? — Daintiness, simplicity, refine-

non-technical style— influence favor of a sale—The

Its in ment and —The value of color not the quantity used
art in

printer's share large— Planned by advertising writers and

is A firm that has gloves to —An Updike catalog of an ex-
sell

commercial — Blending ideas—Type matter that does

artists hibit—Absence roman lower-case— Other features
of

not the decoration — Booklets that are harmonious and

fit A catalog of sewing machines — Insignia— Instruments in

complete— A central motive around which weave their all halftone on a dark background — A Bruce Rogers catalog

ideas — Printshop need not be equipped producing every for of books —Type flush the
lines —A new idea cat-
at left in

detail—A "plant"— Depending upon the open of field ar- alog — Projecting the
illustration into the foreground article

tists and engravers —-Learning the customer's preferences Soft blend between and type page— Illustrating
illustration

Preparing dummies — Booklets the connecting link between the article on one page and describing it on the facing page

book and job printing— An original booklet designer Place name page— Depending on
of article or firm on each

Decorative work without perspective— Embossing and flat typographic treatment—Type that easily read—Extending is

— Blending of three elements—The

effects of Norman styles vignetted edges into the margin — A Bradley page— Con-

Pierce and Edward Everett Winchell contrasted — One of a trasted with a Rogers page— Different purposes — Like-

Japanese motive and the other Greek and Roman — De- nesses of rubber goods vividly presented — A catalog of

sign covering both front and back covers — Using illustra- boys' wear — Many handling
will —Wire
fail in this style

tion decoratively — A booklet humorous — Leaving

in style screen catalogued and given emphasis — Parallel rule used

border of halftones — Roughing paper after printing

lines off on a book catalog—Tone harmony — Illustration freed of the
—Pages with a small amount of descriptive matter— Plain usual store-room atmosphere —Another book catalog page
nile border — Placing an which out of pro-
illustration is An artistic bond catalog — Cover treatment of a motor
portion — Position of a caption — Picture designs that cover catalog —The best type-face for catalog pages.
the surface— Basicly rather than freakish
artistic —Type PROGRAMS
forms with photographs —A strong and cover by effective

simple means—The more one learns, the elaborate are less

Page 91

his designs — Lettering important booklet designing in "Let all things be done decently and in order" — Four
Blending lettering with type-face— A good specimen which classes of programs — Programs of sacred services — Offer
is not good — Inappropriate treatment — A lettered page by opportunity for artistic treatment — Significance an im-
portant element —The key to ecclesiastical printing — Rubrics
Goudy— The customer was right—Adapting typography to
 —— —A "

XII SYNOPSIS OF CONTENTS

—A modern interpretation of the — Pointed Gothic
historic legibility —Rugged
Colonial —An announcement
style cir-
type-face —Uncial rubricated — Red —A
initials lines sig- cular that art product — Classic inscription
is an — style
nificant device— Prejudices among clergymen — A churchly chap-book folder—A brochure-announcement— Florets
little

aspect by rubrication — Arranging numerous small titles before paragraphs — The printer's own advertising — Pleasure
Economizing space—An almost perfect specimen church of accompanies art-craftsmanship—Strengthen weak places.
program printing— A on church typography
specialist

Program of lenten services — A small program, with a page

TICKETS
for each event — Arranging a program with matter little
Page 107
The dance program —Should be dainty —Stock folders
Must "look a dance program" — A typographic dance
like
Good results —A good job of printing should
by accident

card — Centered dots place in periods — Uniform border

of
be an everyday occurrence —-Lack of reason for non-
interest

treatment on an outing program —An unconventional dance

development —Any man not interested vocation to be in his
pitied — Thought concentrated on typography — Efficiency a
program — Banquet programs and varied treatments pos-
guarantee— Accept responsibilities—The
sible —Value of the decorative border—Arrangement of observations
— "None perfect, no not one"—^Tickets first

type matter — A background —The menu program

in olive
of a student

printing — Many themes and

afford

small booklet form — Menu dishes

practice of art typog- styles in
in the form checks in of
raphy — Resourcefulness a valuable characteristic — Ticket
"Hash" and "Rehash" — A fun —A bit of menu-page classic
forms especially designed — One based upon a
—A styleappropriately humorous — Eating a foreign in
—An idea from ancient Rome^Capitals
motive classic

language —Side — hits treatment simulating wood-

Artistic
spaced slightly

cut decoration — A simply constructed menu page— Unique

The historic Gothic or church style— Contrast by the use of

arrangement —Titles the —Symmetrical arrangement

at left
color —A modern conception with a masculine motive

—Programs for entertainments and exercises—The com- The margins of two styles —
An odd and striking effect
monplace program a disappointment — programs Artistic
Modern treatment based upon the Colonial —A bookish
A refined page by Updike — Features of a page by interest in
effect —An idea for a lecture course — White or colored
Rogers —Admirable treatment of a program — Ap- brief
stock.' —A ticket of peculiar interest to women —The geo-
propriate decoration overprinted by type— A page dominated
metric or secession style —Enthusiasm over new styles

by the Gothic — List characters unusually displayed

style of
Building a house in the sands —Square-faced type and

—A neat page Caslon type—The program containing

in
square ornaments —An adaptation of the missal style
from William Morris and
small advertisements — Theater programs exert influence
Inspiration Italian printers

on public taste.
For educational and —A motive from the art
art functions

workers of the Middle Ages—A modern application of classic

ANNOUNCEMENTS type effects^A purely Colonial — Dainty, refined
effect treat-
ment and -symbolic decoration —Typography that distinct- is
Page 99
ly ma.sculine — Orange lighter than black
is tone—An in
Publicity essential to success —The modern representative arrangement dictated by an ornament —A ticket not easily
of the public crier — Not confined to any size or shape
duplicated — Color background — Corner decoration in
Often consists of only one page —The most personal of keeping with the subject —A motive from early French books
printed mediums of publicity —The printer depended upon — Typographers should go thru the world with eyes open.
for suggestions and advice — Confidence the customer an of

asset—Imitation engraved announcement the most common

—Allows of no original or decorative treatment —Type- LETTERHEADS AND ENVELOPS
faces that do not deceive — Brain exercise — Be a producer of Page 111
new things — dark stock — Lessening the con-
Difficulty of A subject of interest —^The large requirements of business
trast— Light ink affected by dark —Strong jiapers lines correspondence —Energetic competition — Profit and the
necessary — An announcement Caslon — Lengtlis
in de- of friend who interferes —Two ways of meeting competition
scenders — A quality depending upon typesetting detail in Lowering prices the wrong way — Raise the quality
is

and presswork — Positions of groups and of margins sizes Unprofitable orders — Print according to art standards and
Massed black —Good paper and plenty of —Sym-
letter it get a proper price — How shall letterheads be treated ?

metrical arrangement of a folded invitation — Announce- Imitation engravers' effects and legitimate type headings
ment card in classic —Suggesting by typographic
style Capitals and squared type groups — Lower-case and free,

treatment the thought, the —Decorative borders are

in text unshaped arrangements —Away-from-center arrangement
helped by rule —Using ornaments as eye-attractors
lines Shape harmony —Moderate spacing—Theatrical letterheads
Originality, eccentricity and —Rule panel
illegibility treat- —Striking bounds of
effects within the — Plain gothic art

ment— Mistake use rule unless needed — A book shop an-

to type and a touch the decorative— An imposing design
of

nouncement—An odd blotter form — Designed provide to Treatment peculiarly suitable to a machinery business —
for a fold — Distinction by a large —Spacing of initial letters Machinery never had the sympathy of the world— Reason art

A study intone values — Contrast black and white- of for prejudice — What the job printer must do — A difficult

Avoiding monotony margins — Harmony of type-face and

in piece of type composition for a general store — How place to

decoration — A daring— Brief announcement form

bit of a great amount of copy without the use of rules — The con-
Colonial —Strong, verbose and
effects —A large stylish cir- trary proposition copy —The writing paper
of little a of

cular announcement — No embellishment — Simplicity and theater — Letterheads with large of —Adver-
lists officers
 —A ——
AA

SYNOPSIS OF CONTENTS XIII

tising a — Dignified, yet novel attractiveness—Telling
meeting A Bradley card selected for strength, decorativeness and sim-
the attractions of a summer cottage— Real estate dealers de- —An arrangement met with too infrequently—Rules
plicity

mand striking —The inscription panel

effects adapted style —A business card gothic—
used with lower-case or capitals in

to letterheads — A motive—The attractiveness

classic a of An interesting along
effect —Setting forth each
classic lines

hand-lettered design approximated — Getting "something phrase a in — Card-edge border treatment— Careful ad-
line

different" — and printer combine

Artist — their talents herence to the laws of shape-harmony — Horizontal lines

difference in the freedom allowed for decorative treatment— crossing the card — A neat design an engravers' romanin

A "twin" letterhead —Uncommon distribution of color Roman capitals with lower-case— Effects that are
italic

Combination type and artist's design —The crossed-line permissible well done— Caslon
if for a jewelry house
italic

panel adapted to letterhead purposes —Simple type effects business card — Inset corners that suggest the contour of the
by means of Caslon lower-case —Absence punctuation
of type group — No one card best for purposes — A halftone
is all

The robust Colonial style —A sample of secession art cut used as the background of a business card —^Type ar-

Neatness and dignity in letterhead designing —The use and ranged in the unconventional style of hand-lettering —
purpose of envelops —A post office request — Poor taste to church organ card significant — Lettered and
historically

cover entire face of envelop — Distinctive treatment of sta- engraved designs — A "reverse" plate— Legitimate type
tionery—Cheap paper and economy—A machine-slug style effects—Imitation work— Blotters have a place modern in

—Envelop for forwarding proofs — Envelop

of closely re- business — A quality of usefulness — Coarseness should be
lated to letterhead — Appropriate the business — Dupli-
for avoided —The generally used — Rearrangement from an
size

cating the letterhead form on the envelop— Value sim- of intricate rule design — Chap-book adapted to a blotter
style

— Another specimen spaced gothic — Trademark

ilarity in An to attract attention — A dignified blotter for
illustration

and type-face should harmonize— An arrangement a set in the personal desk — The secret restraint — Material that
is is

few minutes — Where type-face and device blend—An in- used and material that not used — Both writing and
is

teresting medieval note struck — Odd tone obtained by typographical treatment important— A background of

spaced border and capitals. small squares —Simplicity and appropriateness —Tone har-
mony a chief characteristic.
BILLHEADS AND STATEMENTS
POSTERS
Page 119
Page 129
A sense of proportion which belittles typography —The A —The general commercial
message the important thing —A momentous period when the specialtylarge in cities

—Wood-type equipment—Strength important in

—Typography of billheads and statements highly
tj-pe is set
printer
poster printing — Capitals most useful — Wood in
or fashion — Change
letters
important —The shop's standard — Style,

in billheads due to altered methods of transacting business

various widths — Avoid very condensed —Size of letters

— posters — The poster an advertisement — Not read at close

is
A form commonly use a decade ago "Bought of," "To"
in

and "Dr." — Discarding the "M" — Individualizing billhead

range — Poster printing should have harmony, balance and
—A simple design — Old-style on a poster—
a coal dealer— Sym-
tone lettering
treatment — An unusual billhead for

metrical placing of a great number of words — The com-

window-card Colonial
in —Common styleof window sizes

pany's name the top of the sheet — Invoice— Stock head-

at
cards — An easy arrangement with —En- artistic possibilities

larged type by zinc etching—An arrangement designed

ings not frequently used —The special form billhead — Treat-
lines

for a season football — Cards used

of cars — Usual in size
ment that should be confined to the printer's own stationery
— Changes the typewriter has worked in billhead printing
Poor — Easy do good work with proper material
results to

Good work can be done with imperfect equipment — Foolish

A —An uncommon
simple form, also serving for a letterhead
handicap workmen — Legibility chief car-card essential in
— A German specimen — Order numbers on
arrangement
to
advertising — Decorative touches supplied by ingenuity
—Appropriate for the business — Monthly state-
billheads
—
ments "As per invoice" — A form appropriate for any busi-
Easily-adapted treatment requiring no special material-

—
ness "Statement of your account" — Value of related treat-
Car -cards unique among insurance advertising —Treatment
ment —An arrangement that unique—The "credit
within scope of the typographic printers' limitations —Pos-
is
sibilities of type for poster purposes — Clever arrangement
Quality that is too rare —Card for a Sunday-school excursion
BUSINESS CARDS AND BLOTTERS —A simply treated type design—A poster secession style in

Page 12S The motto-card —An opportunity for printers — Advertising

— Prevents uses — Decoration on posters — The homely "sale bill"
The card as a means of announcing a visitor
the message—
embarrassment and misunderstanding — Physical construc- The over-decorated poster which loses

tion of a card important — Cards of the large and the small happy middle-ground —A well-balanced mind needed by the
printer — Paying for instruction.
business house —Copperplate engravers set the style for
much business card printing — Little pleasure in being an
THE TYPOGRAPHY OF ADVERTISEMENTS
imitator unless you are a good one— Good stock, dense
black ink and perfect types — Pleasing results with green- Page 135

black ink— Purely typographic treatment — Customs followed Advertising, from the typographic printer's viewpoint

on most printing of this kind — Novelty in business card con- Treatment influenced by advertising managers —The com-
struction —Arrangement like the address on an envelop positor should hold to the spirit rather than the letter of
 —A —— •

XIV SYNOPSIS OF CONTENTS

his instructions —Need
more thoro understanding and
of capitals illegible
— "Block" letters —Misnamed gothic
—
cooperation Mention type-faces by name An old prob- — Prominent place in specimen book — Crude and primitive —
—
lem Now the compositor must think more deeply Differ- — —
The new secession art Block letters tabooed in many print-

ent typographic styles for various audiences — Failure in —

shops Type equipment of a small-sized commercial print-

another field —The element of human interest —Quality shop —Should be type-faces that look well, wear well and
now more of —Advertisement need not
a consideration allow of constant use — Idle type-faces — Legibility the first

violate art —A department store advertisement

and dignity test —An —Type-faces should have certain beauty
art side

Prices emphasized by large figures — Names of articles dis- of design—The beauty and usefulness the Caslon—A few of

played — One of display

style used — A
letter of distinct series faces — Developing —Notable printers lim-
their possibilities

type for each large advertiser — Blending typography with ited insupply of type-faces —A type equipment of one face—
—Intelligent cooperation — Illustration displaces
illustration Type pound rates —Two faces —An
at mate—Three italic

type display — Two of body type— Illustrations that

sizes faces — A bold — Four faces—Old Style Antique
letter

carry a touch of caricature — Simple typographical treat- Square —Seven faces—A condensed form and a text
serifs

ment, without display —An advertisement writer who gets letter— Faces harmonious, but care should be used
fairly in

a thousand dollars a week — Underscored bold-face lines combining them — Selection faces merely representative
of

No border— Combined typographic and photographic de- Alternatives — Scotch Roman — Caslon faces with strength-
sign — treatment as
Artistic accorded a department
first ened — French Old Style— Other substitutions —Pos-
lines

store advertisement — The treatment abandoned — Appropri- sible to select an equipment without departing from the Cas-
ate handling of the advertiser's copy — Placing a long of list lon model — Related of type-faces, known as families
series

agents — Unusual position of a trademark^A strong ad- — How far should harmony be carried?—The old idea of ex-
vertisement with a conventionalized —The arrow
illustration treme variety and the new one of harmony — Danger not so
as an indicator — An Indian — page of small ad-
battlefield ^A much sameness but
in variety — Automatic harmony with
in

vertisements — A of attractive advertisements — Rela-

series the Cheltenham family — An auxiliary type equipment — Im-
tion in tone of type-face and border — Highly artistic treat- itation engravers' —Script for commercial purposes
letters

ment of a silverware advertisement — A which style in artist, out of — One type foundry does not show script—Var-
style

engraver and typographer are jointly employed — Insertion in iety thru change of capital
— "Bread and butter" faces
letters

mortise after electrotyping — Uniform program ad-style in — Luxuries type-faces — Formal work — Resemblance of
in

vertisements — A mere directory of business friends De Vinne to bold-face Caslon — Jenson Old Style—Type-
Getting variety — A Bradley arrangement with blank space faces for two-color printing — Not successful small in sizes

atleft —A harmonious decorative motive—The refined, dig- Outline for newspaper advertisements
letters
—"Old-style"
nified Wanamaker — Play day with the advertisement
style and "modern" not as significant as a generation ago
writer — Type matter that shows white on a photographic "Modern" type-faces may regain popularity — Outside in-

background —The best manner of using a small space — fluences —Type-faces of our fathers' days —Suggestions
defective idea of type display and a rearrangement — The printers should memorize.
coupon —Sketching the advertisement — Fit the copy to the
design or the design to the copy — Printers should learn IMPRINTS
something about advertisement writing. Page 153
The printer should regularly use his name and device
TYPE-FACES Neglect and fear of customer's condemnation —Should mark
Page I4S his product as other craftsmen and manufacturers do—
Interest shown —Type-faces should be
in the subject se- A guarantee of quality —How the innovation could be in-
lected for general usefulness — Printers hindered by unwise troduced —A precaution — Imprint should be unassuming
selection of type equipments — Pride possession now of in and inconspicuously placed — Various uses — First use of a
large fonts of a few faces — Problems of com-
legible, artistic printers' decorative device — Historical uses of distinguish-
mercial job printers — Division of type-faces into four classes ing marks —Emblems of hospitality—The sign of the Cross
—-The Roman alphabet — characteristics — Originally
Its — Printers should a device and attempt to
select up to live it

only capitals — Wide and narrow —What happens when

lines —The Gutenberg Bible contained neither device nor printed
the scheme reversed — The
is — and small capitals
serif Italic —
name Fust and Schoeffer's Psalter first book with imprint
—Their introduction —Swash — and small
letters Italic ro- — —
The colophon A decorative device Its significance Im- —
man capitals — The capitals made hight and inclined
full itated — —
Adopted by Printing House Craftsmen The classic
The ampersand — decorative
Its — The Caslon
qualities Aldus device — Pickering uses —Others adapt —Bruce it it

type-face— For beauty and

legibility, has no
versatility it Rogers' interpretation —The imprint-device the Venetian of
equal —The face revived — Introduced into America — It Society of Printers — significance— Emblem
Its authority of
again assumes an important place— Modified accommo- to — Globe probably represented the earth—Double-cross
date the lining system — Interesting features sacrificed to associated with archbishop's authority — Similar astronomi-
present-day requirements — The Caslon alphabet — The face cal signs — The most popular old imprints — Hubbard
of
with long descenders — Graduated —Text — Fash-
sizes letters adopts —Emblem
it the perfect — Symbolizes an attempt
of
ioned manuscript books — Various desig-
after lettering in to do perfect work —Used on packages — Other adap-
biscuit
nations — used
Still Germany for books and newspapers
in tations
—"A good device forever" — Caxton's imprint
lives

Should be used sparingly on commercial printing—Text device— Resembles a rug —^Characters cause discussion
 —

SYNOPSIS OF CONTENTS
A trade device used by the merchants of Bruges —A mer-
APPENDIX
chant's memorial plate — De Worde adapts the device
Morris' dcNnce resembles De Worde's —The device of the
THE TYPOGRAPHY OF A CIRCULAR
German master printers — Tvpothetae — A modern adap-
tation — The British printer and the pun — Dave and Mvllar Review of fourteen prize-winning designs and twenty-four
—Froben's imprint — Devices Bebel, Plantin, the Elzevirs
of others, submitted in a circular competition,
conducted
and Estienne— Devices very large the old days —Ancient
in by The American Printer School of Typography.
motives intwo modern devices —The winged Lion of St.
Mark— Recent adaptations —Story of the device—A colo- THE TYPOGRAPHY OF A BUSINESS CARD
phon-imprint — Four designs with ancient motives —The
Review of thirteen prize-winning designs submitted a
unique mark of the De Vinne Press —Three imprint-devices
in
business card competition conducted by The American
based upon architectural motives — monogram
Initials in
Printer School of Typography.
form — Representative devices used by commercial printers
Decorative imprints with type-founders' material — Harmony
THE TYPOGRAPHY OF A BLOTTER
of type, rule and ornament — Small type imprints — Casting
them on the linotype— Where should an imprint be placed Review of thirteen prize-winning designs submitted in a

On books — On small commercial work—A legitimate op- business card competition conducted by The American
portunity for publicity. Printer School of Typography.
 LIST OF REPRODUCTIONS
PART ONE Page by England's first printer, Caxton, p. 17
Page in English by John Dave, p. 18
WHEN BOOKS WERE WRITTEN The first Psalter in English, p. 18
Page 1

The scribe at work, frontispiece

TYPOGRAPHY IN COLONIAL DAYS
Illuminated page from the " Book of Kells," opp. p. 1
Page 19
Lettered page from the "Book of Kells," opp. p. 1
AssjTian clay tablet, p. 1
A title-page of 1655, with many words and much type-
display, opp. p. 19
Ancient Roman reading a manuscript roll, p. 1

The refined style of Italian manuscript books, opp. p. -2

The first book printed in English America, p. 19

Roman wa.xed tablet, p. 3 Title-page of a Shakespeare book, p. 20

First edition of "Pilgrim's Progress," p. 21
The famous Egyptian "Book of the Dead," p. 3
Evolution of the alphabet, The first issue of the London "Times," p. 21
p. 4

Capital letters of the ancient Romans, Page from a chap-book, p. 22

p. 4
Uncial letters of the sixth century, p.
Page from "Description of Trades," p. 22
.3

Half-uncial letters, p. 5
French specimen of 1742, p. 23

Gothic Caslon types and ornaments, p. 23

letters of the fifth century, p. 5
First edition of "Paradise Lost," p. 24

Two pages from "Poor Richard's Almanack," p. 25

THE ORIGIN OF TYPOGRAPHY Italian specimen of 1776, p. 26
Page 7 German specimen of 1670, p. 26

Portion of a page from Fust and Schci'tfer's Psalter of 1457,

opp. p. 7
TYPOGRAPHY IN THE 19th CENTURY
French playing card, a block print, p. 7
Page 27
Image print of W2^, p. 7
Bible of the Poor, a page from a block book, p. 8 Title-page of "Historyes of Troye" (Morris), opp. p. 27

Text-page from the block book "Ars Moriendi," p. 8 First text-page of "The Story of the Glittering Plain," opp.

Page from an engraved wood block, p. 27

p. 9

Page printed from .separate metal t}-pes, p. 9

Page from a "Book of Common Prayer," p. 27

Laurens Coster (portrait), p. 10

A design of the rule-curving period, p. 28

Johan Gutenberg Title-page of 1810, p. 28

(portrait), p. \i

Johan Fust (portrait), p. V2

Title-page of 1847, p. 28
Title-page of 1872, p. 28
Peter Schtjeffer (portrait), p. VI
Title-page of MacKellar's "American Printer," p. 29
Decorated page from Gutenberg's famous Bible of Forty-
two Lines, opp. p. 12 A banquet program of 1865, p. 29
From a type foundry specimen book of 1885, p. 30
A business card of 1865, p. 30
THE SPREAD OF TYPOGRAPHY
A business card of 1889, p. 31
Page IS Stationery composition of 1870, 31
p.

The Venetian style of typography and decoration, opp. p. 13 The panel as used in 1893, p. 31
The spread of typography from Mainz (table), p. 13 A neat letterhead of 1897, p. 31
Page printed by Koburger, p. 14 Two title-pages by Charles Whittingham, p. 32
The first page of displayed t\-pe composition, p. 14 Bradley's adaptation of the Colonial style, opp. p. 32
A page from the famous Bamberg Missal, opp. p. 14 A Jacobi page of 1892, p. 33
The first italic type-face, a page by Aldus, p. 1 j A Bradley page in Caslon lower-case, p. 33
Specimens from Plantin's Polyglot Bible of 1569, pp. 16, 17 A Bradley page in Caslon capitals, p. 34
Gothic ornamental pieces, from a "Book of Hours," p. 16 A De Vinne page, p. 34
 1

XVIII LIST OF REPRODUCTIONS

PART TWO Three widths
Type page
of type-faces, 52
which
(The index figures refer to the number of the example) in vertical lines predominate, 53
An architectural comparison, 54
THE "LAYOUT" MAN The conventional page shape, 55
Page 35 Type page in which horizontal lines predominate, 56
Booklet cover-page laid out with pencil and crayon, 1 An architectural comparison, 57

Anticipating the appearance of the printed page, 2, 3 Page in which ornament, border and type-face are in pro-

Ascertaining color combinations with crayons, 5, 6 portion, 58 (insert)

Laying out copy for machine composition, 4-a, 4-b Pages in which the type-face is not in proportion, 59, 60

Table for ascertaining the number of words to square inch, 7 Mismated type-faces and borders, 61
Notehead set without instructions, 8 In which vertical lines are proper, 62 (insert)

Business card set without instructions, 9 Horizontal lines not suitable, 63

Label set without instructions, 10 A display line surrounded by other type lines must be
Notehead laid out for compositor, 1
larger than when alone, 64, 65

Business card laid out, 12

Type proportionately too large, 66

Label laid out, 13 Type proportionately too small, 67

Layout of a cover-page, 14 A proportion that is about right, 68

from instructions, 15 Out-of-center balance on a business card, 69

Cover-page as set

Layout sketch for a catalog cover, 16 (insert)

Type grouped unusually high, 70

The cover printed as indicated on the layout sketch, 17

Exact center is too low, 71

(insert) The point of vertical balance, 72

An architectural example of out-of-center balance, 73
HARMONY AND APPROPmATENESS A disorderly arrangement, 74

Page J^l The ornament balances the design, 75

Out-of-center balance on an announcement, 76
Harmony by the use of lower-case, 18
The effect of horizontal lines in a ty{>e page, and how it is
Harmony of type-faces and borders, 19
avoided, 77, 78
An architectural subject treated appropriately, 20 (insert)
Spacing letters to obtain even tone, 79
A booklet cover suggestive of the subject, 21 (insert)
Emphasis obtained by letter-spacing, 80
Catalog cover suggested by old lock-plate, 22
The obsolete practice of spreading the lines over the page, 81
An old lock-plate, 23
The modern practice of grouping the lines, 82
Inscription on a Roman arch, 24
Cover-page for a catalog of books, 25
ORNAMENTATION
A plain page for a plain purpose, 26
Treatment appropriate for a church program, 27-a Page 59
Portion of a page of an old manuscript missal, 27-b The egg-and-dart ornament, 83
Cover-page for a catalog of decorative materials, 28 The bead ornament, 84
The Colonial arch, 29 The egg-and-dart ornament as a typographic border, 85
Title-page in semi-Colonial style, 30 The bead ornament as a typographic border, 86
Conventionalized papyrus plant, 87
TONE AND CONTRAST The winged ball, 88
Page !fl
The acanthus leaf, 89
Contrast in color and tone, 31 Palm-like Greek ornament, 90
Uniform tone and contrast of black and white, 32 The Doric pillar, 91
Four ornaments, each of a different depth of tone, used in The Ionic pillar, 92
the construction of four pages, 33, 34, 35, 36, 37 The Corinthian pillar, 93
Two extremes of tone on book pages, 38, 39 Ornamentation on an entablature, 94
Blending of illustration and text, 40 Square-lined, ornamentless furniture, 95
Spotted black tone of border and text, 41 Square-lined, ornamentless typography, 96
Blending of illustration and type-face, 42 Dainty, elaborate rococo ornament applied to furniture, 97
Uniform tone in classic typography, 43 (insert) Similar treatment of a program title-page, 98 (insert)
A study in uniform tone, 44 (insert) Slightly ornamental furniture, 99
Tone-blending of initial, headpiece and text, 45 Slightly ornamental typography, 100
Emphasis of parts to be printed in light color, 46, 47 Monotony and variety in strokes and shapes, 101, 102, 103,
Display lines should match the border in tone, 48 104, 105
Uniform tone by equal spacing, 49 Roman architectural border and roman type-face, 106
English-Gothic pointed ornament and Gothic type-face,
PROPORTION, BALANCE AND SPACING 107
Page 53 Natural and conventionalized ornament, 108
One method of determining the page length, 50 Extravagant wall border ornamentation, 109
Another method, 51 Roman scroll ornament cut in stone, 110
 LIST OF REPRODUCTIONS XIX
Type ornament based upon geometric lines. 111 Ivcttering and decoration in rich, refined style, 162
Type ornament based upon foliage, 11-2 Two pages in Colonial style, 163, 164
Type ornament based upon the inanimate, 113 A dainty, refined cover-page, 165
T}-pe ornament based upon the animate, IH Page in renaissance panel, 166
Ornamental hand-lettered effect, llo Typography in imitation of hand-lettering and decoration,
Corner ornaments, from bolts on inscription plates, 116 167, 168

Decoration from an old manuscript book, 117 Pleasing use of lower-case, 169
Filling blank spaces with ornamentation, 118 Cover-design all in type founder's material, 170
Page in semi-ornamental ecclesiastic style, 119 Title-page in Caslon, 171
Initials of various kinds, I'^O A pleasing specimen of the fan -shaped title-page, 17'2

Simple ornamentation applied to letterhead, HI Unconventional arrangement of a booklet page, 173

Appropriate ornamentation on a modern booklet, 1'2'2 Commendable use of capitals, 174

Effect of alternating colors, MS

An ornament based upon the animate used on a business CATALOGS
card, \U Page 83
The significance of ornamentation, applied to a booklet,
Two daintily -appropriate pages from a jeweler's catalog,
H5 (insert)
175 (insert)
Artistic treatment of a glove catalog, 176
THE TYPOGRAPHY OF BOOKS Two pages from a catalog of exhibits, 177, 178
Page i>7 Page from sewing machine catalog, 179

Two model specimens of book typography, actual size,

Page from badge catalog, 180

H6, (in -rt) Strong treatment and pleasing use of color on two facing
Title-page of a book of classic poems, 128 pages, 181, 182

Title-page with a nineteenth century motive, 1-29 Classic style of book-catalog typography, 183

Two book pages inharmoniously treated, 130, 131

Emphasizing the object by pen-and-pencil drawing, 184
Two pages of comjKxsite Colonial and modern typography, Use of the vignetted halftone in a tool catalog, 185

13i2, 133 Illustrative and descriptive pages facing each other, 186, 187

Two pages constructed with care for detail, 134, 135 Admirable treatment of a camera catalog, 188

A text-page in modem roman, 136 Book-catalog page, 189

A text-page in old-style type-faces, 137 From a catalog of rubber goods, 190

Title-page in lower-case, 138 Page from a catalog of boys' wear, 191

Page from a children's book, 139 Facing pages from a catalog of wire screen, 192, 193
Harmony in tone of type-face and decoration, 140 Book-catalog page with parallel line border, 194

A title-page of classic design, 141 Page from automobile catalog, 195

Adaptation of an old title-page to modern purposes, 14'2 Artistic page of organ catalog, 196
(insert) Decorative border adapted to book catalog, 197
Text-page of a Roycroft de luxe volume, 143 Cover of bond catalog, 198

Text-page from a book by De Vinne, 144 Cover of a motor catalog, 199

Two pages from a small ecclesiastical book, 14.5, 146
Clever adaptation of the historic crossed-line border, 147 PROGRAMS
Text-page with a F"rench typographic motive, 148 Page 91
Program cover-page in ecclesiastical style, 200 (insert)
BOOKLETS Economizing space on a program containing numerous
Page 7-5 small titles, 201

Cover-page by a booklet artist, 149 Missal style of church program, 202

Combination of decoration and photograph, 150 Classic treatment of a church program page, 203
Booklet page in humorous style, 151 Program cover-page in missal style, 204

Combination of photograph, hand-lettering and type, 15-2 Generous margins on a church program, 205
Admirable treatment for little reading matter, 153 A dance card, 206

Arranging a photograph which is other than page propor- Page from a booklet program, 207
tions, 154 Unconventional treatment of a dance program, 208
Adapting a photograph to a cover-page design, 155 The decorative border on a banquet program, 209

Effective results by simple means, 156 A halftoned decorative background on a program, 210

A hand-lettered cover-page, 157 Page from a diminutive booklet program, 211

An otherwise good typographic page that is too dainty for The banquet program in the form of a check book, 212
the purpose, 158 (insert) > treatment of titles and odd menu arrangement.
More appropriate treatment of the cover, 159 (insert) 213

Adapting t_\-pography to a decorative design previously Suggestion for a menu page, introducing a bit of fun, 214

made, and the value of repeating the same design on all (insert)

pages, 160, 161 (inseri) A classic menu page, 215

XX LIST OF REPRODUCTIONS
Menu-program used by master printers, '-21(5 The medieval art worker furnished a motive for this

Dignified style for menu page, 217 266

ticket,

Treatment simulating woodcut decoration, '218 Modern application of classic type effects, 267

The missal style adapted to a menu-program, (219 Patterned after Colonial treatment of title-pages, 268
Unique arrangement of a menu page, 220 A dainty, refined effect suited to many occasions, 269

Excellent typographic treatment, 221 Robust treatment of an outing ticket, 270

Refined entertainment program page, 222 The cab ornament dictated the type formation, 271

Two pages from an entertainment program, 223, 224 Treatment that should prevent easy counterfeiting, 272
Program page in lower-case, 225 Corner decoration suitable to the subject, 273
The decoration was in color, 22fi This arrangement has a French motive, 274
Program in Gothic style, 227
A well-arranged page, 228 LETTERHEADS AND ENVELOPS
Neat treatment of a program, 22!) Pacie 111

An original letterhead design, 275

ANNOUNCEMENTS Artistic treatment in squared effects, 276
Pacje 9!) Suggestion for a theatrical letterhead, 277 (insert)

An announcement form adaptable to many purposes, 230 A neat letterhead oddly balanced, 278 (insert)

(insert) An imposing design from type material, 279

Two pages from a dignified, refined and artistic announce- Peculiarly suitable to a machinery business, 280
ment folder, 231, 232 Letterhead for a storekeeper selling a general line, 281
Announcement in Colonial style, 233 Individuality obtained by means of decorative initials, 282

Odd treatment of an announcement, 234 Letterhead for a theater, 283

Pleasing and symmetrical arrangement, 235 Disposing of a large list of officers, 284

Classic arrangement based upon the architectural inscrip- On which a meeting is advertised, 285
tion plate, 236 Dignified, yet novel treatment, 286
Typography suggesting the thought expressed in the reading Letterhead of a summer hotel, giving facts above it, 287
portion, 237 Unique treatment for real estate dealers' letterhead, 288
Ornaments as eye-attracters, 238 The inscription panel style adapted to a letterhead, 289
and eccentric in treatment, 239
Original A heading that has a classic motive, 290
Announcement in panel style, 240 A type-design that approximates a lettered heading, 291
Suggested as an announcement form, 241 (insert) (insert)

Odd treatment of an announcement, 242 (insert) "Something different," by means of the Caslon type-face,
Division into two groups, providing for fold, 243 292
A study in tone values and margins, 244 In which artist and printer combined their efforts, 293
Harmony of type-face and decoration, 245 A "twin" letterhead in Caslon capitals, 294
Artistic form for brief announcement, 246 Neat letterhead and uncommon distribution of color, 295
Colonial treatment of an announcement page, 247 Combination type and artist's design, 296
Strong, verbose and stylish, 248 The crossed-line panel on a letterhead, 297

First and second page of an artistic, unembellished an- A simple Caslon lower-case letterhead, 298
nouncement circular, 249, 250 Letterhead in robust Colonial style, 299
Blotter announcement in rugged Colonial style, 251 Designed heading in the so-called secession style, 300
A page that rates high in tone, balance and symmetry, 252 Neatness and dignity in letterhead designing, 301
Announcement in classic inscription style, 253 A good specimen of printer's proof envelop, 302

Title-page of announcement in chap-book style, 254 Simple, yet strong treatment of an envelop, 303 (insert)
Refined, yet attractive typographic treatment, 255 Suitable treatment for machinery envelop, 304
The envelop which accompanied a letterhead shown, 305
TICKETS Another envelop mate, 306
Page 107 Spaced gothic, topped by harmonious device, 307
Classic, refined treatment for art and literary purposes, 256 A purpose for which Caslon Text is excellent, 308

The historic Gothic, or pointed style, 257 (insert) Harmony of device and type treatment, 309
Strong treatment, the motive of modern origin, 258 (insert) Distinctive and artistic treatment, 310

A striking effect that should please the college student, An uncommon envelop corner, 311
259 (insert)

Modern treatment based upon the Colonial, 260

BILLHEADS AND STATEMENTS
Suggestion for course tickets, 261 Page 119
Daintily appropriate in type-face and illustration, 262 An old form of billhead, 312
The secession or mission style applied to ticket composi- Another old form of billhead, 313
tion, 263 A decorative style peculiarly appropriate, 314 (insert)
The ecclesiastical or mission style well adapted, 264 An excellent billhead in the panel style, 315 (insert)
Perhaps Morris would have set a ticket this way, 265 Uncommon use of gothic type, symmetrically arranged, 316
 LIST OF REPRODUCTIONS XXI
Treatment that has individual interest. 317 A hanger for which two headlines were enlarged from type
The special form billhead, 318 prints, 366

The quaint Colonial style adapted to a billhead, 319 Window-card designed for a series of games, 367
The use of the typewTiter is causing changes in the con- A style that is legible and appropriate, 368
struction of billheads, 3-20 (insert) Panel treatment within the resources of the average print-
The letterhead arrangement is popular for billheads, 3i21 shop, 369
An uncommon arrangement in Scotch Roman capitals, 3'2'2 A style unique among insurance advertising in cars, 370
How a German printer treated a billhead, 3-23 An effect easily duplicated by ingenious printers, 371
Order numbers are now frequently placed on billheads, 3'24 The possibilities of type for poster purposes, 37-2 (insert)
When guide rules are unnecessary, 3-25 A car-card in which the art and advertising elements are
Peculiar treatment of a statement, 3-26 blended, 373
It is well to have a statement labeled as such, 3-27 Suggestion for an excursion window-card, 374
A statement form appropriate for any business, 3-28 A simply-treated type design, 375
Statement form to accompany billhead, 3-29 Poster treatment that is easily duplicated in the average

Unconventional treatment that is pleasing, 330 printshop, 376

Dainty treatment of a motto-card, 377
BUSINESS CARDS AND BLOTTERS The motto-card as a method of advertising, 378

Page 123
THE TYPOGRAPHY OF ADVERTISEMENTS
Customarj- arrangement and proportions of type lines on
Page 135
business cards, 331
Novelty in business card construction, 33-2
A well-treated department store advertisement, 379 (insert)

Strong and decorative, yet simply constructed, 333 Blending typography with illustration, 380
(insert)

An excellent arrangement of the Caslon type-face, 334 In which an illustration displaces a display line, 381

(insert) Simple type treatment, without display, 38-2

A well-treated card in gothic, 335 (insert) How a prominent advertising firm treats its own advertise-
ment, 383
A card treated along classic lines, 336
The Colonial is here suggested, 337
Typography and photography are combined, 384
The card-edge border gives unique distinctiveness, 338 Artistic treatment of a department store advertisement, 385

Careful adherence to the laws of shape-harmony, 339

The style of underscoring words, 386

Where horizontal lines are well employed, 340

Advertisement containing a long list of agents, 387
Strength in typography and illustration, 388
A neat design in an engravers' roman, 341
A dignified card with a historical motive, 34-2
Questionable use of the arrow, 389

Bold, artistic treatment of a printer's card, 343

Uniformity of type treatment on a group of small adver-
tisements, 390 (insert)
Caslon italic is a good letter for a jewelry house card, 344
One of a series of attractive type advertisements, 391
Uncommon treatment, with harmony of contour, 345
Artistic results from non-typographic treatment, 39-2
An arrangement that will be appreciated by cultivated peo-
ple, 346 A style much used in magazine advertising, 393

A halftone cut as the background of a business card, 347

An effort to give uniformity to a page of program adver-
tisements, 394
Type arrangement in the dashing style of hand-lettering, 348
Blank space and vertical lines as attracters in a magazine
Business card for a church organ manufacturer, 349
advertisement, 395
A lettered and engraved design, 350
A decorative motive and pleasing harmony, 396
Unique effects by means of a reverse [)late, 351
A refined and artistic department store advertisement, 397
An attractively-designed card, 35-2
Play day with the advertisement writer, 398
Blotter, rearranged from intricate rule design, 353 (insert)
Interesting combination of typography and photography, 399
The Colonial style admirably adapted to blotter purposes,
Making the best use of a small space, 400
354 (insert)
Too many sets of words emphasized, 401
A well-treated blotter, 355
Order and dignity from the same copy, 402
Clear-cut, dignified and tasteful treatment of a blotter, 356
'Coupons used in magazine advertisements, 403, 404, 405
Unconventional treatment was justified in this case, 357
Tint background formed of type squares, 358 TYPE-FACES
Blotter used in the writing room of a convention hall, 359
Page 1^3
A blotter whose chief characteristic is tone harmony, 360
Treatment of Roman letters at the time of the Italian
Renaissance, 4D6
POSTERS
The decorative value of italic, 407
Page 129
Type alphabet based upon the type-face designed by
'
Strong and harmonious poster treatment, 361 (insert) William Caslon, 408 (insert)

Refinement in theatrical printing, 36-2 A working series of the Caslon type-face, 409
A superior specimen of hand-lettered poster, 363 The Caslon type-face and Scotch Roman, contrasted, 410
The Colonial style used on a window card, 364 Reversing the accepted distribution of thick and thin lines

Simple typographical treatment, 365 leads to grotesqueness, 411

 1

XXII LIST OF REPRODUCTIONS

Alphabet of Caslon Italic, 412 The pun, as found in two ancient printers' marks, 446
Alphabet of Scotch Italic, 413 Devices used by notable printers of the sixteenth and seven-
The old Caslon figures and the modernized kind, 414 teenth centuries, 447-A
Two styles of the ampersand, 415 A printer's device and imprint that monopolizes two-thirds
A line of "Swash" letters, 416 of the title-page, 447-B
Showing the difference in length of descenders and ascenders Two modern designs with ancient motives, 448
in two Caslon faces and one Cheltenham, 417 The Lion of St. Mark and its use by the Oswald Press,
Uncial letters make admirable initials, 418 449-A
The beginning and growth of the type equipment of a com- The Lion of St. Mark adapted to a book on Venetian life,

mercial printshop, 419 449-B

Type-faces that could be substituted, i'iO, 4'^1 One of Robert Estienne's marks, 450

A Caslon equipment, i'-Z'-i Colophon showing the thistle mark of Bruce Rogers, shaped
The remarkable Cheltenham family, i23 after the Estienne device, 451

A type-face equipment for imitating the work of copper- Modern imprints suggested by ancient forms, 452
plate engravers and lithographers, 4'-24 An imprint that has to do with mythology, 453
The block (or gothic) alphabet, 425 Printers' marks based upon architectural motives, 454
Variety obtained by changing the capitals, 4"26 The monogram is an attractive form for printers' devices, 455

Artistic and interesting faces suitable for special purposes, Representative of the large variety of devices in use by com-
427, 428 mercial printers, 456
Excellent type-faces for lawyers' briefs and legal blanks, 429 Decorative imprints constructed with type founders' orna-
There is a general resemblance between Caslon Bold and ments and suitable type-faces, 457
De Vinne, 430 Quaint book -ending as used by Elbert Hubbard, 458
Type-faces based upon French Old Style, 43 Small type imprints and the various effects possible with
Jenson compared with Old Style Antique, 432 them, 459

Two standard German type-faces, 433

Type-faces for color printing, 434 (insert) APPENDIX
"Old-style" type-faces, 435
"Modern" type-faces, 436 THE TYPOGRAPHY OF A CIRCULAR
"Plain" type-faces of our fathers' days, 437
Reproductions of fourteen prize-winning designs and twenty-
Distortions of the "modern" type-faces, 438
four others, submitted in a circular competition, con-
Some of the fancy letters that pleased printers during the
ducted by The American Printer School of Typography,
latter half of the nineteenth century, 439
pp. i, ii, iii, iv, v, vi, vii, viii, and two in.serts.

IMPRINTS THE TYPOGRAPHY OF A BUSINESS CARD

Page 153
Reproductions of thirteen prize-winning designs and forty-
The first imprint-device, and two imitations, 440 six others, submitted in a business card competition con-
The first "imprint," as found on Fust and Schd-tt'er's
ducted by The American Printer School of Typography,
Psalter of 1457, 441 (insert [)p. ix, X, xi, xii, xiii, xiv, xv, xvi, and insert.
Aldus' anchor and dolphin device, and adaptations by
modern printers, 442
THE TYPOGRAPHY OF A BLOTTER
The most popular imprint-device as early used by printers,
and modern interpretations, 443 Reproductions of thirteen prize-winning specimens, fifteen
The imprint-device of England's first printer, its probable which received honorable mention and thirty-five others,
derivation, and two notable devices evolved from it, 444 submitted in a business card competition conducted by
The arms supposed to have been granted German master The American Printer School of Typography, pp. xvii,

printers, 445 xviii, xix, xx, xxi, xxii, xxiii, xxiv, and two inserts.
 LIST OF DESIGNERS
PART ONE
Aldiis Manutius, p. 15 Fust, Johan, and Schceffer, Peter, opp. Newcomb, Thomas, opp. p. 19
Barker, Christopher, p. 18 p. 7 Parker, Peter, p. 24
Bradley, Will, opp. p. 32, 33, 34 Gutenberg, Johan, opp. p. 12 Plantin, Christopher, p. 16, 17
Caxton, William, p. 17 Jacobi, Charles T., p. 33 Rand, George C, and Avery, p. 29, 30
Daye, John, p. 18 Jenson, Nicholas, p. 14 Roberts, James, p. 20
Daye, Stephen, p. 19 Koburger, Anthony, p. 14 Sensenschmidt, J., opp. p. 14
De Vinne, Theodore L., p. 34 MacKellar, Thomas, p. 29 Thomas, Isaiah, p. 28
Franklin, Benjamin, p. 25 Morris, W'illiam, opp. p. 27 Whittingham, Charles, p. 32

PART TWO
Figures refer to the example numl>er

Adams-Brander Company, 297 Fleming Press, 196 Harrison, Charles G. Company, 319
Anger, Harrj- A., 121, 292, 294, 327, 330 French, George, 126, 127 Heintzemann Press, 45, 51, 132, 133, 276
Bartlett-Orr Press, 156 Fust, Johan, and SchoeflFer, Peter, 441 Hill Print Shop, 334, 335
Beers & Frey, 354 Gazette Press, 340 Hotchkin, William R., 397
•
Beran, C. R., 207 Giraldi, Auguste, 169, 338 Jepson, John, 44
Betz, Joseph Company, 321 Government Printshop, Berlin, 118 Kehler, J. H., 40
Blanchard Press, 157 Gowdy, F. W., 159, 162 Kiessling Brothers, 254
Bradley. Will. 62, 76, 100, 139, 163, 164. Greenleaf, Ray, 309 Kleukens, F. W., 32
189, 191, 211, 219, 238, 239, 333 Gregson & Crosby, 166 Lang, Fred S., 226, 352

Bradley, William Aspen wall, 141 Gress, Edmund G., 1, 2, 3, 4, 5, 6, 11, 12, Leader, Leon I., 289, 290, 295
Brannon, I^ennis, 278, 283 13, 14, 15, 16, 17, 18, 20, 21, 22, 25, Little & Becker, 185
Britton Printing Company, 252 26, 27-A, 28, 30, 34, 35, 36, 37, Lord & Thomas, 385, 386
Calkins & Ilolden, 396 39, 46, 48, 53, 55, 56, 58, 66, 67, 68, Low, Earle N., 255
Calumet Press, 243, 247 69, 82, 85, 86, 106, 107, 115, 116, Mackay, A. F., 172, 233, 246
Carr, Horace, 251, 256 119, 142, 167, 168, 200, 205, 208, 214, Marchbanks, Hal, 292, 299
Chasmar-Winchell Press, 192, 193 218, 220, 230, 235, 237, 241, 242, 244, Matthews-Northrup Works, 125, 179,

Cleland, T. M., 49, 147, 234 245, 256, 257, 258, 259, 260, 261, 181, 182, 184, 190, 199

Colonial Press, 136, 137, 138 263, 264, 265, 266, 267, 268, 269, 270, McDonald Printing Company, 380
Cook Printing Company, 124 272, 273, 274, 277, 281, 282, 284, 285, Melton Printshop, 279
Cooper, Frederick G., 293, 363 286, 287, 303, 306, 308, 314, 322, 325, Meyer, Herbert W., 151
Corday & Gross, 173, 301 329, 332, 347, 348, 349, 353, 357, 359, Morrill Press, 152, 186, 187

Crittenden, Lee L., 171, 253, 336, 346 361, 364, 365, 366, 367, 368, 369, 371 Munder-Thomsen Company, 98, 122,

Crocker, Frank L., 170 374, 375, 376, 377, 378, 387, 388, 402, 165

Currier, Everitt R., 231, 232 457 Nash, J. H., 134, 135, 194

Davis, A. S., 198 Gress, Walter B., 342 Neal Press, 310
De Vinne Press, 217 Griffith-Stillings Pre.ss, 210, 213 Peabody, Charles Edward, 216, 337
De Vinne, Theodore L., 144 Gustafson, D., 344 Pierce, Norman, 149
Donnelley, R. R. & Sons Co., 195 Haight, A. V., Company, 291 Pirsch Press, 326

Dunn, B. L., 392 Haine, Harry, 221 Powers, George A. Company, 296, 305
Estienne, Robert, 447-B Hall-Taylor Company, 176, 393 Rogers, Bruce, 43, 128, 129, 148, 183,

Fleming & Carnrick, 96 Harmer, J. Justus, 351 223, 224, 449-B, 451

I XXIII I
XXIV LIST OF DESIGNERS
Roycroft Shop, 143 Stillson, Robert L. Co., 350 University Press, 41

School of Printing, Boston, 42, 75, 335 Stutes, Edward W., 206, 240, 288, 317, Updike, D. B., 70, 145, 146, 177, 178,
Sherbow, Benjamin, 236, 249, 250 345 203, 215, 222, 227

Sindelar, T. A., 392 Taft, Henry D., 343 Vreeland, Francis William, 16, 161

Smith, Herbert R., 315 Tapley, J. F. Company, 339 Willett Press, 302, 390

Stafford, H. Ernest, 320 Thompson, O. R., 358 Winchell, Edward Everett, 150, 153, 154,

Stern, Edward & Company, 175, ISO, Thomson Printing Company, 372 209
275 Thunberg, B. A., 229 White, S. H., 360
Stetson Press, 225, 228 Trow Press, 140, 248 Woodis, W. A., 174, 280, 304

APPENDIX
Allen, W. A., xi Henneberry, R., xiii O'Neal, George W., xiv
Anderson, James F., xxiv Hogan, James W., x Padgett, W. R., xxiii
Anthoensen, Frederick W., opp. f).
i
Houtkamp, John, xv Peterson, Emile, xv, xxii
Backen, Theo., xii Hulce, G. H., vii Porter, D. A., xxiii

Benson, H. W., vi, xiv Hussion, Thomas A., xxiv Prastmark, Albert, xi

Biggers, E. M., xxi Jackson, Thomas H., iv Ray, Edwin R., xxiii

Black, Eli, ii, xv, xx Jackson, William H., xiii Reblin, Austin M., iv, xvi

Bradford, William B., xiv Johnson, A. L., xxiii Reed, C. F., vi, xviii

Brannan, B. Walter, xvi, xviii Johnson, L. A., xxiii Ross, George Graham, xix

Brown, William B., vi Jones, E. L., xxi Bossardt, William R., viii

Caldwell, F. M., xxi Jones, Tom V., xvi, xxi Ruggles, Robert G., xxiv
Clarke, James G., xviii Keppler, Charles F., xvi Salade, Robert F., xvi
Cobb, John E., xxiii Kiessling, F. W., xxiii Shaw, Frank A., xv
Connor, Edward, iv Kuestardt, Paul, xxi Sheegog Ptg. Co., xxiv
Corbin, Harold S., vi Lake, F. W., xii Shirley, George W., x
Cota, Will J., opp. p. ix, x, xx La very, Albert J., xi Shrope, Harry E., xii

Crocker, Frank L., xiii, opp. p. xvii Leader, I^eon I, iii, xi, xxiii Shute, Alf., xxii
Davis, James H., v, xxiv Lewis, Barnard J., ii Smith, Herbert R., xiv, xix

De Witt, Philip L., viii, xxii Lewis, J. Warren, xv Smith, H. Frank, vi

Doe, Harry G., xxii Lilliston, O. L., x Snow, Emmons E., viii

Dowdy, W. E., xix Lovendale, A. R., xx Spradling, J. W., xii

Doyle, William L., opp. iv, x. opp. xx Maginnis, W. R., x Stephens, E. R., xxii
Durphey, Chester A., xxii Marchbanks, Hal, xviii Stover, Clement M., xxiv
Eldridge, Harold, xii McLellan, Fred., xx Streeter, Ronald T., xx
Eslick, Ches., xxi McLoughlin, M. F., xxi Stryker, John A., vii

Evans, L. F., xiii Melton,W. F., vi Terry, W. R., xiii

Fernberg, Anderson, xxii, xxiii Merriam, M. C, xii Thompson, William W., viii

Fitzpatrick, Ernest, xxi Millar, George, xvi Toovey, William, xii

Flaskamp, C. P., xiv Miller, E. A., xxiv Van Sciver, Howard, xxiv
Franklin, C, ii Miller, F. W., xxiv Verburgt, J. P., xxi

Foreman, A. S., x Miltenberger, A., Jr., xiv VoUmer, Edward C, xxiv

Frommader, E. A., viii, xii, opp. p. xx Mixter, Howard, opp. p. ix Walsh, vii

Goldsmith, Warren, xxii Moberg, Karl R., xiii Watkins, J. W., opp. p. i, opp. p. iv, xi
Grady, George R., xxi Mohrman, W. A., v White, S. H., viii, X, xxii

Grampp, George H., xvi Moore, F. H., xvi Wismer, H. D., vi, xi, xx
Gress, Walter B., vi, xiii Moore, George B., xiv Wohlford, J. S., XX
Griffiths, J. Arthur, xix Morgan, Clyde, xx Wolf, Frank J., xi

Grigutsch, O., xiii Morris, C. R., xv Woodis, W. A., vii, vii, vii, xiv, xviii, xxiii

Ginsburg, Percy, xi Nelson, Arthur, viii, opp. p. ix Woods, John H., xv

Grossman, Harry F., xxii Nelson, Olaf D., xx Woolley, Clarence B., viii

Gustafson, N. G., xv Newcomer, S. A., ii Worden, R. E., xviii

Hemperly, Wm. B., Jr., vii Oliver, Gilbert, vii Young, Frank W., xx
 :

AUTHORS PREFACE
TAKING advantage of the opportunity offered by the instruction doubly valuable every step is illustrated by
preface the author tests the good nature of the reader to specially -prepared or selected type designs. From his pri-
the extent following. vate collection of specimens of printing the author has
This book, "The Art and Practice of Typography,"" is been enabled to reproduce some of the work of America's
intended primarily for commercial or job printers. It rep- best book and commercial typographers, which should
resents the efforts of one of them
advance the cause of
to serve well as models for typographic study. The ever-
good typography. No trouble or expense has been spared important question of type-faces is argued from practical
to make the book and comprehensive. Ground
interesting and art standpoints, and the imprint is also discussed.
is covered that has never before been gone over, and the An interesting feature will be found in the appendix.
subject of typograph.v as it affects the commercial printer From three contests conducted by The Ainerican Printer
has been viewed from every angle. have been selected one hundred and sixty entries for re-
It may be interesting to relate how this book came to production, showing thirty-eight ways of treating a cir-

be written: In 190^2 Auguste Giraldi and several other cular, fifty -nine arrangements of a business card, and

men interested in the improvement of typography among sixty-three styles of blotter typography.
commercial printers, inaugurated a mail course under the The author may be pardoned for calling attention to a
name of the American Correspondence School of Typog- feature of this book which is uncommon. Not only was

raphy. Lessons were prepared and the printers of the the text written by him, but he is responsible for the
country evinced considerable interest in the project. It style of binding, the selection of type-faces and colors of
was the pleasure of the author to be connected to some ink and paper, and suggestions and rough sketches upon
extent with this work, and after the Oswald Publishing which the drawings of the chapter headings were based.
Company purchased the course he conducted it as the The book is far from perfection, yet it represents an idea

School of Typography department in The American Printer, to which the author became wedded, for better, for
writing a majority of the lessons, which afterward ap- worse."
peared as chapters in the book, "The American Manual
of Typography. "* There was such a large demand for the Further light has been shed on the significance of Fust
Manual that the edition, supposed to last ten years, was and Schoeffer's imprint -device (pages 153-160.) by Henry
exhausted two years after its publication in 1905, and Lewis BuUen, librarian of the Typographic Museum of
the editor of The American Printer, John Clyde Oswald, the American Type Founders Company. Regarding the
requested the author to rewrite the book under the characters and the shields, he writes

present title, "The Art and Practice of Typography,'" "It has been shown that those 'crossed bars' are sim-
the first chapter appearing as a lesson in typography in ply the Greek letters X (Chi) and A (Lambda). The three

the December, 1907, number of that publication. stars denote seniority on many medieval coats of arms.
The two shields hung on a branch denote alliance pos-
The first Manual had grown by chapters from the few ;

on
sibly the alliance of Schoeffer with the Fust family tree
lessons purchased from the original school, but in the
present work everything was carefully planned before a his marriage to Fust's daughter. As to the significance of

the Greek capitals nothing known. Greek letters have

linewas written. The author set aside the first five chap- is

ters (Part One) for the historical consideration of typog- each a numerical value. That of Lambda is 30, of Chi,
raphy, realizing the work of the best printers receives in- 600. Doubtless to the initiated of that period these char-
spiration from ancient sources. Part Two treats of the art acters had the same sort of significance as those used by

and the practice of typography in a manner intended to the Greek -letter societies of our day. In medieval times
be interesting, understandable, and educational. Art prin- European society was permeated by secret societies ex-
ciples are applied to type arrangement, and to make the pressing their identity by symbols. The Kabbala, which
XXVI AUTHOR'S PREFACE
goes back to the tenth century and still secretly sur- Champ Fleury, " treating of the formation of the alpha-
vives, was vigorous in the fifteenth century. It attached bet. A book of peculiar interest to American printers is
wonderful or mystic meanings (hence our word cabalistic) a history of the Quakers, the first book produced by
to the letters of the sacred writings, and so far as these Franklin and his partner Meredith (page 24). Books by
are of the New Testament they were originally Greek. Jenson, Froben, Estienne, and other noted printers are
Neither Fust nor Schceffer, being tradesmen, had a right also in the library.
as individuals to use a coat of arms, but it would be strange
In the chapter on imprints, thru an oversight no recog-
if so substantial a citizen as Fust did not belong to some
nition was given the device of Geofroy Tory, of Paris, ac-
secret organization, into which he might
we may be complished scholar and expert printer of the sixteenth
take his son-in-law. This sure
of: the devicehad a meaning to many con- century, who according to an epitaj)h

temporaries of Fust and Schceffer. The de-

written by a compatriot "was the first

vice on the right-hand shield is known to man to discuss seriously the art of

I
be Schceffer's, because it was used in vary- printing," and "taught Garamond,
chief of engravers." His work on the
ing forms by his descendents, who con-
tinued in the printing business in an un-
derivation and formation of Latin char-
broken line for three centuries and a half.
acters had considerable renown. He
claimed, according to Fournier, tiiat
Its latest form is shown in the cut inserted
in this paragraph, used by Peter Schceffer, of Bois-le-Duc all the letters are formed of I and O.
Proportions are arrived at by dividing
in the Netherlands, as late as 1747, and probably later.
The a square into ten lines, perpendiculai
last of this celebrated family was Jacques Schceffer,
printer in Bois-le-Duc, born June 2, 1720, died Decem- and horizontal, forming one hundred squares completely
filled with circles, the whole giving form and figure to
ber 17, 1796, without issue. The Bois-le-Duc printing
office was established in 1540 by John Schoeff'er, the old- the letters. The reproduction here (thru the courtesy of

est grandson in the senior line of the original Peter Bruce Rogers) of one of Tory's devices, shows it to con-
sist of a broken pot filled with instruments, and the
Schoefltr. It continued all that time without a break."
Latin phrase "Non plus" (nothing more).
The double cross found in the lower left corner is in-
In the chapters of this book devoted to the history of
teresting in connection with the use also made of it by
printing mention is frequently made of rare books associ-
the Venetian Society of Printers (pages 154-155).
ated with the early days of the craft. It may be of interest
to the readers of this work, sometimes visitors to New York, The author does not anticipate again having the pleas-
to know, that on Communipaw Avenue, Jersey City, is a
ure of producing a book as elaborate as this one, and
public library and museum wherein many of these books may
trusts the time and thought given it will not have been
be seen or examined. This library, which contains books
in vain. If it accomplishes even a little part in the present
and relics pertaining to typographic matters only, was es-
movement for spreading the glad tidings of good print-
tablished in 1908 by the American Type Founders Com- recompense
ing, the will be pleasant indeed.
pany, with Henry Lewis BuUen as librarian. There will be
In closing the preface it affords the author much pleas-
found "The Chronicle of Cologne" (page lO), the address
ure to be able to express appreciation of the encourage-
of Coornhert (page lO), the "Batavia" of Junius (page lO)
ment rendered him by John Clyde Oswald, without
and other books that Gutenberg-
figure conspicuously in the
whose hearty co-operation as publisher this book would
Coster controversy. A copy of Moxon's " Mechanick
have been impossible.
Exercises," which tells of type-making processes in the Edmund G. Gress.
seventeenth century, is there, as is also Tory's famous New York, Februc
PART ONE
 O -S e a

o u u '-

v-fc -S-S ^'

 ' ;

WHEN BOOKS WERE WRITTEN

TO MANY people the words "Printing" and "Typog- Manuscript books are so-called from the Latin words
raphy" are synonj-mous. The Standard dictionary in its manu scripti, meaning written by hand," and the initials
leading definition of the word "Printer," says: "One of these two Latin words are frequently used for the word
engaged in the trade of typographical printing one who ; manuscript, i.e., "MS."
sets type or runs a printing press, specifically a com- The materials upon which books were written have
'
positor. at various times been clay, stone, wood, lead, skin, papyrus
But in these days there are so many kinds of printers and paper.
(lithographic printers, steel and copper-plate printers, Looking back six thousand years to the beginning of
linotype printers, textile printers, etc.) that to define a recorded time we find the Chaldeans (Babylonians and
printer who does his work with type, the word "typo- Assyrians) writing arrow-shaped characters with a sharp
graphic" is strictly proper.
The word "typography" is derived from the Greek
typos, or type ; —
and graphe, or writing type-writing.
Typography, then, as I shall use it, means printing from
movable, or separate types.
The origin of tjpography ma.v be open to dispute, but
it is an undeniable fact that the art of printing with sep-

arate types was practiced at Mainz, Germany, during the

years 1 450-1 45.5, and from there spread over Europe.
Before that period books were written by hand or
printed from crudely engraved blocks of wood.

The thousand years preceding the invention of print-

ing (the fifth to the fifteenth century) are known in
history as the Middle Ages, and the first six centuries
of this period (the fifth to the eleventh) are called the
Dark Ages, because during those years civilization in
Europe relapsed into semi-barbarism, and scientific, artis-
tic and literary pursuits were almost entirely abandoned.
Latin had been the language of intellectual Europe up
to the time of the fall of Rome (4-70 a.u.) and one of the
influences that led up to this benighted period was that
Southern Europe was overrun by so-called barbarians
from Ciermania in the north— the Angles ;ind .Saxons,
who settled in Britain; the Franks, Burgundians and
Goths, who settled in Gaul (now France) and Germany
the Vandals who settled in Spain, and the Lombards,
who settled in Italy. tri-pointed instrument upon damp clay, which was then
In lUly, Spain and Gaul the Latin-speaking natives made permanent by baking. In 1845 a library of baked
outnumbered the invaders, and the Germanic con- clay tablets was discovered among the ruins of Nineveh.
far
querors were forced to learn something of Latin. The Thousands of these tablets have been collected in the
present languages of those countries are the result of British Museum, the most interesting of which is one

that attempt. of the Germanic Angles and

The language which had been broken in eighteen pieces, containing an
Saxons was used in Britain after their invasion of that account of the Flood.
country, but was modified by the French-speaking Nor- Twenty-five hundred years before the Christian era,
mans who conquered England in the eleventh century. when the great pyramids were being built, the Egyptians
Thus Latin as a common language died. WTOte upon papyrus, a plant growing on the banks of the
Nile. The inner portion of the plant was stripped, the

Altho dead to most of the population of Europe, Latin strips laid across each other, pressed and dried. The

was made the official language of the Christian church, squares of material thus made were then joined together
to form a long strip which was rolled around a rod.
and, during that period of the Middle Ages when French,
Spanish, Italian and English were in a state of evolution, Upon papyrus is written one of the oldest "books" in
it afforded a means of keeping alive in
written books the the world, the "Book of the Dead," now in the British
Museum. This a literary work of a semi- sacred char-
knowledge the world had gained before the dark curtain is

acter, and copies were placed in the tombs with deceased

of ignorance was rung down.
 THE ART AND PRACTICE OF TYPOGRAPHY
Egyptians, whence its name. A reproduction of a portion named from the city of Pergamus, where it was first
of this book is given on the next page. made. Parchment is the skin of calves, goats or sheep,
Supposedly under the patronage of the Egyptian ruler, cleaned and smoothed.
Rameses II., about thirteen hundred years before Christ, In the days of militant Greece, Alexander the Great
many books on religion, law, medicine and other subjects conquered Egypt, and in the year 332 b.c. founded Alex-
were written, and a great library was accumulated. andria. When at his death Alexander's empire was
The Chinese wrote with a stylus or brush upon tablets divided among his generals, Egypt fell to the lot of
of bamboo fiber. It is impossible accurately to determine Ptolemy, surnamed Soter. Thus began a dynasty of
the antiquity of Chinese methods, as the extravagant and Egyptian kings known as Ptolemies, ending in 30 b.c. at
often unsubstantiated claims of historians antedate those the death of Cleopatra, the last of the line. The second
of modern discovery. Ink, paper, and printing from Ptolemy, surnamed Philadelphus, founded the great Alex-
blocks were all supposedly invented by the Chinese early andrian library, which accumulated over five hundred thou-
in the Christian era, and even the first use of separate sand rolls of manuscript, mostly brought from Greece.
types is credited to Fi-Shing, a Chinese blacksmith. It The length of the rolls varied from small ones of two
may be relevant to suggest that the old-time black- '
hundred lines to massive scrolls of one hundred and fifty
smith" joke and the printing-term "pi" are derived from feet when unwound.
this source. There is a legend that Ptolemy Philadelphus was so
Dressed skins and palmleaves were used by the Hindoos, impressed with the appearance of a roll of parchment con-
and writings in Sanscrit were probably done in the tem- taining in gold letters the sacred scriptures of the He-
ples by the Brahmins, the priests and philosophers of brews, that, about 270 b.c, he caused their translation
early India. The Vedas, sacred writings as old as 2000 to be made into Greek. This, it is said, was done in
B.C., formed a big portion of the Hindoo literature. Alexandria in seventy-two days by seventy-two learned
The Hebrews wrote upon stones and animal skins. In
this manner they preserved the Old Testament portion of
the Bible, and gave to posterity one of the most wonder-
ful books ever written. »

The ancientPhoenicians were commercial people, and

being such did very little in producing literature yet it is
;

to them that we owe the present Roman alphabet. The

illustration on a following page shows how this transition
came about. There is a slight resemblance between some
of the twenty-two characters in the Phoenician alphabet
and certain picture writings of the Egyptians, whose hiero-
glyphic alphabet consisted of several hundred characters
and was as cumbersome as is the Chinese alphabet with
itsseveral thousand characters.
The Greeks
received their alphabet directly from the
Phoenicians, there being a tradition that one Cadmus in-
troduced it into Greece. Some writers claim that Cad-
mus" merely signifies "the East" and does not refer to
an individual. The names of the first two letters of the
Greek alphabet, Alpha and Beta, are similar to those of
many other languages, and the word "alphabet" is de- ANCIENT ROMAN READING A MANUSCRIPT ROLL
rived from these two letters. From a painting found at Pompeii

In Greece, especially at Athens, before manuscripts Jews from Jerusalem. Hence the name "Septuagint,"
became numerous, lectures and public readings were im- which has always been applied to that Greek version of
portant features of intellectual life. the Old Testament.
The poems of Homer, supposed to have been composed Julius Cai-sar, the Roman conqueror, whom Shake-
about 880 b.c, were not put into writing until 560 B.r., speare designated the foremost man of all this world,"
and during this period of more than three hundred years about the year 30 b.c. visited the city of Alexandria and
they were retained in the memory of bards, by whom became interested in Cleopatra, the Egyptian queen. This
they were sung or recited. led to a war with King Ptolemy, and during a fierce
"Plutarch's Lives," one of the best known Greek lit- battle Caesar set fire to the Egyptian fleet. Unfortunately
erary works, was written in the second century, a.d. the flames extended to the Alexandrian library and de-
The Greek nation is generally acknowledged to have stroyed the greater part of its magnificent collection of
been one of the most intellectual of ancient times, yet it manuscripts.
is a peculiar fact that only the boys were given an edu- Gradually after that, Rome superseded Alexandria as
cation, the intellectual development of women being con- an intellectual center, as Alexandria had previously
sidered unnecessary. superseded Athens. The conquest of Greece, over a hun-
Copying of manuscripts was often a labor of love. di-ed years before had been the cause of many Greek
Demosthenes, the great philosopher, is said to have tran- scholars and philosophers taking up their abode in Rome.
scribed with his own hands the eight books of Thucydides This, with the fact that a great number of scribes and
on the history of the Peloponnesian War. copyists had involuntarily come to the Eternal City be-
Many of the Greek manuscripts were written by scribes cause of the fortunes of war, helped to develop in the
and copyists who were slaves, and some of these slaves Romans an interest in literature.
developed much talent of a literary kind. During the period of Roman history identified with
The Greeks imported papyrus as a writing material, Julius Csesar there were customs in manuscript making
until one of the Ptolemies, in the interests of the Alexan- that are interesting in their suggestion of modern news-
drian library, decreed that no papyrus should go out of paper methods. In fact, Caesar is credited as having
Egypt. This led to the development of i)archment, so been the founder of the newspaper.
 :

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VP.OM VAKRC Tr, RE RUSTICv\r KV 2 _ A PAGE fROM THE "ODES OF HORACE,'-

ll
# AN ITALIAN M.S. OF THE 15™
CENTURY

Tlie rJcK, refined style of Italia

manuscript books or tne
FifteentL Century, at
tlie time or tlie mtroauction
or typograpny into Italy
 WHEN BOOKS WERE WRITTEN
He introduced the daily publication of the news of the coated, on which memoranda was scratched with the
Roman Senate and People, a radical change from the stylus. Several tablets were hinged together and the
previous custom of issuing yearly news-letters known as wax surface was protected by raised edges in the man-
the Annals. The acts of the senate were reported by ner of the modern school slates (see illustration). This
trained writers known as tabularii, or inscribers of tablets, led to the use of several leaves of vellum fastened to-
and were revised and edited before publication by a gether and enclosed by richly carved ivory covers, a
senator appointed to that duty. Abbreviated forms of form that came into use about 300 a.d., shortly before
writing were used in "reporting,'* a sort of short -hand Constantine removed the Roman capital to Constantinople.
which enabled the scribe to write as rapidly as a man Constantinople naturally became the center of civiliza-
could speak. Ctesar himself wrote his letters in char- tion, and the work of transcribing manuscripts was taken
acters which prevented them being read by his enemies. up in that city. In the eighth century the reigning em-
The Acts of the Senate" grew into a diary of general peror, in order to punish the transcribers for insubor-
news, known as the "Acta of the City,*" and it is likely dination, caused the library at Constantinople to be sur- '

rounded by vast piles of faggots, which being fired at a

given signal, the whole building was totally destroyed,
along with its twelve scribes and chief librarian and
more than thirty thousand volumes of precious manu-
scripts. "" It seems to have been a favorite method of
punishment during the Middle Ages, for those in author-
ity to destroy valuable manuscripts.

While, as we have seen, with the fall of the Western

Empire of Rome, the drift of literature was toward the
East, there remained West a dim light that was
in the
kept burning thru the six hundred years so fittingly
called the Dark Ages. This light came from the monas-
teries of Europe, in which little bands of devoted men
were transcribing and decorating the holy writings used
by the Roman Christian church.
ROMAN WAXED TABLET The Christian church as an organization became power-
ful after the Roman Flmpire declined, and the monopoly of
The present method of binding tlat books probably originated
with these old tablets learning which the church possessed during the Dark
.\ges gave it such a superior knowledge and power that
that the educated slaves in the families of public men were the Church of Rome granted authority to kings, and took it
called into service to duplicate copies for circulation. away, at its pleasure. A memorable instance of this
Altho the Emperor .\ugustus, who reigned in Rome at power took place in the eleventh century when Hilde-
the beginning of the Christian era, discontinued publish- brand, who as head of the church was known as Pope
ing the Acts of the Senate, he encouraged the writing Gregory \II., forced Henry I\'. of Germany who had
and copying of books to such extent that
the period is a memorable one in literature.
The classic authors, \ irgil and Horace,
wrote at that time, and many other import-
ant manuscripts were produced.
Sia%-e labor was utilized for copying, and
large editions of manuscript rolls were pro-
duced with an ease that rivaled the later
method of the printing press. In such in-
stances it was the custom for a reader to
read aloud to, say, one hundred trained
^ mmm
'M^:r:i\^lt.PJAU^isxif.^^:^i°^'''^L'z:i'7t

writers. The possibilities of this process may y

be imagined. Horace allowed his slaves
rations which were so meager that the en-
tire cost of production, including papyrus
and binding, of a small book was equivalent
to about twelve cents in United States coin.
Thus it will be seen that in the days of
the Roman Empire books were plentiful and
cheap because of slave labor, just as they
are cheap in modern times because of ma-
chinery.
For most of their books the Romans, as
had the Egyptians and Greeks before them,
used rolls of papyrus wound about rods.
Ordinarily these rods were made of wood,
but for highly-prized manuscripts, rods
made of ivory with gold balls at the ends,
were used, and the writing in such cases was
ik \XJ^
on purple-colored parchment, elaborately
decorated with gold or red ink. THE FAMOUS BOOK OF THE DEAD •

The present style of flat sheet books ihapter of the"Book of the Dead." showing hie
probably originated with the use by the This book was -written upon papyrus, and copie
Romans of tablets of wood or metal, wax- placed by ancient Egyptians in tombs with their dead
 THE ART AND PRACTICE OF TYPOGRAPHY
offended him, to seek pardon in a most humiliating man- portions of the Bible were made into common tongues,
ner. Henry stood barefoot in the snow for three days, but at great risk. William Tyndale set about to translate
before Hildebrand would pardon him. the Bible into Englisii, vowing that ere many years he
On one occasion previously to the event mentioned would cause the plough-boy to know more of the scrip-
above, Charlemagne (Charles the Great), king of the tures than did the priests. By 1,526 he had completed
Franks, who was crowned by Pope Leo III. and saluted the New Testament, but his books were burned in the
as Emperor of the West, was so mistakenly zealous in public squares as soon as completed. Ten years later
Tyndale was burned, as had been his books.
In 1534 Martin Luther completed his wonderful trans-
lation into German of the entire Bible, and gave to the
PHE.NICIAN ANCIENT GREEK i/irf« GffffK nhMN peoi)le what had previously been denied them.
^Xr A/<?/]A A A A
^ ^ ^ B B We will now consider the making of manuscript books
in the Middle Ages. In the early days of the Christian

A \ A^^C r G church, persecution was so severe that Christians lived in

A^ ^£^^P z:^ D hiding, or secluded themselves from the outer world to

worship. This condition led to the existence of a class
\^^^^
^ E e E of men known as monks (from a Greek word monos,
meaning "alone")- At the beginning of the sixth cen-
1 A /^ F tury, an earnest, conscientious Christian, now called

z X 2 ^ z Z Saint Benedict, set out to reform the evils then preva-

lent in monastic life. One of his theories was that the

H B ^ H monks should spend their time, not in idleness, but in

manual labor, in teaching the youth, and in copying
^ 0(8>e ^Q Th manuscripts. The Benedictine monks, as the followers
of Benedict are kno A^n, were the main agents in spread-
-'K^ I t X 1 I ing Christianity and keeping learning alive during the

>1 >l 1 H K K K Dark Ages. Their mode of living became so popular that,
it is said, there were at one time thirty-seven thousand

< V AVJ^ A L monasteries or cloisters in existence.

^ ^ yt^/^ M M One of the occupations of the Benedictine monks was

that of copying manuscripts, and in some monasteries a

i'7 ^MnA N N room known as the scriptorium was set apart for such
work. The office of scribe or copyist was one of great

%-V $ > .=- X imjjortance and stringent rules governed the work. No

o oo o a o o _

1 n r n p
V Q
R A B C D
^11 4S?/^/')t> P
yf+fwv A^'ir^) Z C S
rrA T t T T
E F G H
fro Lthe; tPh,

extending along with his own kingdom that of the Lowly

I L M N
Nazarene, that he ordered the hanging of more than four
thousand prisoners before the Saxons would consent to
be baptized and conquered.
Latin as a language is dead, so far as the secular world
P Q R
is concerned, but since the seventh century it has been

the official language of the Church of Rome. All manu-

scripts produced by monks after that time, whether writ-
ten in Britain, Germany or Italy, are in Latin, and the
services of the Roman Catholic Church are conducted in
that language even today. In the year 1080 the King of
S T V X
Bohemia asked Hildebrand, the Papal head of the church, CAPITAL LETTERS OF THE ANCIENT ROMANS
for permission to have the services performed in the
language of the people. This request Hildebrand refused,
saying: 'it is the will of God that his word should be writing was done by artificial light, talking was pro-
hidden, lest it should be despised if read by every one." hibited, and none but the scribes were allowed in the
In 1229 a council of the church published a decree room. The tools were quill pens, knives to cut the quills,
which not only strictly forbade the translation of the pumice stone to smooth the surface of the parchment,
Bible into a "vulgar tongue," but also forbade all but awls and rulers with which tomake guide-lines, and weights
the clergy to have copies in their possession. to keep down the pages. Parchment and vellum, the
In spite of these mandates, translations of various former made of the skins of calves, goats or sheep, the
 WHEN BOOKS W^ERE WRITTEN
latter of the skins of unborn lambs and kids, were the
materials written upon. Black ink was commonly used
for the text of books and vermilion, an orange-red ink
;

made of red clay, was used for titles and important parts
of the text. The portions in red were known as rubrics,
from ntbrica (red earth).
Illuminating was done to some extent in the monas-
teries, but illuminators other than monks were often
called upon to assist in this work. This practice led to
queer combinations, as sacred writings were frequently

^ B C O HALF-UNCIAL LETTERS
Demonstrating the transition of Roman

e
capitals into small or

F C lower-case, letters

n ) L m is defective in perspective but

esting.
The most beautiful
illuminator's art now in
is withal rather inter-

and elaborate specimen of the

existence is the famous "Book of

M o
Kells,'* a copy of the Gospels written about the seventh
century. It is notable because of the excellence of its
decoration, the endless variety of initial letters it con-
tains, and the careful lettering. The scribes and illum-
inators of Ireland have a lasting monument in this book,

P 9 R S as it is supposed to have been produced

of Kells, founded by St. Colombo.
Gold, red and blue were favorites with the illumin-
ators, the burnished gold leaf adding richness to the
in the monastery

brilliancy of the effect.

Manuscript books were ordinarily bound in thick
wooden boards covered with leather, but there are
books yet preserved the boards of which are of carved

r ^ ivory, and others that are inlaid with precious stones.

The books associated with the .Middle Ages most
familiar to us, are the Missal (mass-book) containing the
services of the celebration of the mass the Psalter (book
;

UNCIAL LETTERS OF THE SIXTH CENTURY of psalms) containing the psalms used in church services;
These show the Roman capitals assuming the shape
letters of the Book of Hours, containing prayers and offices for the
the later Gothic, or text, letters several hours of the day, and the Donatus, a short Latin
grammar, the work of Aelius Donatus, a Roman gram-
decorated with monkeys and other animals and birds, marian of the fourth century.
which might have afforded appropriate decoration for an
account of the Flood. When printing was invented the first types used were
After the parchment was prepared and before begin- imitations of tlie current Gothic lettering, known to us
ning to write the scribe would scratch his guide-lines upon as Black Letter, Old English, etc. A few years later,
it with an awl. The position of the page and the lines when typography was introduced into Italy, the types
of lettering were thus indicated, the page
guide-lines extending to the edge of the
parchment. The scribe's work was prin-
cipally that of copying (setting reprint,
printers would say) from a book on the Inoinnts <{; ilmUmt[ a^jrtro mgulo o^immlt aiipl)al)mt
reading desk at his side. He was supposed
tflUnf fiTltyt|n((B infitttftfflni j»nq;rtl»ttt omt^ffi^tHr
strictly to "follow copy," and his work
was compared occasionally by a person
known as a corrector. The black writing
finished, the skins were passed to the rub-
ricator or illuminator, if the manuscript
was to be elaborately treated.
The colored plate shown as a frontis- Tiftu^ ponnfimXefttuifoflninislmimiau^
piece is from an old print and pictures a
scribe at work. He is writing the text on
a sheet of parchment held in place by a
weight. The book from which he is copy- btnpUtu qumtaDu^unti.
ing is in front of him, above his writing
desk, and his copy is indicated by a guide
such as printers still use. Ink pots and
pens are in place and an elaborate library
is evidently at his disposal. The picture Also si
 THE ART AND PRACTICE OF TYPOGRAPHY
were cut in iinitatiun of the lettering selected for use by Roman capitals.The small (lower-case) letters became
the scribes of the Italian Renaissance, which lettering is known as minuscule, as contrasted with majuscule, or cap-
familiarly known in our time as Roman. The capitals of ital letters. (See reproductions on preceding pages.)
this Roman lettering are fashioned after those used in From this point book writing developed in two direc-
ancient Rome, and the small or lower-case letters are tions one toward the heavy pointed stroke of the churchly
:

after the Roman writing known as minuscule, of the Gothic style, and the other, guided by Charlemagne in
twelfth century. the eighth century, to the style of Roman letter used by
The ancient Roman writing was all capitals, and as Jenson and other printers of Venice, Italy, in their
found on stamps and coins was of the character of tlie classic printing of the fifteenth century. Our old-style
modern so-called "Gothic" (plain strokes, without the Roman types are from this source.
small cross strokes known as serifs). The more carefully Another style, called cursive, was the carelessly executed
made Roman capitals, as carved on monuments and handwriting used for ordinary purposes, and in that
buildings, are not unlike the present type-faces known respect may be likened to our own business script.
as Caslon and French old style. Thus as the fifteenth century dawned upon Europe we
The evolution of Roman capitals into the small or find literature and learning locked up in the cells of
lower-case letters of the present day is traced in the the monks, while outside, the hosts of people who for
writing called uncial, in which the letters A, D, E, H, ten centuries were wandering in semi-darkness, had
M, Q are rounded and altered in appearance. More reached an elevation which showed them a new exist-
changes developed the writing known as half-uncial, ence coming with the intellectual awakening that was
in which only the N and F retain the appearance of then already upon them. 4> •{. 4. ^i 4. 4. 4.
Mm Dirb^pofibSiimmmtiS'lnuttatmfnm^

fle9fmagnSDnmtimltraDQ2mitt0jelSmifr«
^nme DictemftfcfluepBlelnmtatmni-

ttonabijtin cuotiar*
(onfiltoiinptozu irin
utapttoQnoQmnim
mtbetimpeQilnirnoIr^

ffimsci^iftmlrgeniie mriiimbtf bit ar

]uidr,Httrittan$lignu(|tipIammtflr
(rots tBurTuB aqfeqfifmdufuiibabitin

fdartjv^bttt;jQ|ortrunptjnof^^ GrD
tan^tmlttta que ^onmiua a tm, fm
JbCDnonrrfitrgi rmipqmtuDtQornr^
pab2f9tnfdrtliamlhii| QJinomrbna
iimiuIfanitiitrriniinoQiSibit^iid^
Portion of a page (full size) from Fust and Sckoeffer'fl
Psalter of 1457
Tke first book with a printed date; with woodcut
initiala and decoration
 ;

E]

7
^H
THE ORIGIN OF TYPOGRAPHY
THE invention of typography in the fifteenth century Printing with separate metal types, while involving
marked the beginning of a new civilization and the end a new principle, was to some extent a development of
of the medieval thousand years. The Middle Ages may other methods. The evolution from manuscript books
be said to have begun with the capture of Rome by the to block books, and from block books to books printed
Vandals in 455 a.d. and to have ended with the produc-
, from types occurred quietly in the natural courseof events
tion of what is considered the first printed book in 1455. so quietly, indeed, that there is mystery surrounding each
change of method.
In the early part of the fifteenth century, when writing
was the only agency used for making books, the demand
for playing cards and sacred pictures necessitated a
method of reproduction more rapid than the old and thus
;

engraved wood blocks were introduced.

As the desire for knowledge outgrew the productive
resources of the russet-gowned scribes, men with a me-
chanical turn of mind began to engrave pages of books
on wooden blocks, a process which, tho extremely tedious,
afforded a means of partly satisfying the need, and which
became the stepping stone to the invention of printing
with separate types. The block books, as they were

As has been shown, during most of the thousand years

preceding the invention of typography, ignorance and
superstition reigned thruout Europe, despite the efforts of
Charlemagne and others to revive learning and encourage
interest in books. The popular mind had become so per-
verted that ability to read and write, and love for art
were considered proofs of effeminacy.
As the medieval period neared its close, the brain of
man became more active; he began to reason and to
understand much that before had been mystery. Inter-
est was manifested in the problems of science and re-
ligion, and notable things were accomplished by artists
and craftsmen. It seemed as if the intellect of mankind
was awakening from a long sleep, and civilization was
being born again.
As the light of the new intelligence shone upon the
earth, and Euroi)e rubbed its dazzled eyes. Typography,
the star that was to light the way to modern knowledge
and achievement, appeared.
8 THE ART AND PRACTICE OF TYPOGRAPHY
called, sometimes contained whole pages of reading mat-
ter, each letter cut in relief on the face of the wood, and
frequently the page included a large illustration carelessly
drawn and crudely engraved. The early method of print-
ing block books was by placing the paper on the inked
surface and rubbing the back. Only one side was printed
biltgettiiuccfc^ii^V[
and a brown distemper ink (a kind of watercolor) was used.
Simply constructed presses, prototypes of the modern yiitntiiQimiy puoSuieii-nt/nt
hand press, were employed by block-book makers in ^jeoatuistamei
later years. Playing cards and image prints were popular
products of the block-book period, and after being i)rinted ^nxtan mam vtt^tipntetm3!»t>imtKitm'
were colored by means of stencils. A French pla> ing Otmitlkyaftw «>m(WMw< ^-. - -.
card of the fifteenth century is reproduced on the pre-
ceding page, as well as a print illustrating the old leg- ituntm m buattst^udbxtit firmUaxim't(itmai&
end of St. Christopher carrying the Infant Jesus across
a river. This last-mentioned print is dated 1423, is
8/8 X 11% inches, and is the oldest dated specimen of
printing.
The invention of printing really dates from the time
books were printed from wooden blocks, altho the more
important invention, that of typography (printing with ing)» whose illustrations show weeping angels and leering
separate types), is also known by the general word "print- demons, weird settings that are magnified by the crude-
ing. " The first block books, probably Donatuses, may ness of the engravings.
have been printed in Holland. The *
Donatus" is a The Biblia Pauperum" (Bible of the Poor) is another
Latin grammar, and received its name from its author, block book very popular in the days preceding the inven-
yElius Donatus, a Roman grammarian of the fourth cen- tion of typography. It is a book of about forty pages,
tury. It is a small book of not more than thirty-four consisting principally of illustrations of the important
pages printed on parchment, and had a large sale. happenings as told in the Scriptures. The book was for
There is a morbid side to human nature, and it has the use of illiterate monks, and those who did not have
been with us since the beginning. Today it finds delight access to the elaborate manuscript Bibles.
in perusing in the sensational newspapers detailed de- A book of similar purpose, but more complete than the
scrii)tions of murders, train wrecks, and other happenings Bible of the Poor, is called "Speculum Humanae Salva-
in which blood is spilled. During the Middle Ages it pre- tionis" (Mirror of Human Salvation). This book liter-
vailed, and is reflected in the pictures that have come down ally presents the transition from block books to type-
to us in the block books. A doleful atmosphere is printed books, for of the sixty-three pages in one edition
present in the block book "Ars Moriendi" (Art of Dy- twenty are printed from wood blocks and forty-three from
separate types (see reproductions herewith). The printed
page of the Mirror" is a trifle larger than the page that
is now being read. Almost every monastery in Europe
contained copies of the "Speculum."

When, where and by whom was typography invented?

It is surprising that there should be any real uncer-
tainty about the facts connected with the invention of
typography, but some uncertainty does exist, and vari-
ous opinions and conclusions are set forth in books on
the subject. The new method of printing was invented
in the midst of indifference and ignorance, and for many
years but few cared that it had come among them.
The inventor of typography, whether Coster or Guten-
berg, was too modest to claim the credit in a substantial
way, as he failed to print his name on the first books
done by the new method.
This modesty, or whatever else it may have been,
opened the way for almost every European country to
claim the honor of having been the home of the inven-
tion. However, all claims have been disproved excepting
those of Germany and Holland, and as the argument now
stands the weight of the evidence is with Germany.
C. H. Timperley,in his Dictionary of Printing" ( 1839)
says that of those who had written on the subject up to
his time, one hundred and nine favored Mainz and twenty-
four favored Haarlem as the birthplace of typography.
There is indisputal)le evidence to prove that typog-
raphy was practiced by Gutenberg at Mainz, Germany,
from 1450 to 145.5, and that the art spread from that
city to all parts of Europe. There is no doubt about that.
The only thing which can lose to Gutenberg and Ger-
many the credit of the invention is proof that another
man printed from separate types in another country pre-
vious to 1450. Certain investigators have attempted to
supply this proof, as we shall see.
^lilliStSslMiisJitiWsiil

!ii
 :

10 THE ART AND PRACTICE OF TYPOGRAPHY

The pretensions of Holland are that one Laurens Jans- opposite the royal palace, Laurentius Joannes, surnamed jEditus
zoon Coster (Lawrence, son of John, the sexton or or Custos, by reason of this lucrative and honorable office, which
by hereditary right appertained to the distinguished family of
sheriff) printed with separate types about the year 1430
that name. . . When strolling in the woods near the city, as
.

at Haarlem. citizens who enjoyed ease were accustomed to do after dinnerand

The earliest testimony on the subject is a chapter in on holidays, it happened that he undertook as an experiment to
the "Chronicle of Cologne" (l^QO) wherein the author fashion the bark of a beech tree in the form of letters. The letters
so made he impressed the reverse way, consecutively, upon a leaf
speaks of information about the invention of typography
of paper, in little lines of one kind and another. Thereupon
received by him from Ulrich Zell, who printed books at
. . .

he made, by the addition of letters, explanations for pictures on

Cologne, Germany, as early as 1464. He states that the engraved wood. Of this kind of printing, I myself have seen some
art was discovered first of all in Germany, at Mainz on stamped block books, the first essays of the art, printed on one
the Rhine," and that "the first inventor of printing was side only, with the printed pages facing each other, and not upon
both sides of the leaf. Among them was a book in the vernacular
a citizen . . named Junker Johan Gutenberg. " This
.
written by an unknown author, bearing the title "Spieghel onzer
statement is added to by the assertion that the new art Behoudenis" [Dutch edition of the "Mirror of Sulvalion," two
found its first prefiguration in Holland in the Donatuses pages of the Latin edition of which are here shovn]. He . . .

which were printed there before that subsequently changed the beech-wood letters
for those of lead, and these again for letters
time." It has been argued that the last
of tin, because tin was a less flexible material,
assertion refers to block books. harder and more durable. To this day may
An extract from the Cologne-Chron- be seen in the very house itself some . . .

icle account may be of interest: very old wine flagons, which were made from
the melting down of the remnants of these
This highly valuable art was discovered first very types. The new invention met with
of all in Germany, at Mainz on the Rhine. favor from the public and attracted pur-
. . .

And it is a great honor to the German nation chasers from every direction. He . . .

that such ingenious men are found among added assistants to his band of workmen, and
them. And it took {)lace about the year of here may be found the cause of his troubles.
our Lord 1440, and from this time until the Among these workmen was a certain John.
year 1430, the art, and what is connected Whether or not, as suspicion alleges, he was
with it, was being investigated. And in the Faust ... or another of the same name I
year of our Lord 14.50, it was a golden year, shall not trouble myself to ascertain. This
they began to print, and the first book they man, altho bound by oath to the typographic
printed was the Bible in Latin; it was printed art, when he knew himself to be perfectly
in a large letter resembling the letter with skilled in the operation of type setting, in
which at present missals are printed. Altho the knowledge of type founding, and in every
the art was discovered at Mainz, in the man- other detail appertaining to the work, seized
ner as it is now generally used, yet tlie pre- the first favorable opportunity and flew
LAURENS COSTER . . .

figuration was found in Holland, in the Don- into the closet of the types, and packed up
Portrait of the supposed Holland
atuses, which were printed there before that the instruments used in making them that
time. And from these the beginning of the belonged to his master, and immedi- . . .

said art was taken, and it was invented in a ately after slunk away from the house with
manner much more masterly and subtle than this, and became the thief. He went first to Amsterdam, thence to Cologne, and
more and more ingenious. . But the first inventor of printing
. . finally regained Mainz. . . Within the space of a year, or
.

was a citizen of Mainz, born at Strassburg, and named Junker about 1442, it is well known that he published, by the aid of the
Johan Gutenberg. From Mainz the art was introduced first of all same types which Laurentius had used in Haarlem, the "Doc-
into Cologne, then into Strassburg, and afterwards into Venice. trinal" of Alexander Gallus .and also the "Treatises" of
. .

The origin and progress of the art was told me verbally by the Peter, of Spain ... I remember that Nicholas Gallius, the pre-
honorable master Ulrich Zell, of Hanan, still printer at Cologne, ceptor of my boyhood, a man of tenacious memory, and vener-
anno 1499, by whom the said art came to Cologne. able with gray hairs, narrated these circumstances to me. He,
when a boy, had more than once heard Cornells, an old book-
There was printed in the year 1561 an address to the binder and an underworkman in the same printing office when
town officers of Haarlem by Dierick Coornhert, an en- not an octogenarian and bowed down with years, recite all these
details as he had received them from his master. . . .

graver, in which he stated that he was

often told in good faith that the useful art of printing books This is the strongest proof the friends of Coster can
was invented, first of all, here in Haarlem, altho in a crude way, present, and it has been thoroly dissected by investiga-
as it is easier to improve on an invention than to invent; which
tors representing both sides of the controversy. The weak
art having been brought to Mainz by an unfaithful servant, was
very much improved there, whereby this town, on account of its points of the document appear to be
"
first having spread it, gained such a reputation for the invention (1) The date of the experiment with wood letters in
of the art, that our fellow-citizens find very little credence when the garden (about 1440) does not leave enough
they ascribe this honor to the true inventor. . . And because I
.
time for completion of the invention of separate
implicitly believe what I have said before, on account of the trust-
worthy evidence of very old, dignified and gray heads, who often metal types and the equipment of a large print-
told me not only the family of the inventor, but also his name and ing office until the theft which Junius says oc-
surname, and explained the first crude way of printing, and curred in 1441.
pointed with their finger the house of the first printer out to me.
(2) The date of the theft of 1441 does not reconcile
It will be noticed that Coornhert fails to mention the itself with the fact that Gutenberg in 1436 was

name of the alleged inventor, the location of his house, probably experimenting with his invention at
or the date of the invention. The claim that "the useful Strassburg.
art of printing books was invented, first of all, here at (3) The claim that a Dutch edition of the "Mirror of
Haarlem, altho in a crude way," may refer to the print- Salvation" was printed with separate types cut from
ing of block books and not to typography. wood seems doubtful, because even the best modern
The claims of Holland were first presented definitely machinery has not demonstrated that wood type
about 1566 in a history of the Netherlands called "Ba- can be made as accurately as is necessary for ar-
tavia," the author of which was known in his own tongue rangemen t of small types in a massed page. When
as Adrian de Jonghe in English as Adrian the Younger,
;
it is considered that the size of types used on the

and in Latin as Hadrian Junius. The story as written by edition mentioned was about fourteen point, and
Junius has been dubbed the "Coster Legend" and it the lines were printed in alignment, the modern
reads in part as follows :
printer is sure to question the accuracy of the asser-
tion.
About one hundred and twenty-eight years ago there dwelt in a
house of some magnificence (as may be verified by inspection, for Four editions, two in Latin and two in Dutch, of the
it stands intact to this day) in Haarlem, near to the market, and Mirror of Salvation," are known to exist, all printed
 :

THE ORIGIN OF TYPOGRAPHY

from types except twenty pages of the second edition in 1439, or with the Laurens Janszoon Coster shown by
which are printed from engraved blocks. They are the these items
work of some early printer of Holland, whether his name
was Coster or whether the books were printed before or
— Laurens Janszoon Coster inherited a seat in a "Christ-
1436
mas Corporation" from his father Jan Coster.
after 1450 will probably never be ascertained. 1441 — Sold soap and tallow candles.
oil,

One Peter Scriverius in 1628 wrote a new version of 1442 — Repaired the lantern the church tower and sold more
in
candles, and soap.
oil
the invention in which he says that "in the year 1428,
U4T— Sold more candles.
Laurens Coster, then a sheriff of Haarlem, strolled into 1451 -Was paid for wine delivered to the Burgomaster.
the Haarlem woods. He took up the branch of an oak- 14.Ji— Was owed by the town seventeen gilders for a dinner
tree, cut a few letters in relief on the wood, and after supplied the Count of Oostervant.
IT t— Paid war taxes.
1
awhile wrapped them up in paper. He then fell asleep,
U7.5— Paid a tine.
but while he slept, rain descended and soaked the paper. UH3— Left Haarlem.
Awakened by a clap of thunder, he took up the sheet,
and to his astonishment discovered that the rain had Van der Linde went to Germany as librarian of the
transferred to it the impress of the letters," etc. royal library at Wiesbaden, became Von der Linde and
Junius had placed the date of Coster's invention at in 1878 published an enlarged edition of his former book
about 1440; Scriverius put it at 1428. The date was under the title "Gutenberg," in which he argued that
SLgain changed, this time to 1420, by Marcus Boxhorn, Gutenberg was the inventor of typography.
who wrote on the subject in 1640. In 1879 J. H. Hessels, who had translated into Eng-
In 1722 a statu e of Coster was erected in Haarlem, lish Van der Linde's first book, was asked to write a re-

but no date was placed upon it. view of the new book, "Gutenberg," and in doing this he
.\ true and rational account of the invention" was became so interested in the subject that he began a careful
published at Haarlem by one Leiz in 1742, which gives investigation into the question. He afterward declared
in detail the supposed events of Coster's life as a printer in the preface of his book "Gutenberg" (l882), "Had I
from the cutting of the wood letters on the tree bark in myself been able to realize beforehand the time, the
1428 to his death in 1467, but does not reveal the source trouble, and the expense that this Gutenberg study
of information. would cost me, I should have abandoned the subject at
Gerard Meerman, a learned but impractical writer of the outset." But the work was so infatuating that in
Rotterdam, in 1765 published a book, "Origines Typo- 1887 he published another book: Haarlem, the Birth-
graphical," and comes to the conclusion that typogra- place of Printing; not Mentz."
phy was invented by Louwerijs Janszoon, known as To demonstrate the fickle workings of the human mind
it may be interesting to note that in his book of 1882
Lourens Coster, who was sheriff at various times betw een
1422 and 1434, and who died between 1434 and 1440; Mr. Hessels wrote, I have never made any thoro exam-
he used separate wooden types about 1428 or 1430, and ination of the Haarlem question, but such inquiries as
did not (as Junius had claimed) use lead or tin types; I have made have led me to believe that the Haarlem

he was robbed on Christmas night 1440 b.v Johan Gens- claim cannot be maintained." Contrast this with the
fleisch (elder brother of John Gutenberg), who carried title of his book of 1887: Haarlem, not Mentz," and
the art to Mainz; he printed one edition of the "Mir- notice his change of base.
ror" from wooden types. While Mr. Hessels had come to believe in Haarlem,
In the early part of the nineteenth century a scien- Van der Linde's faith in the cause of Gutenberg was so
tific society of Holland offered a prize for the best treat- strong he forsook his native land, and in America Theo-
ise on the subject of the invention and in 1816 Jacob dore L. De \'inne in his book The Invention of Print-
Koning was given the award for his essay, "The Origin, ing" (l876) had reasoned out the tangle in a way to
Invention and Development of Printing." Koning was satisfy himself and many others that Gutenberg, and

the first writer on the subject to make researches in the not Coster, was the inventor of typography.
Haarlem archives and in his book he claimed to have It is impossible here to go into detailed discussion of

carefully collected from the registers, account books, the points at issue, and only because the burden of proof
is upon the Holland advocates, has so much space been
and other official data all the entries that could throw
light on the subject, and to have got together all the given to Coster.
documentary evidence to be found. While there may be some truth in the Coster story,
The investigations of Koning, as reported by himself, the proofs are weak, and Haarlem claimants do not seem
corroborated some of the details of the stories of those able to agree as to the identity of the man Coster.
who preceded him, and he found that Louwerijs Janszoon Gutenberg, on the contrary, is shown by records too
lived at Haarlem from 1370 to 1439, when he died. numerous to here mention separately, to have been a
For many years the discussion stood as Koning had real, tangible human being, one who printed with separ-

\e(t it and Coster was universally given equal honors with ate metal types, and the probable inventor of the art.
Gutenberg as the inventor of typography, but for sev- It is believed that Gutenberg was born at Mainz, Ger-

eral years previous to 1869 rumors of errors and defects many, about the year 1399. His parents were Frielo
in the Haarlem claim were in circulation in Holland. Gensfleisch (goose-flesh) and Else Gutenberg (good-hill).
Dr. Anton Van der Linde took up the task of investi- The boy Johan took the last name of his mother, in ac-
gating these rumors and the results of his labors were cordance with a German custom of perpetuating a name.
given in a series of articles in the Dutch Spectator during Because of civil strife in Mainz, the Gensfleisch family
1870, These articles were revised and issued in book left that city about 1420 and took up residence presum-

form under the title, "The Haarlem Legend of the In- ably at Strassburg.
vention of Printing." There is typography spent its infant
a possibility that
Van der Linde showed how Coster's cause had been days at Strassburg. Gutenberg lived there in 1439 and
bolstered by Koning and others with misrepresenta- was practicing which resulted in a lawsuit.
a secret art,

tions, evasions and even forgeries, and Holland practi- The records of the case had lain, with other records of
cally surrendered its claims and altered its school books the time, in an old tower, and were not found until
to meet the new conditions. about 1 740. They were removed to the Library of Strass-
The town records revealed no mention of printing in burg, remaining; there until the Franco-Prussian War
connection with Louwerijs Janszoon the sheriff who died (l870), when they were destroyed by soldiers.
 12 THE ART AND PRACTICE OF TYPOGRAPHY
This suit against Gutenbero- was brought by the rela- printed in black ink onlj-. The illuminators put a dab
tives of Andrew Dritzehen, one of his workmen, whom of red on the initial beginning each sentence, and filled
Gutenberg had agreed to teach certain things connected allblank spaces with decoration, with which the initials
with the business in which he was engaged. The tes- I and P are cleverly blended.

timony of the several Johan (jutenberg, after his printing outfit was taken
witnesses includes ref- by Fust, did not entirely lose heart, but again estab-
erences to secrets lished himself as a printer, altho he never afterward pro-
which Gutenberg duced the equal of his great woi-k, the Forty-two-Line
would not impart to Bible. In 1465 he was appointed a gentleman of the
his associates; four court of the Bishop of Mainz, as a reward either for his
pieces lying in a press invention or for political activity.
(w h i c ii De Vinn e Gutenberg died about 14(J8 and his printing material
claims was a type- and e(iuipment went to one Conrad Humery, who had
mold); lead, melted some rights of ownership in them.
forms, work connected H. Noel Humphreys, altho a Coster advocate, in his
with printing, etc. "History of Printing" (l8G8)says: "if Gutenberg be
It is argued that not the absolute inventor of printing types, he was cer-
Gutenberg could not tainly their first conqueror. He is therefore entitled to
have printed in such a rank as high, if not higher, than the inventor. There
perfect manner at were not wanting those, even in his own time, who fully
Mainz in 145 5 if he appreciated his services, and already declared him a glory
had not devoted many to his native city and to Germany."
of the years before to
perfecting the new Among Gutenberg's workmen in 1455 was a young
art, and for this reason Strassburgmay reasonably claim man about twenty-five years of age named Peter Schoeffer,
to be the birthplace of typography. who previously had copied books while a student at the
University of Paris. He was a valued assistant to Guten-
Gutenberg's greatest misfortune, the seizure by Fust berg, and when Fust took over the equipment forfeited
of his printing office and the just-completed edition of by the inventor, Schoeffer assumed charge, married
the famous Forty-two-Line Bible, fur- Fust's daughter and became a partner
nishes a strong link in the chain of evi- in the business.
dence that goes to prove him the in- Two years later the new firm pub-
ventor of printing. lished a Psalter, which has become,
The story has been often told how along with Gutenberg's Bible, one of
Johan Gutenberg, in need of cash to the great books of historic printerdom.
finance his invention, went to Johan Seven copies are known to exist. The
Fust, a citizen of Mainz, and obtained Psalter consists of one hundred and sev-
a sum of money for which he mortgaged enty-five vellum leaves nearly square.
his printing office. This was in 1450. The Psalms are in types of about forty-
Five years later we find Fust appearing point body, twice the size of those used
before a public notary in the convent on Gutenberg's Bible and of a similar
of the Bare-Footed Friars to enforce style. The features of the Psalter are
his claim. Fust evidently caught Guten- the large printed two-color initials, gen-
berg unawares, for the courts decided erally credited to Schoeffer, altho some
against the inventor and all types, authorities have declared that they orig-
presses and books in the possession of inated with Gutenberg.
Gutenberg were taken to the house of This Psalter was the first book with a
Johan Fust. This entire transaction sa- printed date, the colophon at the end of
vors of business practices so shrewd as to the book containing August 14, 1457."
be questionable, and presents Fust in an unfavorable light. The portion of a page shown in this connection, being
The records of the agreement and lawsuit just men- full size and in colors, should convey an idea of the
tioned are proof that Johan Gutenberg printed with sep- appearance of the Psalter. The four cross lines are for
arate metal types at Mainz, Germany, during the years the music notes, which were inserted by hand.
1450-1455. While he did not print his name on any of Fust died about
the products of his printing office, there are specimens 1466 from the plague
of Mainz printing such as Indulgences, Donatuses, etc., while at Paris arrang-
which corroborative evidence shows to have been done ing for the sale of
before 1455. books. Schoeffer con-
|igpsra|^:<;::;t;;;
The greatest achievement of Gutenberg, the culmin- tinued to print, and
ation of his efforts in the new art, was the famous Forty- many books came from
two-Line Bible. There are several copies of this book in his presses. The last
existence. It consists of almost thirteen hundred pages, book he printed, just
about twelve by sixteen inches, two columns to the before his death (about
page, the columns containing for the most part, forty- 1502), was a fourth
two lines, whence the name by which the book is edition of his Psalter.
known. The types in size are equivalent to the present- And thus one of the
day twenty-point, and in style are a copy of the book- greatest blessings the
Gothic letters of the fifteenth century. world has known. Ty-
The reproduction of a page of the Bible herewith is pography, was given to
less than one-half the size of the original, but will give man. We shall next
an idea of the style of treatment accorded what is prob- consider how the art
ably the first type-printed book. The text portion was spread over Europe.
 J
j

;:C>aRaB01i

Intrpu prolagus fanm itjcondi- n^tmi fane Iiptuoaua intopixrum

ftpeflmen ipamboUJSl^IjJtnome raagietditio platttrtjibrt ra a nobi''
ngstt qriSola qiioa iugit ranttoa^ oura nnaiata* fHtt{) mi mm Oc m-
U m uimmo mna tton
i Doutionquoe ;^mi?:ut omratEftruam? ift tame ai
Upi ucdit amw.ffdmftarma in oftc» tijUomflutttltgrnt-Cdarma^is ora
i fcnoB-^i^rilfltiatnalaitna'qttoq? ffidpra mtiUi0i:quf no in trcriu nae
^ bDfdri6.^]irinf:rdiaun(tptfuaU^^ f traflSuia maruwtrffiiftarim be prd a

f^^ nOimf (jBimne fclaria fumpnium

. f pmiflime^maataftfttrluu
"'
rapjcefer-
'
notenoe moe ft libranoe fuftmta ikpdmboIctiilamdi%
jde:muobJ6 iwaffrnm nfm ucfnDfl Ifiratoltfalamottir"
('mgrniu .tftfrrpfflamt&fqtiee mrte^ lalijtHttibrr^eirti:
Dnifa foftraurtiniiri am eqinl fir mf
]' jatifiimDafapitttti'^
Ijuobia efuncabs olno laborart:aur |amibifaplma:ab
ra ranonf Uaa ct aropn-iuifl^ pttor linttlbgmbntjKba
U08 obncHtf fmultacn loga egiota- l^btmic rt ftifdpi''
rionefradue-mpmniQ iiorannott' I
mblttubtiadone Dortniutittftna
nnrf-^apuiJ uoomutus fffrai.mDui ft iubiiiu 1 {quiratfrut mur patmUiT
qjuanonnrnonjconffrram-inftrp' afluria:ft anolefinm rmtttiaet iind*
J!
1! ranonr uUJclittrtrm ralomome tio^ Irdue.^ubieefapiferajiimweilc:^
lummn:mallorti i]t t^jmeabolae* tntdligE0ptFmaithp)iiibrtJit.'^m''
I
J Dulrjala rt)moj3ubia oorariroflrtlj- aDnrmtparabolam fl: inwptttariO'
1; quf giTTTfrrliaftfn-lannf^jnauaiorf ne!n:titttBrapimriu"irm0uiaiafl34»
/ pDlTmrf'tJitnTifirariHra-qliilingua nmtoi bthpnnpm fapimc.^flpim^
nfam urnif rana cu ranrDu^lPftmrft nam atq;boitnuami\uIrt Defpirint.
pauaretoe-iijufiliifirad) libmtali'' birnplma ptie tut n nr
jiltibifiii tut

prfu&o0f9pl)U0-qui fapitmia falo- DmnttaB Ifgrat mfte nif :iK ab tomr

mome iitfrnbif.Cuoii ^jriort lirtina J gtana rapiti moii itKqneo CDllo mo.
imm rtpm-no fftiiafhrii ur apnD \a4 I
/fillraififtla(hiurnurpm)rto:titac^
nno9 :ftb patolae pnoraiu.Jfui mdl I qpirfraa m.fhi bimtt umi nobifrij'
trat fdliame-tt rannrii wnaoDatur I inftbinmtrfagtiim-ahrmoara^tfbi*
faloraome-no foluni^
Dmilinitiinf I mla95(tainronifminiBra.bfglutia''
mtroQbroru.'ixDmaraattnau ^mti r inoQ m fitub mftmtia ujuntir i itt it-

f
tf caniuawt,?^>emDn0 aputi Ijrbrtti^ gtuni«quali McrOmtf m lam : omne
j^nufq^cftrquiart ipff ftilns gtrram p cujfa IBftanita rtpairai'-implebim?
Elcqumarrt)oln:rtneuulli fmptou bQiuuenra^rpolti^'fojmtt mme no^
um tUir fHt m5h Elonie affinnat. i birwm»niarfupiu Ttt unum ottmiii
*iru5 trgtj iuijnt) ^ rt)obif ^ matta-'f ntm:Wi mt nr atnbnlfo oi eia.^ro'
im bbro84tgtt quibr eoa mtiaTeii J I bibr prtftn aiti a fmude eoD.ppbPd
intfrranoirae Otipjurae no rfripinj ^miilloB at) tttabt wrcutiifcfttnarut
5 bfr buQ oolumiiw legat ab fDi^
(tr ( ffiuabamCaguintnt^jfmfttaauttttt
fttationeplfbwrnd aDaiiduritamn n
'
iaarrrtfattteDnilo^pojatot^.tlptq"^
tcttiefiicDij Do0maiii^araianljQ tontmranguini fiai mftbianmr:t^

Decorated page from Gutei

famous Bible of Forty-two
(Reducea to leu than one-half ori,
ConolanusCepio Clanflimo mto Matxx> Aiv
CDnioMautXKenoe<]uia apudrUufltiiliniu du<^
cemBui^ndreVenecoruoracoh feliacacem

Votn prefeftus ctiremis ad daf/

fern profio(cerer/quam fehdfii^
mus impcrator Vcncco^ Pectus
Mocenicus contra Ocbomanum
Turcoif prindpeducebar:ucbc^
mentet ro^alti me/ucquic^din hacexpeditione
gcftum eflet litteris mandarem: affirmans ea te
ApoUinisoraculo uenorababicurum qug a trie

(cnpca (brenc. Igic uc cibi moregerereni qugab

imperacorcMocenico pquadriennm geftafunc
annotauirTancoenim tempore &ille imperiu
&
geflit/ ego ptgfeclura fiinftusfu m*Qua|)pcer
opuibjlu in quo hscicripca funccibi miccorquod
M perlegeris/ no minus teegregias imperatoris
uittutes q magnificaipliusgcftaadmiratu^cer/
tu babeo: menCo<^ damnabis eovu (encenaa qui
affirmare folencemwam eflTc nacuram: nee pro-
ducere tales uiros qualesipriiastemponbusex^
cicerucromnia^ mundo ienefcence ckgenerafle:
qfalfiCnt udej<:l)ocmaximc appatet. Nam {?

a 2
 THE SPREAD OF TYPOGRAPHY
THE CITY of Mainz is in the western part of Germany, In Germany, before the capture of Mainz, John Mentel
on the banks of the river Rhine, and even at the present at Strassburgand Albrecht Pfister at Bamberg, were print-
time is heavily fortified. In the year l^O'S, seven years ing books by the new process. With this fact as a basis,
after Gutenberji's first Bible was completed, it was the both Mentel and Pfister were once proclaimed inventors
scene of a terrible conflict between two archbishops, of typography by over-enthusiastic students of printing
Diether and Adolph II., who contended for the office of history.
elector. The elector had a vote in the selection of the Of the printers driven from Mainz by the sacking of
king or emperor, and Mainz was one of seven principali- the city, Ulrich Zell is probably the best known, because
ties entitled to such an officer. of his connection with the Coster-Gutenberg controversy.
Diether was the choiL-e of a majority of the citizens of Zell became rich as a printer and publisher at Cologne,
Mainz, but Adolph had the support of the pope in his conducting an office there for more than forty years.
claims and made war to establish himself in the office. During all that time he never printed a book in the Ger-
One night in October, 1462, there was an uprising of the man language. He had as business competitors twenty-
followers of .\dolph within the city and hundreds of the one other master printers, one of whom, Arnold Ter
in'iibitants were murdered. The soldiers of Adolph then Hoorne, was the first to make use of Arabic numerals.
entered Mainz and set it afire. Most of the citizens fled, Gunther Zainer began to practice typography at Augs-
and industrj- and busi- burg in 1468, and was
ness was paralyzed. the first printer in Ger-
Gutenberg was not many to print a book in
affected by these events,
C.TV.SX,CO™V BY WHOM Roman characters. He
VsTROmCFD'
as his new shop was out- was also one of the first

side of the city proper,

Mainz Germany 1450 Johan Gutenberg printers to encounter
in the village of Eltvill, Strassburg Germany 1460 John Mentel restrictions labor
by
a short distance away. Bamber<r Germany 1461 Albrecht Pfister unions. Zainer illus-
The printing office of Cologne Germany 1464 Ulrich Zell trated his books with
Fust and SchcefTer, how- woodcuts, and this the
Rome Italy 1465
ever, was burned and ISuhiacol
/ Arnold Pannartz block-printers' guild ob-
their workmen, fleeing Basel Switzerland 1468 Bertold Ruppel jected to. They induced
for safety from the dis- AufTsburg Germany 1468 Gunther Zainer the magistrates to pass
tressed city, took up res- Venice Italy 1469 John de Spira a law against typogra-
idence in various parts j Heinrich Keffer phers using woodcuts,
Nuremberg Germany 1470
John Sensenschmidt
of Europe. Thus was the /
but this law was after-
new art of typography ( Ulrich Gering ward modified to allow
Paris France 1470 < Martin Crantz
spread and its secrets the use of woodcuts
' Michel Friburger
made common property. 1471 Bernardo Cennini
when made by regular
Fiorenee Italy
As an introduction to engravers.
Nicholas Ketelaer
the consideration of the Utrecht Netherlands 1473 j

t Gerard de Leempt H einrich Keffer

spread of typography, Bruges Netherlands 1474 Colard Mansion printed at Nuremberg
the accompanying table London England 1477 William Caxton about 1470 under the
may be of value. The IWestminstcrl direction of John Sen-
information is as accur- Barcelona Spain 1478 Nicholas Spindeler senschmidt, who in
Oxford England 1478 Theodoric Rood 1481, at Bamberg, pub-
ate as can be given after
carefully consulting Leipzig Germany 1481 Marcus Brand lished his famous Missal
Vienna Austria 1482 John Winterberger printed with large
numerous authoritative
Stockholm Sweden 1483 John Snell Gothic types of about
books on the subject.
Haarlem Holland 1483 Johannes Andriesson sixty-point body. Keffer
Most writers disagree as
to the years in which
Heidelberg Germany 1485 Frederic Misch had been a witness for
Copenhagen Denmark 1493 Gothofridus de Ghemen Gutenberg in his law
typography was intro- . . .

duced into many of the Munich Germany 1500 John Schobzer suit of 1455.
F:dinburgh Scotland 1507 Androw Myllar Anthony Koburger
cities of Europe, and
Mexico City Mexico 1540 John Cromberger opened a printing office
for that reason in cases
Dublin Ireland 1551 Humphrey Powell at Nuremberg in 1473,
where such doubt exists
Cambridge, Mass.,U.S. A. 1639 Stephen Daye and later also conducted
one of the later dates has
been chosen for the pur- offices at Basel in Switz-
pose of this table. THE SPREAD OF TYPOGRAPHY FROM MAINZ erland, and at Lyons in
 .

14 THE ART AND PRACTICE OF TYPOGRAPHY

France. Koburger was one of the most successful of the had Gothic characteristics. Nearly all Roman type-faces
early printers he had twenty-four presses in operation
; of the present day trace lineage, as it were, to the tj'pes
at Nuremberg alone, and is said to have printed twelve of Jenson.
editions of the Bible in Latin and one in German. With the exception of Gutenberg, Fust and Schoeffer,
In Italy the first printing done with separate types was and perhaps Aldus, who succeeded him, Jenson is the
in the year 1465 in the monastery at Subiaco, a village most conspicuous figure among the early printers. The
story of his introduction to the art is interesting
: Charles
VII., King of France, in the year 1458 decided to send
an emissary to Mainz to learn the new art, which was
modi supposed to be a secret, and Jenson, then an engraver
flrtn'Bpunfji'.t;, . . and master of the royal mint at Tours, was selected for
furfiscTai^Knu^vtduscaftuadiKria
the mission. Three years later he returned to Paris with
m (OitiCTiaure neaShut.
a full knowledge of typography, but found the king had
Jfiu ulnuna n«» emo adtjrT.I il
died and that his successor was not interested in the mat-
hufTcebibcftupidi
ter. This condition of affairs seems to have discouraged
Hfttna oc" ad ous raaiAOa rdpufa.'
d'obUidogtam bfae<nnJopfta.5^ Jenson, for he did not begin to print until 1470, and then
fovuli'ciynppfuriacpctdltctiiiulul
muloraua'caynftfipruiTewacIttifci.. at Venice, Italy. (A typographical error in a printed
£mc<ld1edutc|}m'pdi<lu. fcipi'O'
date of one of his books makes it read 1461 instead of
annu Sirib goiua Aluim. 1471, and encourages some writers to claim that Jenson
was tlie first Venetian printer.) The death of John de
Spira opened the field for other printers in Venice, and
Jenson was one of the first to take advantage of it.
Jenson cut but one set of punches for his Roman type-
face, the cutting being done so accurately that no changes
were afterward necessary. The Roman types, being less
decorative and more legible than the Gothic letters of
the Germans, allowed the use of capitals for headings. A
colophon, the forerunner of the modern title-page, was
set by Jenson entirely in capitals with the lines opened
ladivTiiidalpboii
up by liberal space. This colophon, which was probably
the first page of displayed type composition, is repro-
^q<Spiibli«pr<nptd<a
Caa* le> biil*;iola (m'fr<4a
r
duced below.
mno en TOf <n CptRolis fm*. It is an interesting fact that the books of Jenson do
jehluiaiBabiurc duo Sob
.«iino»oiiiod<.4S7.(m.Ux.^ not contain the letters J, U and W, these characters
pfi».ccnx.a<l»eaHUtrab 4 ha nlloiupcraUqiu
I

hli'uk 1 1MI> e ino phs rm .0^ _,, a«ona verba qiKimioiu.

1^ ayna ftluie £nos iMOis e dno p4*
itp.yU.JMcfat
t.cnioyKs^uni
KUvillcplcuiii
.., -Itomicfpctrjdo Xcec«iaa.-ft>:ioaio84^K>n
fldqt. jn bis tiuob^iiims fiUia A(

dii£.i4.li.<ia.tn.faOTua<nt)uo< IIM 4 etrana Aui m souraiombua CpROBI AEMILII DE VIRORVM EXCELLEN

vies ad piiepiu tKi.Cddln io unoi luugjn
vfte od pteptu fin txsaai, ilLi I Tapi:. _.
6no gfijf . JIU <Snt 'b boma>u»gfiam.
buic .it rc» pfcK trill matt) e gtb. ad lUi
TIVM VITA PER.M.NICOLAVM lENSON
Dnnaayni)finu)iut'et dtatepdidit.
id UU Euni abd.i] roSo nai'e-ztjvee
VENETIIS OPVS FOELiaXER IMPRESSVM

PAGE PRINTED BY KOBURGER EST ANNO A CHRISTI INCARNATIONS

Combination of woodcuts and typography in a book of 1493
M.CCCCLXXI Vni.IDVS MARTIAS.
.

on the outskirts of Rome. The cardinal in charge of the

monastery, impressed with the importance of the new
art and anxious to have it introduced into Italy, per-
suaded Conrad Schweinheim and Arnold Pannartz to
come from Germany for the purpose. In 1467 these two
printers removed to the city proper and there printed more
extensively. Many classical works were produced, but
five years later they complained that a large portion of not having been added to the alphabet until some years
the product had not been sold and that they were in dis- later. To satisfy a demand he also cut and used a round
tress. Gothic face. The product of Jenson's presses represents
Ulrich Hahn was the first printer in the city of Rome the highest attainment in the art of printing. His types
proper, having opened an office there soon after Schwein- were perfect, the print clear and sharp, paper carefully
heim and Pannartz began work at Subiaco. selected, and margins nicely proportioned.
John de Spira (born in Spire, Germany) was the first Jenson died in 1481, honored and wealthy. His print-
typographer at Venice, the Italian city famous for the ing office passed first to an association and then to one
excellence of its printed books. Setting up a press in whose fame as a printer perhaps surpasses that of
1469, his work was of such quality as to obtain for him Jenson's.
exclusive right to print by the new process at Venice. Aldus Manutius was a learned Roman, attracted to
De Spira died in 1470 and the privilege was forfeited. printing about 1489 by the pleasures it afforded in the
Nicholas Jenson, who came to Venice in 1470, is known publishing of books. He introduced the slanting style
as the originator of the Roman type-face. Schweinheim, of type known as italic, so named in honor of Italy and
Pannartz, Hahn and De Spira, all had used type-faces fashioned after the careful handwriting of Petrarch,
based upon the letters of Italian scribes, but the types an Italian poet. Italic at first consisted only of lower-
 OKLlt

ttoTtamtfiipiiltctampQ^

tJlriiMnf02omltrtdtu9

mMntadiMtcttcpx
A page (actual size) from tLe famous Bamberg Missal
Printed by SensenscKmidt in 1481
 THE SPREAD OF TYPOGRAPHY 15
case letters, upright Roman capitals being used with to do good to mankind." In the production of classical
them. The reproduction below shows this combination works Aldus was assisted by many scholar-refugees from
and also the peculiar style of inserting a space after the Constantinople, which city had just been captured by the
capital letter beginning each line. Turks. Aldus' fame spread thruout Europe and many
Aldus also introduced the innovation of considerably visitors came to Venice to see him. This annoyed him to
reducing the size of books from the large folio to the con- such an extent that he had a notice placed above the
venient octavo. The size of a folio page is about twice entrance to his printing office which in part read "Who- :

that of this one, which is known as a quarto, and an ever }'ou are that wish to see Aldus, be brief; and when
octavo page is half the size of a quarto. business is finished, go away." It can thus be seen that
Aldus was the first to suggest the printing of a poly- the present-day motto cards popular in business offices
glot Bible. The word polyglot means many tongues" are not a new idea.
and refers to a book giving versions of the same text or Aldus' complete name was Aldus Pius Manutius
subject matter in several different languages. The polj- Romanus, the first word of which is abbreviated from
glot Bible of Aldus was to have been in Hebrew, Greek Theobaldus.
and Latin, but got no further than a few specimen pages. There were more than two hundred printing offices in
The first polyglot work ever printed was a Psalter of Venice before the year 1500 and two million volumes
eight columns, each a different translation, from the press were produced. These figures may surprise the average
of Peter Paul Porrus, at Genoa, Italy, in 1516. This modern reader, who is not inclined to concede extensive
Psalter was the literary work of Augustin Justinian, a production to the past.
Corsican bishop, who later also arranged an entire Bible Bernardo Cennini, a goldsmith, introduced typography
on similar plans. into Florence, Italy, in the year 1471. It is claimed
Aldus is honored wherever books are known, not only that he made his tools, cast his types and printed, with-
on account of the excellence of his productions, but out instruction from German typographers, depending
because of the sincerity of his purpose and his love of upon verbal reports of the process and examination of
printing. In the first book printed by him at Venice he printed books. Cennini produced only one book.
declares for himself and co-workers: "\Ve have deter- Johan Numeister, who had been a pupil of Gutenberg,
mined henceforth to devote all our lives to this good after the death of his master journeyed toward Rome,
work, and call God to witness that our sincere desire is but for some reason stopped at tiie little Italian city of
Foligno and began to print there in 1470. He used both
Roman and Gothic types.
In Switzerland the new art was first practiced at Basel
about 1468 by Bertold Ruppel or Rodt, who had been
one of Gutenberg's workmen. Basel was an important
p. V. M. CEORGICON ilBER printing center in the days when the art was young, and
pRr-.
MVS AD M£CO£NAT£M. gave to France its first typographers.
John Froben, who set up a press at Basel in 1491, is
perhaps the best known of the printers of that city, and
\idfici4tUias/e^tts:(f4o fjiert
because of his use of the then new italic letters was
called the 'German Aldus."
q V erttre Meccend{ ^ulmis'cf; dMun-. In those days lived the famous Dutch philosopher and
theologian Erasmus, one of the brightest minds of
Europe. Erasmus having heard of Froben, came to Basel
tus hdbendo to arrange for the printing of his books, and thus began
S it feeori.dtcp dfihyyt cjHOntt fx^rlentiacardr a friendship which lasted many years. Erasmus became
H inc atnere mapam- vw o cUriffma rmndi a guest at the house of Froben, and his presence was a
L UTmrut ,h(htntrm coelo cfU£ ducim annum: big factor in that printer's success. Erasmus once said of
L ihcr,0' 'i^ Ceres, ticjhoji mururc tellnf Froben that he benefited the public more than himself,
and predicted that he would leave his heirs more fame
C haoniam ^m^gUndcm mnfauit arijht:
than money. (A book of one of the works of Erasmus,
V ornU(j;mu€ntii Acheloidrmfcnit putif
printed by Hieronymus Froben, son of John, recently
E t liof agrtjbtm fta/entJd numina Tauru,
sold for fifteen hundred dollars at a sale in New York.)
JF erte firmL,F<mmq; feiem,Vryades'(^; ^uelU. In France typography might have been introduced as
M untra ue^rdanotu'c^; o,Oii frima frcmtvtrm early as 1461 had not the death of Charles VII. inter-
F magno tellm ^crotffj, tndenti,
udit cqttHin fered with the plans of Jenson and caused him to go to
K c^nme:^ ailtvr nermrum,(M pynnia c<ca Venice. As it was, in the year 1470 Ulrich Gering,
T crcentum niuei tmdent durrubc inucna. Martin Crantz and Michel Friburger, three German
I py? nemtts linc^ens fdtriutn/altus'q; printers who had been working at Basel, Switzerland,
Lycxi
settled at Paris and began to print under the patronage
P anouium cujhi ,fua fi ti'oi M^TUtU cttrtt:
of two members of the University of Sorbonne. The
A dfti Te^aie /aUcm-olcie^:^; Minertu$
early books of this press were printed from a Roman type-
1 nuentrix: wna'c^; ^uer mor^r^tvr or am:
face. The quality of the work of these printers is said
E tttntiamdh radicrfrcnsSylHaru: (upyejjum'- not to have been good. Types were defective and press-
D ijij.-.cffj:^,- onineufnidium qmym dTna tuern work deficient; many of the printed letters needing
Qjtitjj' ru>Ud^altt!stJ/)r,nuilo/efmnefru^: retouching by hand.
C^M'/^ifatts Lr^m ccclo dcrmttitu rmbrrm. Gering became rich and upon his death left much of
J Ht^ adcOj(jHcm mox e^neftm habifura deorrnn I
his fortune to the university within whose walls he had
first printed upon coming to Paris.
In order to demonstrate the success of the early print-
ers in decorating their books without the aid of illumi-
nators, a page is reproduced, printed about 1486 by
THE HRST ITALIC TYPE-FACE Philip Pigouchet for Simon Vostre, a bookseller of Paris.
Page printed by Aldus at Venice in 1514 The decorations were printed from wood blocks, engraved
16 THE ART AND PRACTICE OF TYPOGRAPHY

GENESIS. Tranflat.B.Hicrony. TrM/w.

Capvt primvm.
N principiocrcauit Dcus ex-
lum & terra. * Terra autcm
"Vy nfjpiP 0^*7^^? mil Dinrt l^s-bi; i
crat inanis & vacua & tcnc-
:

brac erant fuper facie abyfsi: ""•••

TiK->n> o>n^« ^a^^»v : ciD?pn >j3 & fpiritus Dei

^
v.;^lSP^^o^^^ fcrcbaturfu-Hu..','

,
per aquas. * Dixitq^ Deus,FiatlutEtfa<fV3cft
4 lux. * Et vidit Dcus luccm quod cflct bona:&:
diuifitluccmatcncbris. * Appellauitqjiucem
J

diemi& tencbras node. Fadbumq; eft vc{pcrc

s & mane dies vnus.
* Dixit quoquc Dcus,Fiat
Snap ^'^n. o^pn -|in3 y»p-) »n> o»nSN idr>i » Hrmamentu in medio aquarum; &:diuidara-
V5^l5tiy'pin-nx6>nSNtfyn* : d>oSd>pi>3 7 quas ab aquis.
* Et fecic Dcus firmamcntum,
ab
diuifitq; aquas qua& erant (ub firmamcnto,
j;»piS Vya itt^K o>pn ]>3i ^^p-h nnnp Tf x b>pn hisquxcrantfupcrfirmaracntu.Ecfadumcft

SPECIMENS FROM THE FIRST TWO PAGES OF THE POLYGLOT BIBLE

in the style of the Gothic period, with stippled back- Henry Estienne Paris in 1502 and was the
settled in
grounds, and are interesting to the printer because they first of an illustrious family of typographers. The Es-
show early use of the pieced border, a method now familiar. tiennes flourished until 1G64, during that time printing
many remarkable books. A grandson of Henry Estienne
was the first to apply the system of numbered verses to
the entire Bible,
Robert Estienne, a son of Henry, was the best known
and most scholarly of the Estiennes. He was patronized
and favored by the King of France, and his press may
be said to have been the beginning of the celebrated
Greek press of Paris.
Robert Estienne's ambition, the printing of de-luxe
editions of the classics, was his undoing as well as his
making. The priests of the Sorbonne, upon the appear-
ance of a polyglot Bible in Hebrew and Greek from the
Estienne press, became enraged and Robert had to flee to
Geneva, Switzerland, for safety. There was little demand
in that city for elaborate books, but Estienne patiently
worked there until his death in 1559. His life had been
spent in a labor of love, for he had scorned money as a
reward for his work.
In the Netherlands typography was not practiced so far
as is known until 1473, when a press was erected at

Utrecht. While it is supposed that printing was done

before that time at Bruges, there is no direct evidence
to support the supposition. It is known, however, that
Colard Mansion printed at Bruges in 1474, and that he
taught typography to William Caxton, with him produc-
ing the first book printed in the English language.
There is a book with the date 1472, printed at Antwerp
by Van der Goes, but this date is supposed to be a mis-
print, as in the case of Jenson's book of 1471.
Christopher Plantin, a Frenchman, who began to print
at Antwerp in 1555, gave to that city the renown which
it enjoys in the printing world. Plantin printed on a
magnificent scale, his luxurious notions extending to the
casting of silver types. His printing office was consid-
ered one of the ornaments of the city and is today used
as a museum for the display of paintings and typograph-
ical work. Plantin retained a number of learned men as
correctors of his copy and proofs, and the story is told
that his proof sheets, after undergoing every possible
degree of correction, were hung in some conspicuous
place and a reward offered for the detection of errors.
GOTHIC ORNAMENTAL PIECES Plantin's greatest work was his polyglot Bible of 1569,
a portion of which is reproduced above.
 THE SPREAD OF TYPOGRAPHY 17

Intcrp.cx GrxcJxx. genesis. El, I ^. jUiOfpjumvcrK; tuv o' 3

Capvt primvm.
Npnnctpwfeat DeuJ caelum (s*

terra* At terraeratmuifibtlu et
opojitA^et toicbrxfuperahyf.

^
fum:c^ (^intusDaferebaturft*
<pcog'^S'yive^(pag.*^(i$€VQ&eogT-P'2;Ji-n
peraauam. *Et dtxitDctu^Viat
Kcfhiv. )^ d)6;ydf/.(rsv &io<; dvafjUGv $" (pw?'?,(£ obiafjLiQv I*
lux,^ faSii Lx.'Et ytditDcm luce ^efuud bona:
e(l

Cr-diuifit De Its inter li<cem^(d^ inter tenebroi.

* Et J <m>%\A. 'k. cMcihi(Tiv 6 ^ioq T <pm YifJLi^V^iigui T cKo'^g iKoi-
'-jocAuit Deiu luce die: qJ tembroj a;ocauit noEle:
ft;) f.\£iu eji reffiere -, cfaSIu eft mane, dies rnus.
*Et dixit Det4s,Fiat firmament u in medio aqux: 0- t <;ipi(i>iJUL.Kj «fW
7 oLvoLfMiGy vScd^g
^ v^ct^g. *;^ i7roin(r6v Qeog
ft diuides inter aqua,^ aqua.* Et fecitDeui ftrma ^^Civo^eogctyct^iisv ^iiSciQg wyTTOxaVii^ffp^uaw?,
mentu,^ diutftt Dent inter aqua;qu<e eratjub fir-

IN HEBREW. LATIN AND GREEK. PRINTED BY PLANTIN AT ANTWERP. ABOUT 1569

Louis Elzevir, founder of the family of learned print- The product of Caxton's press during his life is esti-
ers of that name, first printed in 1595 at Leyden. The mated at eighteen thousand pages, nearly all of folio
second Louis Elzevir opened an office at Amsterdam in size. Caxton did not print de-luxe editions as did other
H34>0. The product of the Elzevirs was of such quality of the early printers of Europe, but his productions were
as to make them famous thruout Europe as printers of no less interesting. On his first books the lines were
the classics, and their books were extensively imitated
and counterfeited.
While Haarlem is claimed to have been the birthplace
of typography, a book cannot be produced printed in
that city with a date earlier than 1483, when Johannes anD jFablce 06 €(b|x \]Df)i(^ \]aete cianflatcD out
Andriesson had an office there. o£ if anO^ tn to englpttly bp vtopUtam Ca^n
In England the name of William Caxton is one to con-
flt Mjcftmpnfttc gn t^ jom of owe loiDe^Ct).
jure with among typographers, for Caxton was the first
to set type in that country, the event taking place
about the year 1477. Perhaps the thing that endears
6tg?nnttQ f^ egf
Caxton to the hearts of English printers is that he was
born in England. The first printers of Italy, Switzer-
EStp
^Ib
of e^<ypt Ibit^ tOtt Qi9 fc:6in«
ft Itoae fu6tpff/Ibpf«/an{> 6j;nc t»» €te«/«of fectt
Ctopc i^c gcaunt m a JToWnir name*? "Xmoiifo
fro
/
land and France were Germans, but Caxton was English ;
Ib^icO? lljop a nongt oJ^t Opffoiitcft? an*? cupttc f5aj»i)/ ^a
we have his own words to prove it: "l was born and ftBn>? « gwttftOB/ earge^pro3«/83ngc3olbc»/f6atp»gti>/(i
lerned myn englissh in Kente in the weeld where I f5<nt tijcfte \ rozCe facfifojygoece 6eep/ gwft &gg«6/onO? totg*
doubte not is spoken as brode and rude englissh as it is fwt/ 2»n07 pet t^ot rbOicft tba® ibetf« Hi tboo oomCt/an^ oouot
in ony place in englond." not fp«fte/6ut not Ibifertonoyng of t^ie ft 6ot) a gafc tbglflt ^
Caxton had been apprenticed when a young man to a Ibae gnecSp ^ngenf oue/ru6tsS n; (nusffaaene/ 2(nd2 2lo «
merchant, and after his master's death took up residence
at Bruges in the Netherlands, with which city England
did considerable trading. There he prospered and as
governor of the Merchant Adventurers, had control over
all English and Scotch traders in the low countries. The
device later used by Caxton for his imprint is supposed
to have been copied from some trading mark of the Bruges
merchants.
Caxton resigned as governor and entered the service
of the Duchess of Burgundy, who encouraged him in
literary work. Under her patronage he translated (l469-
1 47 1 ) a
" Historie of Troye. The demand for this work
'
'

was an incentive for Caxton to learn how to print it.

This he did with the assistance of Colard Mansion who
had started a printing office at Bruges.
Shortly afterward, Caxton returned to England and
set up a press in the vicinity of Westminster Abbey,
then on the outskirts of London. The first book with a ([[SQie ^i/Zo:pccon*;nc(Q/]^lb ft t^fcd 6pti) of lOat (bo*
date printed by him is "The Dictes and Sayinges of the
Philosophers," completed in November, 1477. His type-
faces are copies of those of Mansion's, who in turn imi-
tated the letters of Dutch copyists. A type-face based
on Caxton's letter is made by one of the type foundries.
 "

18 THE ART AND PRACllCE OF TYPOGRAPHY

not spaced to the full length. This gave to the right side strangulation and burning. Grafton was imprisoned in
of the page a ragged appearance, as in modern type- 1540 for printing a large folio Old and New Testament
written letters. known as the "Great Bible." This tremendous task of
Caxton did not devote a separate page to a book title printing was accomplished by Grafton in partnership
until late in his life, when he printed a title alone in with Edward Whitechurch at Paris and London.
the center of the first page. The rei)roduction (on the Shortly after this the prejudice against an English
preceding page) of a part of Caxton's "Fables of Esope" translation was partly overcome and in 1.543 Parliament
shows how the title was arranged at the top. passed an act allowing the Bible to be read by certain
Wynken de Worde, a native of western Germany,
was a workman under Caxton and upon the latter's
death, about l^Ol, succeeded to the business of liis
master. He continued to print in Caxton's house for
several years, afterward removing to "Fleet-street at
the sygn of the Sonne," in London proper. Old Eng- ^^^S^^s^^
lish black-letter, which is now so popular, was used by
De Worde to a great extent, and he was the first printer
to introduce the Roman letter into England.
Richard Pynson, another of Caxton's workmen and
friend of De Worde, set up a press in Temple Bar, Lon-
don, about 1492, and printed many useful books.
Richard Grafton is famous as a printer of English
lit^^^

^^^H
^M THE
Bibles during the troublous times of the Reformation.
The church authorities believed it was not good for the
people in general to read the Sacred Scriptures, and the
^W
Pfalter or Pfalmes
ofDamd, after the tranflation
Bible, translated into English by William Tyndale and ofthe great Bible, pointed
Miles Coverdale, and printed anonymously by Richard
Grafton at Antwerp, was tiie object of much concern to
the ecclesiastics. The Bishop of London complained
that Some sons of iniquity have craftily translated n asuftijUbefungorraydc
m Churches.

1
the Holy Gospel of God into our vulgar English."
After a long imprisonment Tyndale suffered death by ^ilmprlnted at Lon-
don by Chriftopher Barker, Prin-
lerroiheQuecnesMaienie.

m
of the church.
a of^Tdit ,ltc.ti.Da;t of Qum prluilegio T{egi^

8tf , tosa tmrato at ilatopftt

<L^aieslatu.

1 ^^m arke.

classes but forbidding women, apprentices, journeymen,

husbandmen or laborers to read it privately or openly.
John Daye, who first printed about L546, was another
English typographer to suffer imprisonment on account
of activity in the Protestant cause. Manj' important
books were printed by Daye, and in character and ac-
complishments he has been likened to Plantin who
printed during the same period at Antwerp.
The best known of the books printed by Daye is
Fox's "Acts and Monuments," on the subject of wrongs
and persecutions in the days of the Reformation. Dibden
says it was a workof prodigious bulk, expense and labor.
In Scotland printing was introduced in 1507 at Edin-
burgh by Androw Myllar, in partnership with Walter
Chepman, under a patent granted by King .James IV.
In Ireland a prayer book was printed by the new pro-
cess in 1551 at Dublin by Humphrey Powell.
In North America typography was first practiced in
1540 at Mexico City, Mexico, by John Cromberger.
In the United States, or rather the territory now included
under that name, typography was introduced in 1639 at
Cambridge, Massachusetts, by Stephen Daye.
 THE
Compleat A mbaffador.
OR TWO
TREATIES OF T H B
INTENDED MARRIAGE
QU'
Of
ELIZABETH
GLo&ioas Mi^MORYi
Comprifed in

LETTERS O F

NEGOTIATION
OF
Sir Francis Walfingham, herRefident in France.
TOGETHER
With the Anfwersofthe Lord "BVRLSiqH, theEart
of Lficester, SirTHo: Smith, and others.

^as in a clear Minor, may be fcen the Faces of the two

Hp^gUnd and Trtmce^ they then ftood; with many remaifable
Tt^ages of S T A T E, nocac all menuoned in any
- !^\ HISTORY.
cv?
*
^/
^

^ CoUeaed by the traly Honourable,

Faithfully

Sir2)^2>i:r D/(f ^f J Knight,

late Matter of thcRolls.

X.aW PON:
Printed by TibtfiNwrmK for QchtUXBeadl^Xi^XhrncsCoJ^t^zxA
are lo be fold at their Shop atthe Middle-Temple Gate iaHectftrcetj
x65 5-

A title-page of many -words and mock type-<liaplay

(Actual size and color treatment)
 TYPOGRAPHY IN COLONIAL DAYS
TYPOGRAPHY has been an important factor in the devel- early part of his reign was exceedingly loyal to the
opment of modern In the battle for civil and
civilization. Catholic Church he published a book in answer to the
;

religious liberty, in both Europe and America, the man attacks of Luther, for which the pope gave him the title
with the pen and he of the composing-stick have been Defender of the Faith." However, when Henry wished
together on the firing line. With Paul they could well to divorce his wife that he could marry Anne Boleyn,
boast that they had been "in perils of waters, in perils the church authorities did not approve. This so angered
of mine own country- the king that he took
men, in perils in the from Wolsey his office
city, in perils in the and possessions, denied
wilderness, in weari- the authority of the
ness and painfulness, pope over the Church
inhunger and thirst." of England, and had
William Tyndale died himself declared the
at the stake, Richard supreme head of that
Grafton and John Daye
^"^ '^eb organization. The king
suffered imprisonment:
Robert Estienne be-
came an exile from his
own country ; Jesse
\i^
m BOOKEOFPSALMES
'^&
WHOLE d^ I'-f
was excommunicated
by the pope and in
return Catholics were
persecuted and put to
Glover on his way to death, and their mon-
America found a grave KjL translated mtt ENGLISH [4^' asteries, colleges and
in the waters of the '£J& (Metre, 0}^ hospitals broken up.
Atlantic; Stephen Henry repeatedly
Daye set type in a wil- Wlicreunto prefixed a difcourfe de- '-^su changed his religious
derness James Frank-
I SJ is
opinions and for many
;
'^5^ daring not only the UwfuHncs, bucalfopj^
William
Bradford years both Catholics
lin, tiii the neccfllcy of the heavenly Ordinance MtrJ
and John Peter Zenger Wli and Protestants were
were imprisoned, and
I ^X J of fingiog scripture Plalraes in
l^&
'I

put to death for differ-

'i(i the Churches of
Benjamin Franklin ing with him.
suffered hunger and For six years after
privation. Henry's death in 1547,
As ecclesiastical and during the reign of his
political conditions in *^t<> Letthelfn-iofGodiwetlfentttufljifi Mfrj'J son Edward VT., the
•'y*'
Europe strongly influ- jtu^ I* 4// mfiome^ teachina and exhort- r^j^ Protestants were in
enced the practice of Ip'*^!^.,
ing one Another in Vfalmesjfimntt^ and power. Then for five
typography during the {^trituallSonrsJinging to the Lordwitb years under Mary the
days of the American injour
joar hearts. Catholics controlled
grace
trace to learts,
colonies, I will briefly the religious affairs of
review the events of the the country, and the
sixteenth, seventeenth
rlH lamts V.
flesh of heresy" was
Jfanj haff!icted,iet hmfray.aniif
'
'
'^,'*
and eighteenth centu- toasted at the stake.
anj be merrj let bitu pngff„lme%, Elizabeth, who be-
ries that the reader may '^iK
better understand and gan to rule in 1558,
appreciate the subject. was proud of the appel-
In the year 1521,
when Luther appeared
R^ Imfrintei lation Virgin Queen"
and gave the name
before the Diet of
op; t<J4o Virginia" to the Eng-
Worms in Germany, the lish colony in America.

English people were She never quit spins-

ardent Roman Catho- terhood, but about the
lics. Henry VIII. was year 1570 considerable
King of England and correspondence was
the great Cardinal Wol- between the
carried on
sey was in high au- THE HRST BOOK PRINTED IN ENGLISH AMERICA English and French
thority. Henry, in the By Stephen Daye at Cambridge. Mass., 1640. (Page slightly re courts regarding her
 :

20 THE ART AND PRACTICE OF TYPOGRAPHY

Puritans that printing was intro-
duced into English America.
Elizabeth reigned until 1G03 and
was the last of the Tudor family
of sovereigns. The first of the
Stuart Kings, James I. (son of
Mary Queen of Scots), then
ruled until 1625, when he was
succeeded by his son Charles I.
Charles was a despot and claimed
that the people had no right to
'
1 any part of the government, A

Midfcommer ni.VIJLL3
£Yh^C <^'vil war resulted, Charles was
beheaded (164.9) and a form of
CJ government known as the Com-
monwealth was established.
Oliver Cromwell shortly after-
Ireame. ward became Lord
more power than
Protector with
the king had
possessed.
Cromwell was a Puritan, but
As it bath bcene fundry times pub. of the radical element known as
Independents, differing from an-
lil^ely aHedy hy the %ight Honoura other element of Puritans known
as Presbyterians. The Independ-
ble, the Lord Chambcrlaine his
ents have come to be known
as Congregationalists. Under
Cromwell's severe Puritanic
rule, sculpture and painting
VVritten ty VVillim Sbal^cjpearc.
were declared as savoring of
idolatryand public amusements
were sternly put down. How-
ever,Cromwell encouraged print-
ing and literature. He was an
intimate friend of John Milton,
the blind author of "Paradise
Lost" (see title-page reproduced
on a following page), which
book was i)ublished in 1667, the
year following the Great Fire.
Milton was Latin secretary to
Cromwell, and published a book
which argued against roj'alty,
for which, on the accession of
Charles II., he was arrested.
In 1657 (the year before Crom-
Printed hy lames "Roberts^ t6oo. well died) was published the sixth
and last volume of the London
Polyglot Bible, compiled by
Brian Walton and printed by
Thomas Roycroft. In this Bible
there were used nine languages
Hebrew, Chaldee, Samaritan,
s literary labors
Greek, Syriac, Arabic, Ethiopic,
Persian and Latin. The work took
intended marriage. This resulted in the accumulation of four years in printing, and was the first book ever pub-
over three hundred letters, which eighty-five years later lished in England by subscription. Cromwell encouraged
were collected and printed as a 44'2-page quarto. (The the undertaking by allowing paper to be imported into
title-page is reproduced full size as an insert in this England duty free, and by contributing a thousand
lesson.) A poor Puritan named Stubbs and a poor book- pounds out of the public money to begin the work.
seller named Page published a pamphlet against the mar- In those days the Puritans presented a curious contrast
riage of Queen Elizabeth to the French king's brother, to the Royalists. The Puritan, or "Roundhead" as he
and tho the queen herself had said she would never was also called, wore a cloak of subdued brown or black, a
marry, these unfortunate subjects were punished for their plain wide linen collar, and a cone-shaped hat over closely
audacity by having their right hands cut off. cut or long straight hair. The Royalist, or Cavalier,"
Under Elizabeth, the Protestant" religion was per- wore clothes of silk or satin, a lace collar, a short cloak
manently established in England, but the enactment of over one shoulder, short boots, and a broad-brimmed
severe laws, such as prohibiting any one attending the beaver hat adorned with a plume of feathers.
ministry of clergymen who were not of the established The period designated as the Restoration, long cele-
religion, gave rise to dissenters derisively called Puritans brated by the Church of England, began soon after
because they wished to establish a form of worship based Cromwell's death, when in 1660 Charles II. ascended
on the "pure" word of (lod. It was by these so-called the throne. This period brought with it a reaction from
 ) :

TYPOGRAPHY IN COLONIAL DAYS 21

the Puritanic conditions that previousl.v existed and all
sorts of excesses were practiced. Cromwell's body was
taken out of its grave in Westminster Abbey, hanged on
a gallows and beheaded.
It was during the reign of Charles II. (l665) that the
Great Plague killed one hundred thousand people in THE
London, a terrible experience followed by one equally
terrible the next year: the Great Fire, which consumed Pilgrim's Progrefs
thirteen thousand houses.
In 1688 there was another revolution; the people FROM
passed a Bill of Rights, and set a new King (William III.
on the throne. THIS WORLD
George I., the head of the dynasty now represented TO
in England by King Edward VII., came to the throne in
1714. He was a German, could not speak English, and That which is to come
was the grandfather of George III., the "villain" in the
Delivered under the Similitude of a
great drama of the American Revolution.
In France the Protestant Huguenots were persecuted
by Cardinal Richelieu, whose strong personality domi-
nated King Louis XIII. from 1622 to 1642, and many of
them left for America. In 1643 Louis XIV. became
King of France and his long reign of seventy-two years
DREAM Wherein is Difcovered

is renowned because of the magnificence which found The manner of his fetting out.
expression in sumptuous buildings, costly libraries,
splendidly-bound books, and gorgeous dress. His Dangerous Journey; And fafe
Cardinal Mazarin, in whose library was later discovered Arrival at the Deflred Countrey.
a copy of Gutenberg's Forty-two-Line Bible, acted as
advisor while Louis XI\'. was under age. I have ufed Similitudes. HoJ. 12. 10.

In the seventeenth and eighteenth centuries many

mechanics in England worked for a shilling a day their ;
By John Bunyan.
chief food was rye, barley and oats; and one-fifth of the
people were paupers. Teachers taught their scholars HkmfleD anH SntieD atcomine to ffimt*
principally by means of the lash, masters beat their ser-
vants and husbands their wives. Superstition was strong LONDON,
and children and grown folks were frightened with lugu-
Printed for Nath. Ponder at the Peacock
brious tales into being good." This spirit is especially
noticeable in the chap-books that were sold during the in the Poultrey near Cornhil, \6^Z.
seventeenth and eighteenth centuries. A title to one of
these chap-books (dated 172l) reads:
A Timely Warning to Rash and Disobedient Children; beinp a
strange and wonderful Relation of a younff Gentleman in the
Parish of Stepheny in the Suburbs of I^ondon, that sold himself
to the Devil for twelve years to have the Power to be revenged
on his Father and Mother, and how his Time beinj? expired, he
lav in a sad and deplorable Condition to the Amazement of all
Spectators.

Children in those days were either devilishly bad or follow the Ways of other Wicked Children, who us"d to Swear,
ridiculously good. Read this title-page
tell Lies,and disobey their Parents; How this pretty innocent
:
Child resisting Satan, was Comforted by an Angel from Heaven
The Children's Example; shewing how one Mrs. Johnson's who warned her of her approaching Death; Together with her
Child of Barnet was tempted by the Devil to forsake God and dying Speeches desiring young Children not to forsake God, lest
Satan should gain a Power over
them.

Jack the Giant Killer, tlie

hero of our childhood days,
was a favorite subject for chap-
book exploitation. There is
shown on the following page
the title of such a history."
Chap-books are poor repre-

XW
V„m. ^ TUESDAY, JANUARY i. 1788 (Pn« Tbn<.,«,« )
sentatives of the art of typog-
raphy in Colonial days because
they were to the book indus-

!^^= try then what reprint books

are to the trade in our time.
Today it is customary
publishing houses to buy up
for some

old electrotype plates of obso-

lete editions of dictionaries
nofjcjTKH or J Lit
and other popular books. The
THE HRST ISSUE OF THE LONDON -TIMES UNDER THAT TITLE. 1788
'
plates having already been put
The heading mentions that logotypes w^ere used in the composition of this newspaper to extensive use, are battered
 »

22 THE ART AND PRACTICE OF TYPOGRAPHY

On December 21, 1(J20, there landed at Plymouth
Rock, in what was afterward the colony of Massachusetts,
THE a band of Puritans from England. These non-conform-

HISTORY
ists, unable conscientiously to obey the laws of their
native country, had come to America to worship God in
their own manner. Ten years later Governor Winthrop
with one thousand Puritans landed at Charlestown, and in
O F the following year these immigrants began to settle Cam-
bridge and Boston. A building for an academy (now
Harvard University) was erected at Cambridge in 1638,
Jack and the Giants and in 1639 Stephen Daye began to print there.
For the establishment of this, the first printing office
in what is now the United States, Rev. Jesse Glover, a
Puritan minister of some wealth, was chiefly resj)onsible.
Himself contributing liberally, he solicited in England
The FIRST PART. and Holland sufficient money to purchase a press and
types, and June 7, 1638, entered into a contract with
Stephen Daye, a printer, to accompany him to the new
country. Rev. Glover (with his family, Stephen Daye
and the printing outfit) embarked on a vessel for New
England, but on the voyage across the ocean, he was
taken ill and died.
The press and types having reached Cambridge were
finally placed in charge of Stephen Daye and printing
was begun in 1630. The first work produced was "The
Freeman's Oath," probably a single sheet, and the first
book (l640) was the "Booke of Psalmes" (familiarly
known as the "Bay Psalm Book"). The reproduction on
the first page of this lesson is from one of these books

A Description of

Printedand Sold at the Printing-Ofice in

Bm-Cburch-Tordt London

PAGE FROM A -CHAP-BOOK"

SKREEN- MAKERS.
Probably a Dicey product of tbe eighteenth century
THEIR improved,
Trade
greatly
of late Years has
not only as to curious
been

and worn, and impressions from them cannot be accepted Workmanftiip, mod of is now exceedingly
which
as criterions for determining the quality of modern print- nice, but as to the Variety of Sorts and the Ma-
terials of which they are compofed.
ing. Neither are the chap-books true printing represent-
atives of their times. The woodcuts, crudely drawn in Th e Principal of them, though they are but
few, are Shop-keepers as well as Makers, whofe
the first place, were also worn and battered by repeated
working Part is an eafy, clean Employ, to which
use.
they take with an Apprentice 15 or 20 /. whofe
In the early part of the seventeenth century chap-
Hours in work muft be from fix to eight They
books were Bvos. (sixteen pages of about 5x8 inches),
:

pay a Journeyman 12 or 15 j. a Week ; 50 /.

but later were reduced to 12mos. (twelve or twenty-four will fct up whom as a Maker only ; but if he
pages of about 4 x 6% inches). The stories were con- ftocks aShop with but common Sortments he will
densed to fit these small penny books, which were ped- require 500/.
dled by chapmen. A chapman is described in a Dic-
tionarie" of 1611 as "A paultrie Pedlar, who in a long
packe, which he carries for the most part open, and
hanging from his necke before him hath Almanacks,
Bookes of News, or other trifling ware to sell."
Many of the chap-books of the eighteenth century were
printed and published at Aldermary-Church-Yard and SNUFF-MAKERS.
Bow-Church- Yard, London, by William and Cluer Dicey,
afterward C. Dicey only. The Dicey books were better ITany is but a few Years fince their Trade made

Figure in Shops, which now appear al-

productions than those of their imitators. It is not pos-
moft every where, plainly (hewing, that not only
sible to determine the exact year in which the majority
the Pra£tice of taking Snuff is greatly increafed,
of chap-books were printed, as many title-pages merely but that the Making and Selling it muft be profit-
read "Printed and sold in London," etc., or "New- able.
castle: printed in this present year," without the for- The
mality of the date.
There were also other cheap productions known as
broadsides, single sheets about 12x15 inches, in most
cases printed broadwise of the paper and on one side
only.
 TYPOGRAPHY IN COLONIAL DAYS 23
preserved in the Lenox Library, New York. This book
of Psahus is a revision of Ainsworth's version of 1012,
and was in use in New England for upwards of a cen-
tury, more than fifty editions having been published. ABCDEFGHIKLMN
The size of the type-page of the first edition is 3% x
inches.
6%
In quality of presswork this first book of Stephen Daye
OPORSTUVWXYZJ
affords a decided contrast to the Bible of Gutenberg, near Quoufque tandem abutere,
which it lies in the cases at the Lenox Library. The print
on the pages of the Psalm Book is uneven in color and Catilina, patientia noftra ? qu
impression, while that on the pages of the Bible is dense-
black and firmly and evenly impressed. The reproduc- ^oufque tandem abutere^ Ca-
tion of the title-page of the Psalm Book does the original
no injustice. It is difficult to determine whether the tilina^ patientia nqftral quam-
shoulders of the border printed the angular lines, or
whether these are a part of the design. It is interest-
ing to note how in the word "Whole," Daye formed a
W by combining two Vs, his font of types being one
evidently intended for Latin work onlv.

@#®#®#©***V^W

g This new Foundery was begun in the Year 1720,

^
^ and finifli'd 1763 s and will (with God's leave) be ^
* carried on, unproved, and inlarged, by William
^
§ Caslon and Son, Letter-Founders in LONDON. §

of utensils for Printing belonging to the Corporation:"'

The presse with what belongs to it with one tinn pann and two
frisketts.
Item two table of Cases of letters with one ode Case.
Item the ffont of letters together with Imperfections that came
since.
Item one brasse bed, one Imposing Stone.
Item two barrells of Inke, 3 Chases, composing stickes one
'2

ley brush, 2 candlestickes one for the Case the other for the
I'resse.
Item the frame and box for the sesteren.
Item the Iliglet brasse rules and scabbard the Sponge 1 galley
1 mallett 1sheeting sticke and furniture for the chases.
Item the letters that came before that were mingled with the
colledges.

In 1670 the commissioners presented this equipment

to Harvard College. Green continued to print until he
was very old, and upon his death in 1702 the printing
office was discontinued.
Before 1740 more printing was done in Massachusetts
Daye continued in charge of the printing office for than in all the other colonies. Printing was not intro-
about ten years. Jesse Glover's widow had married duced into the colony of Virginia until about 1727, prin-
Henry Dunster, the first president of Harvard Collejre, cipally because the authorities deemed it best to keep
and Dunster, for his wife and as president of the college, the people in ignorance.
managed the printing office and received such profits as Pennsylvania was the second English colony in Amer-
were made. For some reason Daye in 1649 ceased to be ica in which typography was practiced. The charter of
master printer and Dunster appointed Samuel Green to this colony was granted to William Penn in 1681 and in
the position. Green had come from England in 1G30 1687 William Bradford at his printing office "near Phila-
with Governor Winthrop, but was not a printer at that delphia" printed an almanac. This was a sheet containing
time. the calendar of twelve months (beginning with March
The commissioners of the united colonies, who had in and ending with February, as w as customary in the seven-
charge the propagation of Christianity among the Indians, teenth century). In England, Bradford had worked for a
added another press to tlie one already at Cambridge, printer who was intimately acquainted with George Fox,
together with types, etc., for the purpose of printing the founder of the Society of Friends (Quakers). This influ-
Bible and other books in the Indian language. In 16G2 enced Bradford to adojit the principles of that sect and he
Green gave to the commissioners the following "account was among the first to emigrate to Pennsylvania in 1682.
24 THE ART AND PRACTICE OF TYPOGRAPHY
or a cutler, but love of books caused him
finally to be indentured to his brother,
James Franklin, who had opened a
printing office in Boston. Benjamin
was twelve years of age when inden-
tured and was to serve as apprentice

Paradife loft. until his twenty-first birthday. Making

an arrangement with his brother to
be allowed to furnish his own board,

A Franklin provided himself with meals

often no more than a biscuit or a slice

POEM Written in
of bread, a handful of raisins, or a tart
from the pastry-cook's and a glass of
water," using the money thus saved
for the purchase of books. In 1721
James Franklin began to print a news-
paper (the New England Courant) and
Benjamin tells how some of his

TEN BOOKS brother's friends tried to dissuade

from the undertaking, "one newspaper
being, in their judgment, enough for
America." Some articles in this news-
him

By John milton. paper giving offense to the Assembly,

James Franklin was imprisoned for a
month and on his discharge was for-
bidden to publish the Courant. To
Licenled and Entred according evade this order Benjamin's name was
substituted for that of James Franklin
as publisher.
to Order.
A short time afterward (l723) the
brothers disagreed, and Benjamin left
Boston, coming bj' ship to New York.
London Here Franklin offered his services to
William Bradford, then the only printer
Printed, and are to be fold by Fetcr Partner in the city, but he could give him no
under Creed Church neer Aldgate ^ And by work. However, he suggested that
Rohrt Bmlrer at the Turk' Hiai\n B^hofUati-ftrut Franklin go to Philadelphia where
And laatthm Wdka under St. Dunflons Church
,
Andrew Bradford, his son, had a shop.
in ?heijhtet
, i66j.
Franklin did not succeed in getting
work with Andrew Bradford, but was
more fortunate with Samuel Keimer.
The printing house of Keimer, as de-
scribed by Franklin, consisted of an old
damaged press, a small worn-out font
of types, and one pair of cases. Here
Franklin worked until he left for Eng-
. 1667
land to select an equipment for a
new printing office to be established
Bradford became involved in a quarrel among the by him in Philadelphia. At that time there were no type
Quakers of Philadelphia and in 1692 was arrested for foundries or press manufactories in the United States,
printing an address written by a turbulent member of Franklin had been encouraged by Governor Keith with
the sect. The sheriff sized a form of four type pages to promises of financial assistance, but the trip to London
be used as evidence, and it is said that Bradford later proved a fool's errand and Franklin went to work in a
secured his release because this evidence was destroyed. printing office there as a journeyman, first at the press,
One of the jurymen in examining the form pushed his later in the composing-room, (it is told that forty years
cane against it and the types fell to the floor "pied," as afterward when Franklin was residing in Great Britain,
it is technically expressed. The trouble into which he went into this printing office and with the men there
Bradford found himself in Philadelphia very likely influ- drank "Success to printing.") He returned to Phila-
enced him in 1693 to leave that city and establish a delphia, worked as a foreman for Keimer, and then with
printing office in New York "at the sign of the Bible," a partner, Hugh Meredith, opened a printing office.
his being the first printshop in New York and the only One of the first jobs done by the new firm was forty
one for thirty years. He was appointed in 1693 official sheets of the history of the Quakers, set in pica and long
printer to the government. In 172.5, when Bradford was primer. Fi-anklin tells how he '
composed a sheet a day
sixty-one years old, he began the publication of the first and Meredith worked it off at press; it was often eleven
newspaper in New York (the Gazelle). at night, and sometimes later, before I had finished my
No review of Colonial printing would be complete distribution for the next day's work. But so determined
without an account of Benjamin Franklin, whose birth- I was to continue doing a sheet a day that one night,

day (January 17) is each year widely celebrated. Frank- when, having imposed my forms, I thought my day's
lin's father was an Englishman who came to New Eng- work over, one of them by accident was broken and two
land about 1685, and Benjamin was born in Boston in pages reduced to pi, I immediately distributed and com-
1706, the youngest but two of seventeen children. He posed it over again before I went to bed."
came near being a minister, a seaman, a tallow-chandler In 1732 (for the year 1733) Franklin first published
 1 :

TYPOGRAPHY IN COLONIAL DAYS 25

Poor Richard's Almanack. " Forthis purpose he used the
name of Richard Saunders, an English astrologer. This
almanac continued to be published by Franklin for
twenty-five years, nearly ten thousand copies being sold
annually. The two pages here reproduced are full size, Poor Richard, 17^^,
and as it is likely that Franklin gave close attention to
the typography it will be interesting to study their ar- A N
rangement. They are good examples of title-page and
tabular composition of Colonial days.
Franklin considered this almanac a proper vehicle for
conveying instruction among the common people, and
filled the little spaces that occurred between the remark-
Almanack
able days in the calendar with proverbial sentences. These For the Year of Chrift
proverbs, which contained the wisdom of many ages and
nitions, were later gathered together as a harangue of a
wise old man under the title "The Way to Wealth," and
the familiar phrase "As Poor Richard says" is often re-
peated therein.
In 1748 Franklin took as a partner David Hall, the
firm name being Franklin & Hall until 17t)t), when Hall Being the Firft after lEAPYFAR:
became sole proprietor. ylnd makti pirt the Creation Years
B^the Accounrof rhe E fl<-'n Gre^Jts
Quaintness is of Colonial typography its chief character- By the Latin Church, when O cnt r 60I2
istic.While the treatment lacks the artistic quality the re- By the Computation oi IV IV
,
j ^^j
finement, and the dainty finish of the productions of Aldus, By the Roman Chronology ^6%2
By the Jenvip Rabbie*
54 j^
Wherein is cont/itned
The Lanarions, Eclipfcs, Judgment of
the Weather, SpringTidc^ Planets Motions &
Mon. March hath xxxi days. murual AfpcQs Sun and Moon's RiHng and Set-
ting, Length of Days. Time of
High Water,
Fairs, Gturts, and obfcrvable Day*
My Love and I for KilTcs play'd, Fitted torheLartrudcol Portv Degrees,
i)hc would keepwas content. ftakcs, I and a Meridian of Fivr Hours Wert fmn' I onAo^,
But when I won (he would be paid bur maif without fcnfiMc Error fcrveali the ad-
;

This made me ask her what ftie meant jacent Places, even from Kcwfoundland ro Stmh-
<5uoth flie, fince you are in this wrangling vciti. Carolma.
Here take youi KiUes, Rive mc mine agaim By RICHJRD S^UNDERS.FhWom.
I
5ia Caroline Nat. tir: 6. 9 <5 David
St.
PHILADELPHIA:
Printed and fold by B FR^NKLlS. at the New
£ 1221 6 %t^ > rif. 4 16 mo.
Printing Office ncai the Maikci
3 High Tpring tides 1 ,K 6 7 6 New}) 4 day,
4 J iSund. Lent 2 ^^ 6 5.6 at 10 at night.
5 7
* fet 1 1 2 ;
-y^ 6 -46 Let my rtfuRei
6 Days 11 h 54 m 4 20 6 , 6 friend J. G.
7 U^hiianicloKdy 5 « 6 2 6 ) fctJ 9 4c aft.
8 * <J 9
cold 6 20 6 I A y^cceptthiihtitk'

9 then (Jh n
ent. T hie verfe cf mr. 60^
10 Spring
bcgini 7 J9 5 59 7 VIX.
Q^
»• J ^
"U 9 5c makes S 2d 5 5B 7 Fitft Quarter Froben and other printers of classics, it has natural sim-
i: £<J Day&Night 9 16 5 56 1
ff^enioMtJeam' human interest, and an inexpressible something
plicity,
M (509 Sti
10 29 5 55 7 'd,tm/ydTc'Jtb, that makes it attractive to the average printer of today.
»4 IVhtdy but Viorm 10 Si ) 34 7 >fcts5 morn. The title-page of the "Compleat Ambassador," show-
«5 Days incf,^ h. 1 24 5 55 7 Ge on at thm'Ji ing the actual size of the original, is constructed in a
7 * fef to 20 5 5i 7 heRon; severely plain manner, a style known as the long and
17 St. Patrick Y
19 5 5» 7 Exientbyeneviiet short line," with catchwords.
i8 Palm Sunday 49 take pride
p 2 5 7 The "Midsommer Night's Dreame" title-page is one
»9 Marth many Kcea- 2h i; 5 48 7 Full #
19 flay
of the most artistic of Colonial pages, printed when
-
in the Morn.
20 (5 b? ff'^' 25 5 47 7 5
Shakespeare was in the midst of his famous literary labors
Zl H<KU be buft^tcoi± ni 5 4<5 )rif S4<5 aft.
7
(I6OO). To get contrast the compositor alternated lines
22 5'? *fet 100 Fool! 19 45 7 qiat theu'rt
S 5
of roman with lines of italic. The spacing material could
-5 6,Good Friday 6 t 44 7 tlxit eotmtrj
5
man not have been accurate, and two capital Vs were used for
24 TNcufaireffUar 6\x 1; 5 43 7
a W, as Daye had done.
25 G EASTER Day 1 ?4 5 42 7
The "Paradise Lost" title-page is a poor specimen of
i6' n * fcr
9 45 9 Vf 5 40 7 >rir I

Laft Quarter.
mom.
composition and presswork. It was common in Colonial
27 iH:ghz(jir>Hs,'With 9 ^05 ^9 7
28 4 fome tAia to the ~5 37 7
HuJieer never days to surround the type-page with a double-rule border
'9 5 <5 b ("i to '<^'5
35 7
favj lad bread. and in this specimen the rules are bent and battered.
10 6(5 v 9 1 X'5 34 7 Daysincr. ^ ?8 Printed in 1667, it is apart of the first edition of Milton's
31) 7I7 *rct 9 27 12 .45 5} 7>"M 2S famous book.
The London Times heading is interesting, representing
as it does the first number, under the new name, of a

newspaper which has since become world-famous. The

 ,

26 THE ART AND PRACTICE OF TYPOGRAPHY

heading mentions that the Times was printed logograph-
ically." Logotypes (two or three letters cast together)
were being experimented with to facilitate type compo-
sition, but did not prove successful.
editionum coUatione , tnultae eaeque infigncs v,

ftioncs depreliendantur quodque folio Lxxv i p ,

The printers at the Peacock in the Poultrey near
etiam utroque quod habeo, exemplari non rep
in Cornhil" surely were good workmen. The "Pilgrim's
prefla Ea autem ex una typographorum ofcitam
.
Progress" title-page (a first edition of IGTh) is a finished
vefta videtur nee enim quicquam illic deficit
;
bit of printing.
The custom of using decorative border units to make
printed books attractive was seemingly practiced thru-
out Europe. The Italian page of 177G is an example of
CAPUT III.
this, as is also the French specimen of 1742. In this last
s hebraicorum librorum edhionibus page the decoration is overdone. The German example
ibraicae lypographiae origine is the title-page of a style book of 1670.
'ue ad annum MCCCCLXXX. The page from the Colonial book "Description of
Trades" exhibits the use of the decorative band for divid-
ing subjects. This style is now extensively used on
.. Ps,.ri.,
Elbert Hubbard's publications and has possibilities in
MccccLxxvi 1 . Alter hie eft hebraicae typographi,,e foe- the direction of general job printing that make it worthy
tus ,
paucis tantum menfibus gerfonidis commentario receo- of experiment.
tior. Hic enim editus eft, ut fupra animadvertimus, die iv
Because Caslon types and ornaments were extensively
menfis sivan , fub finem videlieet menfis maii anni ijf ,
pfalmi autem editi funt die xx elul , fcilicet fub initium used by Colonial printers I have reproduced on a previous
menfis septembris . De antiquiflima porro hac extremaeque page specimens of types and ornaments from the type-
raritatis editione altum apud bibliographos
primufque earn memorat clarifTimus Kennicott
eft filentium
specimen book of W. Caslon & Son, printed in 1764. The
in novo ab-
iblutiflimae fuae hebraici textus editionis programmate quod Caslon type-face was original in the sense in which the
edidit die xvi decembris anno 1771, ubi illi merito inter type-face cut by Jenson was original both had charac-
;

biblicas editiones principatus honorem detulit Ita autem com-

teristics which identified them with their designers, but
.

parata eft , ut unicuique verficulo hebraici pfalmorum contextus

kimchianus commentarius fubjiciatur . Ille quidem abfque both also had a general resemblance to type-faces pre-
punftis ( IV prioribus pfalmis exceptis quibus ineleganter viously used. The Roman face cut by Caslon bears a
haec appofita funt &c charaftere quadratus fed formae po-
) ,
marked similarity in its capitals to the type-face used by
Thomas Newcomb on the title-page of the "Compleat
Ambassador" (see insert herewith).
The illustrations in this lesson were in most instances
photographed from originals in the Lenox Library, the
library of the New York Typothetae, and the private
library of The American Printer.

,„___ , I^P^^P^P^I

rmat^Wftc|(cm/
©annncna63cfc|fc§i3«rcn/mcmarit)icffolumm

mil famif Drrm ^bt^fOtingai/

©cr M\\(S^m 95ucl&fcracfcrcpcKunft €rfa§mcn/

%m nu$(ic5 t)n^bf^^frric^JU3cbrauc^rt1/tt>fi(fn »
nidjr o&<i in ©fbitfttmip fori Ix^attmwarlxn/

GERMAN SPECIMEN OF 1670

t^

"^1
 .

TYPOGRAPHY IN THE 19th CENTURY

IT WAS near the close of the nineteenth century when of black, was characteristic of the religious fidelity and
William Morris, the distinguished exponent of strength sturdiness of the dwellers on the banks of the Rhine,
and simplicity in art, declared that no good printing As the art of printing spread, the German and Italian
had been done since 1550." According to this statement styles became mingled, finally resulting during Colonial
one hundred years after its invention typography for- days in a style of typography which represented the
feited its place among the esthetic arts, and then for Italian modified by the German just enough to make it
three hundred years remained below the standard set by interesting. But typography as an art was in a state of
its inventor. By setting his date at 1550 Morris over- deterioration. Even Franklin, called by the printers of
looked the achievements of such eminent printers as America their "Patron Saint," as a typographer lacked
Plantin and the Elzevirs, but otherwise his arraignment is the artistic perception of Aldus and Plantin, tho he was
justified. Posterity a superior mechanic
had defaulted in its and a shrewd busi-
administration of ness man.
the legacy left by The beginning of
Gutenberg. the nineteenth cen-
The first book '^^-'' tury found the prac-
printed from sepa-
>-^tc. ^^:^ cvo ^^^y<>^^
tice of typography
rate types, as an ex- h\ ,..^^....^0^.
King i^ tbove
heathen and hi. wonder, unto
:
leaning more than all
^
|

and > greit .li god.. people.

ample of artistic 4 For the Lord i. great, andean-
ever toward utility ' '

arrangement and V, of the earth . ind the itrength of not worthily be pr.i«d : he i. more ^
and away from art.

careful workman- yThe lea i. hi., .nd he m.de

S William Nicholson,
ship, is a remarkable and hi. hand, prepared the dry
, it : then, they .re but idol. : but .t i. an Englisliman, had
•t:r ««d. theLord that made the heaven..
testimony to the I 6 Ocome.letu.wor.hip.idfall 6 Glory and wor.hip .r« before
planned a cylinder
genius of the inven- him power and honour are in hi.
; printing press and
tor, especially when ^
,. 7 For 1« i. the Lord our God Dr. Kinsley, of Con-
the completeness of |/-|"d-..r.lh.peopleofhi. pa.. kindred, of the people : .«ribe necticut, had con-
ly/j tare.andthe.heepofhi.h.nd. unto the Lord .or.hip .nd power.
the invention is com- rf'.\ 8 To-day \(yt wiU hear hi. voice. 8 AKribe unto the Lord the
structed a model of
pared with the initial , i j harden no. your h»arU : a. in the honour due unto hi. Name : bring one. A Roman type-
productions of later ?,'.( t«nptatioo,nth.wilden>e..: 9 worship the Lord in the
face on severe, me-
inventors. The first beauty of holineM ; let the whole chanical lines had
earth .land in awe of him.
cylinder press and 10 Tell it out among the heathen
been designed, and
the first linotype . that the Lord i> King and that it
: picturesque old
a people that do err in iheir he who hath made the round
machine were both
1

^
.
i.

he.rU, for they hare not known my

i.
Romans such as the
_,

crudely constructed mo.ed;.nd how that he .hall judge Caslon were going
the people righteously.
Typography at- I wr.th : that they .hould not enter U Let the heaven, rejoice, and
out of use. Orna-
tained its highest ,>*^,in.o.yre... ments and borders
make a noiK, and all that therein i..

point toward perfec- were being discard-

v> 12 Ut .he field be joyful, and

tion in Italy in the all that i. in it : then .hall all the ed, and tl e style of
days of .lenson and *l-t!
tree, of the wood rejoice before the
typography was
i

^w
,

eantil* fcininB.
Aldus. The Italian getting uninterest-
judge the earth and with nght-
style of lettering
to :

judge the world, and

ing and losing the
eou.neM to ;

and decoration dif- the people with hi. truth. personal element.
fered greatly from
r > 2 Sing unto the Lord, and pr.i«. To illustrate this
the German. There
Vl 3 DecUre hi. honour unto tl.e
>-\4^-- transition there are
reproduced four
was dignity, refine-
ment, a dainty neat- .'-< .---: -
representative title-

ness, in the printed

-fp, page arrangements.
pages of the \'ene- The first that of
is

tians, and their a book on printing

type-faces were published in 1810,
precise and of a dark containing several
gray tone. The Ger- lines of the then new
man page, with its PLEASING BORDER ARRANGEMENT Roman type-face. In
bold Gothic letters on of the decoration of double-column pages
arrangement this
arranged in masses tke "Book of Common Prayer," London, 18 page is similar to the
 N

28 THE ART AND PRACTICE OF TYPOGRAPHY

probably an ideal arrangement. While revealing the
long-and-short-line characteristics of the previously men-
tioned pages, as a whole the effect is more interesting to
printers. In this page may be noticed the trend toward
delicate, characterless typography.
A printer, Charles Whittingham, of the Chiswick
Press, and a publisher, William Pickering, of London,
P^ngland, furnish an example of effoit made in the
middle of the nineteenth century to raise the piactice of
typography to a more artistic standard. These men,
both lovers of books and artists in temperament, had
become intimate friends, and together endeavored to
introduce into their publications simplicity, appropriate-
ness, and other artistic qualities.
Desiring to use an old-style face on one of their books
Whittingham inquired of the Caslon type foundry if any
of the punches cut by the first William Caslon were in
existence. The original punches being recovered after
years of disuse, fonts of type were cast and used on a book
"The Diary of Lady Willoughby," printed in 1844. The
title-page of this book is reproduced on a following page,
and it will be seen that Whittingham arranged the typog-
raphy in the Colonial style to harmonize with the liter-
ary motive of the book. So well was this done that
DESIGN MADE WITH BRASS RULE one has to look twice at the date to satisfy himself it is
Executed in 1879,it is one of the best specimens
of the rule-curving period
not 1644. Other typography from these men is not
<iuite so radically different from that of their contempo-

"Queen Elizabeth" page raries, but is more refined, artistic and tasteful, as may
inserted in the chapter on Colo-
nial typography which is perhaps the source from which
be seen by the "Friends in Council" page at the rear of
came the long-and-short-line" and 'catch-word" style this lesson. An innovation by Whittingham was the
of the average title-page of the nineteenth century. The omission of punctuation marks excepting where needed
second example of the group shows a displayed page of to make clear the significance of the wording.
1847 similarly treated, and the third is a reproduction Whittingham and Pickering, in the field of artistic
of the title-page of a printer's manual of 1872. This last typography, were fifty years ahead of their time, as print-
mentioned example is the product of a prominent type ers in general were not ready to accept the good things
foundry of that time and very likely was arranged in offered them. The renaissance had not yet dawned.
the style then accepted as good typography. A more
uninteresting page could hardly be conceived, especially Job printing as a distinct department is of modern
for abook intended for printers. development. Typographers of old were primarily book
The fourth example is a reproduction of the title- and pamphlet printers, and in many cases interest was
page of MacKellar's well-known manual, the "American chiefly centered in publishing newspapers or almanacs;
Printer" (now out of print), and presents what to the job printing was incidental. This caused similarity in
head of the most prominent American type foundrj^ was the typography of newspaper, book and job work, a ccn-

ANATOMY OF MELANCHOLY,
HISTORY OF PRIN'

PRINTER'S MANUAL
IN THREE PARTITIONS.
BIOGRAPHY OF PRINTERS,
K PRACTICAL II I D
ACCOUNT OF NEWSPAPERS.

COMPOSITORS AND PRRSSMK

OTHER PARTS OF THE WORLD.

TUOMAS LVNCH

TITLE-PAGE OF 1810
 TYPOGRAPHY IN THE 19th CENTURY
ditioii that today exists only in a small degree. Now
these three classes of work are generally separated into
departments, each with its own rules, styles and prac-
tices, job composition being less restrained by customs
and rules than any of the other departments.
Attractiveness is as necessary to the typography of the
general job of printing as dignitj' and legibility are to a
law brief, but, endeavoring to get attractiveness into
their work, job printers often go astray. They wrongly
labor under the impression that to have a job distinctive
it must be made freakish. Typography is not good unless 1^'^'' AMSfflST, «8eS,
I
based upon art foundations.
Ideas in plenty could have been plucked by the
printer of the nineteenth century from old books, espec- 5BIIS. %i nil.
ially from those printed for religious organizations, such
Book of Common Prayer."' A handsome edition
as the
of a book of this kind was printed in London by John °'"""°°' ~"
Murray in 1814. Each pair of pages is different in t •- %
decoration and typography, the designs being by "Owen
Jones, architect." The decorative treatment of the page
of Psalms reproduced from this book is worthy of study
and adaptation.
About the time of the Civil War the job printer was
less fettered than ever by the customs of the book
printer. While title-pages of books were being composed
without ornamentation in severe-looking modern romans,
the job printer, influenced by the type-founder, took a
liking to fancy typography, for the production of which
there were shaded, outlined, rimmed and ornamental
letters, in imitation of the work of the copper-plate en-
graver. The business card on the next page, and the

-||#;|»~-.~.w*|^-^
'-^M^^

THE
BANQUET PROGRAM
As arranged in Boston in 1865
American Printer:
"bill of fare" here shown, are specimens of such work.
% (Qamjni of t5ijjtograpfji|.
The changing styles of typography as applied to com-
mercial headings are well set forth by the group on the
fifth page of this chapter. The first specimen is a
PRACTICAL DIRECTIONS FOR MANACINC ALL DEPARTHENTS
"plain" billhead of 1870. The second is a billhead of
1893, when the compositor was taught to corral all ex-
cess wording in an enclosure of rules at the left side
of the heading proper. In this specimen there is a touch
of ornamentation and a showing of seven diiferent type-
faces, one of which is the then conventional script for
the date line. The third specimen of the group, a letter-
head which won first prize in a contest held in 1897,
Bv Thomas MacKellar. reveals further development of simple typography. Only
one face of type is used (Tudor black) and there is no
ornamentation excepting a few periods on each side of
the word "The."
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 absorp-
tion by the American Type Founders Company as Mac-
Kellar, Smiths & Jordan, of Philadelphia. The reproduc-
tion of a few clippings from its sijecimen book of 1885
may recall memories to the printer now of middle age.
MACKELIJVR. SMITHS & JORDAN The Free Press business card has peculiar interest to
the author. It was set and printed by him during dull
hours about the year 1889, when his thinking apparatus
was controlled by influences from the underworld of
typographic art.
There is another phase of late nineteenth century
THE TREND TOWARD DAINTINESS typography which should be mentioned. It seems that
Title-page of MacKellar's manual, the "American Printer." printers had developed a longing for pictures, color and
 THE ART AND PRACTICE OF TYPOGRAPHY
decoration. William Morris was an artist, a poet, a designer and
The process a craftsman. Partiality for things medieval showed itself
of photo- early in his life, and before he took up printing he
en <rravin<r manufactured artistic house-furnishings in the ruins of
not liaving an old abbey.
been per- Years ago if the average American citizen were asked
fected, job what great thing Benjamin Franklin did, his answer might
pr n t e rs
i have been "he invented the Franklin stove." The aver-
shaped age person of today would connect the name of Morris
brass rule with the Morris chair. As the application of art princi-
into representations of ples to typography has caused the compositor to turn
from rule curving; to set his lines straight, and to seek

m D,
composing-sticks, print-
ing presses, portraits paper without luster, so the influence of Morris has
and architectural de- led to the abandonment of gilt and polish and trimmings,
signs, and cut tint blocks and created a demand for subdued colors and straight
from patent leather and lines in home furnishings. He wi)o can influence others
other material. The skill to think and act in manner different and better than
;ii- exhibited bymany print- they have done before, is truly great.
ers is remarkable, and Morris lived in a picturesque old manor-house in Kelm-
'-sSHM beautiful combinations scott on the Thames in England, and it was there at the
of tints were produced. age of fifty-seven years that he began to print. He was
It will be difficult for not a printer by trade, but before a type was set he
many people to believe that the studied the art from the beginning. He even learned to
"Boston Type Foundry" design, make a sheet of paper himself. Kelmscott Press paper
(shown on a preceding page) was was made by hand of fine white linen rags untouched by
originally constructed with pieces of chemicals. Morris as a handicraftsman had an abhor-
brass rule, but such is the fact. It rence for machinery. It is doubtful if he would have
was composed by C. W. L. Jungloew used even a hand-press if results equally good could
in 1879, and is truly a wonderful have been obtained without it.
example of the work of the printer- Morris' idea seems to have been to take up good typog-
architect. The perspective obtained raphy where the early printers left off. When he wanted
by the designer is a feature. Black, types for the new printshop he had enlarged photo-
gold, and several tints were used in graphs made of the type pages of Jenson, Koburger and
the printing. other printers of the fifteenth century, and from these
Interesting as are these photographs designed his type-faces, arranging the de-
wonders of the curved-rule tails ofthe letters to conform to his own ideas.
period, they are not artistic His Roman type-face he called "Golden," probably
in the true sense of the word ;
because of its use on the 'Golden Legend." This type-
examples of skill face was afterward reproduced by foundries in America
indeed, but not art as Jenson, Kelmscott, and other type-names. Morris
as it is today under- was wont to say that he considered the glory of the
stood. Roman alphabet was in its capitals, but the glory of the
Gothic alphabet was in its lower-case letters. He also
We now come to designed a type-face characteristic of the Gothic letters
one of the most in- used by Koburger and other fifteenth century printers
teresting periods and probably because of its use on the Historyes of
in the history of Troye," called it Troy. This type also was reproduced
printing, a period bv tvpe foundries, and printers knew it as Satanick and
which may well TellText.
be termed the The space ordinarily assigned to the page margin.*,
"Modern Renaissance.*' As was intimated earlier in Morris covered with arabesque decoration in the manner
this chapter the invention of printing machinery served of the early Italian printers, large decorative initials
to leadtypography away from art. The printers of that blending with the borders. These initials and borders,
time thought they were doing artistic work when they set with few exceptions, were drawn by himself and engraved
their jobs in fancy type-faces, twisted brass rule, or print- upon wood by W. H. Hooper. Compare the right-hand
ed in many colors. They did not know that art-printing page of the two pages here reproduced with the Venetian
was simplicity and something else. The apprentice was specimen in the chapter on The Spread of Typography."
taught to set ty])e as had his journeyman instructor before One of Morris' books, an edition of Chaucer, was
him. Any inspiration he received came from the type additionally
founders, and even that was often interpreted wrongly. enriched by
Ten years before the close of the nineteenth century upward of
display typography was in a chaotic state so far as art a hundred 6eo. €. Hand & Ayery,
was concerned. Printers who before had not doubted the illustrations
PLAIH ABD OEBAMKITAL
appropriateness and quality of their own typography, by Burne-
began to realize that it lacked something they were not Jones, a looh, %b, anb ^ooir-iirt idirtfrs,
able to supply, and were ready to follow a Moses who noted Brit-
NO. 3 CORNHIUI-,
could lead them to better things. Then began to form a ish artist.
curious chain of events that was to have a revolutionary In both
influence upon commercial typography as well as upon England
commercial art. The first link in this chain was the and America
establishing of the Kelmscott Press in England bv Morris was
William Morris. the subject
 TYPOGRAPHY IN THE 19th CENTURY 31
purple-red and green-blue —
these were some of the color
harmonies.
The Christmas number of "Bradley His Book" was
:

set entirely in Satanick, the American copy of Morris'

Troy" type, and bright vermilion was nicely contrasted
with dense black print.
While Morris was a medievalist, and received his in-
spiration from the printed books of the fifteenth century,
Bradley was inspired by both past and present. Printers
know him particularly because of his adaptations of the
styles of the seventeenth and eighteenth centuries. He
demonstrated how Colonial printers could have done their
work better. In presenting the Colonial specimens (which
are here reproduced from the November, 1906, "Bradley :

One of the au His Book") Bradley wrote:

Antique and deckle-edge papers enter so largely into the mak-
of much criticism. Men who as art printers were not fit ing of books today that printers cannot do better than to study
to touch the hem of his garment were loud in condem- the styles of type-composition that were in vogue when all books
nation of his work. Others, more fair, pointed out the were printed upon hand-made papers. A knowledge thus gained
should prove of great value, especially in the setting of title-pages.
excellence of his printing, but claimed that neither his • • * The only face of Roman type which seems appropriate
type-faces nor his style of typography would be used many to antique paper is that which is known as Caslon. When types
years. This last prediction has proved partly true. The were fewer, and the craft of printing less abused than it is now,
this was the only type used in book work; and some of the title-
Jenson, or Kelmscott, type-face was used so frequently
pages in our earlier books are extremely interesting and suggest
and so generally that despite its virtues it finally tired the motifs which may well be carried out today. Taking suggestions
public eye, and is now seldom seen. Satanick, the "Troy" from these books we have set a few pages, using as subjects the
type-face, as made by the American Type Founders titles of some modern works. There seems to bean unwritten law

Company, was not displayed in its specimen book of 190G. which we are supposed to follow in this class of composition; and
yet one should be a little brave and daring, purely for the joy of
However, the work of William Morris, tho not ac- getting out of the old beaten track.
cepted as the model for general use, was the cause of a
revolution in modern typograph.v. Instead of the deli- The type foundries helped the spread of the new typog-
cate and inartistic type-faces and ornamentation
of 1890, the. contents of type foundry specimen
books now reveal strong, handsome, artistic
letters and common-sense art borders and orna- Masliinjgtfln,^
ments. Morris' experience as a printer did not
cover five years, yet his name will always live //_
because of the good he did typography in the
nineteenth century. To Socdenow klollaboy, Dr*
Decorative artists were wielding a big influence
in the revival taking place in the field of typog-
raphy. Contemporary with Morris in England No. 47 Pennsylvania Avenue,
was a young artist, Aubrey Beardsley, prominent
in a new school of art which saw merit in the flat
masses of color as found in the grotesque designs Stationery composition of 1870

of the .Japanese.
Here in America the work of Morris and
Beardsley found favor in the eyes of Will Bradley,
who was destined to lead the forces in the typog-
raphic revolution on American soil. Bradley had EDWie^ E. Hills,
been a country printer; as apprentice, journey- :fi^PiE: Commission m€
'Chant,
man and foreman he had tasted both the .joys
and sorrows of practical work in the printshop.
However, Bradley was more than printer; he
had artistic tendencies which finally influenced
/s-s? ...
him to go to Chicago to study art. There he
frequented the art galleries and public libraries,
and developed into a poster artist of exceptional The panel as used in 1893
merit. There were those who called him the
"American Beardsley."
The year 1806 found Bradley with a studio at
Springfield, Mass., where his love of printing in-
fluenced him to open a printshop which he called
the "Wayside Press." In May of the same year
he issued the first number of "Bradley: His
Book," a unique publication for artists and Iprinter an^ JSookmakcr
printers. The type-faces used were Jenson,
Caslon and Bradley, and almost every page con-
tained decoration. There were many odd color
combinations and Bradley must have stood close
when this first number was printed.
to his presses
Purple-brown and orange, olive-green and orange- A neat letterhead of 1897

brown, orange-yellow and chocolate-brown, THE CHANGING STYLES OF COMMERCIAL HEADINGS

32 THE ART AND PRACTICE OF TYPOGRAPHY
raphy by supplying a series of Bradley's decorations,
known as "Wayside ornaments."
Bradley discontinued the Wayside Press in 1898 and
combined his printshop with that of the University Press
at Cambridge, Mass. There a battery of presses was kept
busy during the continuance of the extraordinary interest
in Bradley booklets. The story is told that one large con-
cern wished a catalog, but because it was impossible to
fill all orders, secured it only by offering to pay double

the estimated cost.

Like Morris, Bradley became an interesting subject So much of the DIARY ol
for discussion by writers on printing. His work was both
praised and censured, but he prospered. George French,
the well-known American writer on printing matters,
LADY WILLOUGHBY
as relates to h&xDomeJlic Hiftory^
wrote of Bradley at the time: "l recently met Mr. Brad-
ley and was impressed with a sense of being in the j)res- & to the Eventful Period of the
ence of one whose work for the art preservative will be
Reign of Charles
recognized in the future as second to that of none of its
exponents and disciples." the Firft.

In 1905 Bradley impaired the strength of his following

by attempting for the American Type Founders Com-
pany the introduction of a new style of typography, the
prominent feature of which was profuse ornamentation.
While this effort supplied job printers with many valuable Imprinted for Longman, Brown, Green, & Long-
ideas in type arrangement and color treatment, happily MANs,P«/fr«o^er/?ow,overagainft War-
the style as a whole was not adopted by printers gener- wick Lane, in the City of
ally or typographic conditions might have become as London. 1844.
unfortunate as they were previous to 1890.
Frank B. Berry, associated with Bradley during his
engagement with the American Type Founders Company,
tells in these words of the construction of a thirty-two
page pamphlet of specimens entitled The Green Book
of Spring:" Starting in on this about half-past ten one
morning Bradley made up a dummy, prepared the copy TITLE-PAGE IN THE COLONIAL STYLE
By Charles Whittingham, London, 1844. The first use
of the revived Caslon type-face

and laid out the work —

specifying the size and style of
type to be used, the form of display and designating the
FRIENDS IN COUNCIL: exact position of each ornament with the required spacing.
This was in effect practically furnishing reprint copy for
A SERIES OF READINGS the compositors. Then, to 'give good measure,' as he
expressed it, copy was prepared for the cover, and the
AND DISCOURSE work was ready for the printers before half-past one."
Once asked why his clients allowed him to do such
THEREON queer things with type and border, Bradley answered in
his characteristic way "Perhaps because my salary is so
:

large." He is probably the highest-salaried man in the

printing business, his monthly remuneration in 1908 as
art-editor of Collier^s Weekly being an even thousand dol-
lars. Will Bradley, with all the fame, praise and censure
that has been his lot, remains as unassuming as a com-
positor at the case. He has an interesting home, designed
thruout by himself, at Concord, Mass., and his affection
for the typographic art is shown by the collection
which he has there of the old and quaint in books, cuts,
types and press.
In the few years succeeding the establishment of the
Wayside Press, Bradley's style of typography was closely
followed by many printers, and all the printshops of
BOOK THE SECOND America were more or less influenced by it, but at this
date his ideas and Morris' ideas are merged more or less
with those of DeVinne, Jacobi, Updike, Rogers, French,
LONDON Kimball, Goudy, Goodhue, Winchell and others. From
WILLIAM PICKERING Germany, too, has lately come suggestions in decoration
that are considerably influencing general typography.
This lesson would not be complete without a tribute
to the work of Theodore L. De Vinne, who has the dis-
tinction of being the only printer in America to receive
a college degree for accomplishments as a printer.
AN INTERESTING TITLE-PAGE Mr. De Vinne's introduction to typography was as an
By Charles Whittingham, London, 1849 apprentice in a country printshop. He went to New York
[i,>- iS'l'-'-'ii' g ^ffi II
pages Hou SO
hith< but for
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 TYPOGRAPHY IN THE 19th CENTURY 33
ill ISiT aiul worked at the case and press in several
ortices before accepting a position as job compositor with
Francis Hart. L'pon the death of Mr. Hart in 1877, Mr.
De Vinne took charge of the business, which is now
known as Theodore L. De Vinne & Co.
As a writer on printing subjects, perhaps his greatest
work is The Invention of Printing,*' published in 187(5.
'

I have examined and read most of the books on tlie sub-

ject of the invention and De Vinne's book is the most
The
reasonable, fair and understandable of all.
De Vinne has always been an exponent of the sane,
Puppet Booth
conservative and dignified in typography. The work of Twelve Playj
by
his shop is precise, exact and thoro. While giving credit
to Morris and Bradley for their accomplishments he had Henry B. Fuller
little sympathy for the styles of either. De Vinne prop-
erly claimed that a writer's words are of more importance
than the decoration of a designer. Morris intended his
books for the shelves of the book collector; De Vinne
looks upon a book as something to be read. However,
there need be no conflict between the styles of Morris,
De Vinne and Bradley. The typographer should learn to
discriminate, to choose wisely when selecting a style for
a book or a piece of job-work. For editions de luxe in
limited numbers, and for booklets on art or literary sub-
jects, Morris style is api)ropriate. For books on scientific
or legal subjects, and for booklets of conservative and dig-
nified nature there is nothing better than the De V'inne
style. For booklets which are to attract attention and
for job-work that is to be distinctive, Bradley shows New York
the way. The Century Co.
With De Vinne beckoning to us from the point of con-
1896

SOME NOTES ON BOOKS

AND PRINTING. A GUIDE
FOR AUTHORS AND OTHERS ., 1896

servatism and Bradley from the point of radicalism, the

typograjjher anxious to do work properly must decide
for himself how to treat it. I have seen a jeweler's

Bv CHARLES T. JACOBI booklet cover so filled with ornamentation by Bradley

that it was almost impossible to read the wording, 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 acts.
De Vinne has always been a leader in the perfecting
of modern methods. He was one of the pioneers in the
use of dry paper and hard press-packing, and has given
much thought to modern type-faces. The type-face
known as Century Expanded in more condensed form was
designed by him as a perfect Roman letter.
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 nine-
teenth century.
Charles T. Jacobi, of the Chiswick Press, London, as
an instructor and writer on printing subjects has done
much for typography in England. He is not wedded to
a particular style of typography, but advocates the adap-
tation of any style that is good when by so doing clients
LONDON: PRINTED AT THE CHISWICK PRESS are pleased and the principles of art are not violated.
-« BV CHARLES VVHITTINGHAM AND CO., XXI
The title-page reproduced in this connection is unusual
TOOKS COURT, CHANCERY LANE, EC MDCCCXCII
in arrangement. The type groups and the device are all
squared and their angularity is enhanced by the exclus-
ive use of capitals. Realizing that a page or design is
defective if it presents the appearance of disjointed sec-
tions, Mr. Jacobi has avoided such results in this instance
by arranging the page in the form of a letter Z.
34 THE ART AND PRACTICE OF TYPOGRAPHY
With this chapter the history of typography is brought
down to the twentieth century. The modern typographer
has great responsibilities. Upon him depends the solution
of the problem whether or not our beloved calling is to THE LIFE OF
be ranked with the esthetic arts. Shall the product of
the village printer be only of the standard of that of the CHARLES HENRY
village blacksmith ? Every typographer, regardless of
the nature of the work that is his to do, should cultivate a
love for the artistic and enlarge his knowledge of the
things that make for good printing. 1 he chapters that
COUNT HOYM
follow will help to this end.
Because printing as now practiced is in a great degree EMINENT FRENCH BIBLIOPHILE
dependent upon principles and styles developed during
1694-1736
the early days of the art, the student should not neglect
carefully to read and digest the historical facts and repro- WRITTEN BY
ductions that have been presented. Too many typog-
raphers underrate the value of a knowledge of history. BARON jfiROME PICHON
I do not care what printers of old did ; I want to know

what the printer of tomorrow is going to do." This is

almost a literal quotation of the remark of a printer who
prides himself on his progressiveness, and he is only one
of many who imagine that, to be up-to-date, it is suffic-
ient to use new type-faces, ornaments and borders,
caring little if the resulting jobs lack appropriateness,
harmony, color, tone, and other elements that are essen- Vkp.
tial to perfect typography.

THE CHILDREN THE GROLIER CLUB

BY ALICE MEYNELL NEW YORK 1899

He who labors without a knowledge of history is much

like theyoung man who started to work on a job press.
He was make ready a form, and after a while
allowed to
the pressman went over and examined the work. On the
back of the form he found something that looked like an
underlay, but could discover no reason for its use. Mys-
tified, he inquired what it was all about, 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 form. It had never
occurred to the young man to ask why this was done. Thus
it may be with the typographer. He arranges a job of

type composition in the style of something good he

has seen, but fails to get the quality of the original be-
cause he does not comprehend just what has served to
produce that quality.
Morris was a student of ancient printing. His thoughts
were back in the fifteenth century with Jenson, Aldus
and Koburger, and when he began to print, he printed
understandingly. There was a well-defined plan, and
there was harmony in ornament, type, ink and paper.
When the "up-to-date" printer began to imitate Morris
he did it with the same degree of comprehension pos-
JOHN LANE; THE BODLEY HEAD sessed by the young man who made the "underlay."
NEW YORK AND LONDON 1897 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 history. Bradley knows print-
ing history and loves old books, and this knowledge and
affection is expressed in his work. The printer who suc-
ceeds is the one who looks upon all knowledge as valu-
able and has a good reason for everything he does.
PART T^VO
 TOfii BOATS

rAtOG-wwiiR J'fo*?

{AMPLE )b
 d

THE "LAYOUT" MAN

HERE is begun a of large proportions and pecu-
theme build it. He first consults an architectural engineer, ex-
liar importance — typography in the twentieth century. amines drawings and exchanges opinions, and when the
The preceding chapters treat of the accomplishments
five building contractor starts his work everything has been
of typographers in days that are past; this and following planned and specified.
chapters tell of the work and problems of typographers Should printing be done in a less thoro manner ? Is
in the days that are present. Never was more widespread not the making of a book, catalog or business card each
interest manifested in ty- proportionately as impor-
pography, and conditions tant and as well entitled
are truly encouraging to to proper attention as the
those whose hearts are larger undertaking.'' Good
in their work and whose typography is not pro-
work is printing with sep- duced where preparation
arate types. is slighted.
In every section of Quality printing is not
America and Europe, men accidental. Shops famed
are working and studying for the artistic excellence

that their product may of their product have re-

attain a high standard <<\ tained their shop style"
excellence. No other \>v- despite changes in their
riod of time has broujilit force of workmen and ex-
forth artistic printing so ecutives, and this individ-
abundantly, and the fact uality, or "shop style,"
as it is termed, has been
should not be overlooked
that the commercial a^ti^t obtained and retained
deserves no little credit only thru careful prepara-
he li a-. tion of copy and laying-
for this condition ;

placed his talents at tin out of the job by some

disposal of the business person (artist, ad-writer
man, and both the Helil or typographer) in various
of advertising and that ways qualified and thoroly
of printing have protiti understanding shop pref-
greatly. At a recent ex- erences in the matter of
style.
hibition of advertising art
in New York City I wa^
In printshops extensive
interested paintini:s
in enough to allow of the ex-
from which cover designs pense, one or more layout
had been produced for tin men should be employed,
monthly magazines, ami and in the smaller con-
was surprised at their ex- cerns the head job com-
cellence. Some of these positor or foreman could

paintingsare worthy of do the work. Solicitors,

permanent place in any when artistically fitted,

could in special cases lay
art collection.
Booklet cover-page laid o out their own jobs of
and advertising printing, as personal con-
Artists
men realize the necessity of carefully preparing a job for tact with the customer peculiarly fits them to do it sat-

the process of printing, but typographers as a class evi- isfactorily. The important thing, anyway, is to please

dently do not. If they did they would do even better the customer. While the art side of the practice of

work and make bigger profits. Every printshop should typography is important, it is not all important. Typog-
have a "layout" man. raphy is essentially a business vocation. Ascertain the
In spite of the fact that much good printing is done customer's tastes and prejudices beforehand, and many
today, fully nine-tenths of the product is partially un- of the changes now made after jobs are in type, which
satisfactory because of lack of preparation. When a busi- often serve to emphasize inharmonious arrangements,
ness man decides to erect an office building he does not could be avoided. The average printer rarely parallels
immediately go to a building contractor and tell him to the experiences of a few fortunate printing concerns who.
36 THE ART AND PRACTICE OF TYPOGRAPHY

large and growing dcmanJ for office help. A|

at the teachers, couiscs of study, accomodai

.viroiiincnt

;tory results
should be the hest
from study,
in

another point
order to
Je lectin j dJchoo}
hich scliool to attend is the t. Good teach ^""*'"*chers, courses of study, accomodatii
and good salaries evcrywhe The bctte: I should be the best in order to secun
is always fo i. ts from study, another point in d
iployed. As we cmi:| ;h school to attend is the cost, (jood teacher
compelled to chara d good salaries everywhere. The better gr^

ig men and women students is always found

'

is because of chc: , less desirable best instructors are employed. As we c

ttion, inferior courses of study, lack of influej petent teachers we are compelled to charge

ferior methods. A good article alwa\s commarl of tuition. If any school charges a lower t

ice, while a cheap article is sometimes worth t because of cheaper teachers, less desirable a<3

ice paid for it. There is therefore no need of ! >n, inferior courses of study, lack of influencj

;ing deceived in selecting a school. Time at ior methods. A good article always commant
udents have left other schools and enrolled wij :, while a cheap article is sometimes worth tl'

,e completion of their courses, whereas if theV t paid for it. There is therefore no need of a

their c luld hav ,g deceived in selecting a school. Time an

money and sad experience. Success a, ents have left other schools and enrolled with'
bookkeeper depends upon a good i completion of their courses, whereas if they 1^

:en the result of poor training. Our ^

•their courses with us we would have sav(
will be noticed by the letters present r time, money and sad experience. Success ai

;, M r it tnis pro IS. Read what our students s: pher or bookkeeper depends upon a good t

= 1^ ,

EXAMPLE 2

ts or preparing specimen she

The headings : k-ith pencil

when receiving an order for a booklet or catalog, are told size, which cannot afford the regular services of an artist.
the amount of the appropriation and given carte blanche. From the composing-room force take the most artistic
Orders for much of the better class of work are obtained and practical job compositor and install him at a desk.
thru "dummies" submitted by printers or solicitors. The If there is not sufficient desk work to occupy his full time,
customer advises a certain number of such persons that arrange with him to fill in spare time at the case. In
he is in the market for a booklet and would like to re- selecting a man for the position it should be remembered
ceive suggestions. Each competitor prepares a dummy" '
that few typographers have qualifications combining
on the stock and in the binding intended for the com- artistic perception with thoro workmanship. It is in a
pleted booklet. The cover design is roughly sketched or great measure true that a nervous, artistic temperament
otherwise indicated and the inside pages prepared to rep- unfits a typographer for thoro finished work at the case
resent the finished job. or stone, while on the contrary, a calm, precise, methodi-
Let us imagine ourselves in a printshop of medium cal disposition is often accompanied by lack of imagina-
LEXINGTON
MOTOR BOATS

CATALOG WINTER 1909

•
 THE "LAYOUT" MAN 37
no exception while he could perhaps manage with only
;

a lead pencil and

foot rule, it would be foolish to do so.
His work will be expedited if he has an assortment of good
crayons hard, medium and soft lead pencils a pair of
; ;
ictory results from study, another point in;
shears, a T-square, a gelatine triangle, a type-line gage,
'hich school to attend is the cost. Good teach
a table for giving the number of words to an inch in the
jand good salaries everywhere. The better j

oung men and women students various size type bodies and a library of books and peri-
;
is always four
odicals on printing, especially of those showing examples
ie best instructors are employed. As we em
ompetent teachers we arc compelled to char of type designs. To provide him also with a set of water
Ite of tuition. If any school charges a lower tui colors, a jar of chinese white, a bottle of gold paint, a
is because of chciper teachers, less desirable bottle of india ink and several brushes would not be ex-
ation, inferior courses of study, lack of influe travagance.
iferior methods. A good article always comma It would be economical and wise if several sample
rice, while a cheap article issometimes worth i
sheets of each kind of stock were kept near his desk, in
rice paid for it. There is therefore no need of a portfolio or convenient drawer. Book papers could be
eing deceived in selecting a school. Time a
cut in quarters, cover papers in halves, and cardboard in
;udents have left other schools and enr olled wi
various convenient sizes, all ready to be used at an in-
Ie completion of their courses, whereasjif the;
stant's notice. Several each of ruled headings, cut cards
and other standard goods should also be included. In
laying out jobs, especially large runs, he should make
them of such size as will cut from the sheet with little
or no waste. If an order is to be rushed, he should ascer-
tain if the stock may be had without delay.

WORDS TO THE SQUARE INCH

Sizes OF Ty PK— SOLID
-;-
5 6 7 8 9 10 11 12

1 69 47 38 32 28 21 17 14
2 138 94 76 64 56 42 34 28
i 276 188 152 128 112 84 68 56
EXAMPLE 4-a
414 282 228 192 168 126 102 84
H 552 376 304 256 224 168 136 112
After pasting in illustration and counting the lines for machine
10 690 470 380 320 280 210 170 140
composition. Reduced from the original
828 564 456
12 384 336 252 204 168
14 966 658 532 448 392 294 238 196
tion. F^ach workman should have opportunity to do that 16 1104 752 608 512 448 336 272 224
IH 1242 846 684 576 504 378 306 252
which he can do best. He of the artistic temperament 20 1380 940 760 640 560 420 340 280
should lay out the jobs, and he of the mechanical turn of ii 1518 1034 836 704 616 462 374 308
mind should construct them. 24 1656 1128 912 768 672 504 408 336
26 1794 1222 988 832 728 546 442 364
The proprietor or other person in authority should dis-
28 1932 1346 1064 896 784 588 476 392
cuss with the layout man the subject of shop style in 30 2070 1410 1140 960 840 630 510 420
typographical arrange- 32 2208 1504 1216 1024 896 672 544 448
ment. The matter of 34 2346 1598 1292 1088 952 714 578 476
36 2484 1692 1368 1152 1008 756 612 504
type equipment should
also be gone over, as
nothing hinders the
layout man so much as Sizes of Type — LEADED with 2-point leads
to be compelled to use
type-faces selected by
zz 5 6 7 8 9 10 11 12
another having ideas
widely different. It is 1 50 34 27 23 21 16 14 11
important that the type 2 100 68 54 46 42 32 28 22
4 200 136 108 92 84 64 56 44
equipment be appro- 6 300 204 162 138 126 96 84 66
priate and sufficient 8 400 272 216 184 168 128 112 88
for the class of work 10 500 340 270 230 210 160 140 110
done. An equipment 12 600 408 324 276 252 192 168 132
14 700 476 378 322 294 224 196 154
of a half dozen har- 16 800 544 432 368 336 256 224 176
monizing faces of type is far better than one of two 18 900 612 486 414 378 288 252 198
dozen ill-assorted faces. Good typography is to a large 20 1000 680 540 460 420 320 280 220
22 1100 748 594 506 462 352 308 242
extent dependent upon the type-faces used.
24 1200 816 648 552 504 384 336 264
The layout man should make a study of the personal-
26 1300 884 702 598 546 416 364 286
ities and tastes of customers.should meet all suchHe 28 1400 952 756 644 588 448 392 .308
that come into the office, and arrange to call once upon 30 1500 1020 810 690 630 480 420 330
32 1600 1088 864 736 672 512 448 352
the regular customers. He must also keep in close touch
34 1700 1156 918 782 714 544 476 374
with conditions in the composing-room, so that in the 36 1800 1224 972 828 756 576 504 396
discharge of his duties he does not call for type-faces
already set out of the cases, or not a part of the equip- EXAMPLE 7
ment. ning the number of words to square inches. Us
The mechanic and the artist, to do satisfactory work, laying ut booklets and catalogs will not only
must have a certain working outfit. The layout man is will mi nimize the chance of a miscalculation
38 THE ART AND PRACTICE OF TYPOGRAPHY
covered by print. For cheap
work it is generally necessary
to crowd the matter into the

TALMOND STUDIOS least possible number of pages,

and in such case narrow mar-
gins are allowed. For the bet-
^rtigtg' iHaterialg
ter quality of work, liberal mar-
1004 Fulton Street, Brooklyn gins are necessary to proper re-
sults. A page should set toward
the top and binding edges, the
margins at these places being
each about the same. The mar-
gin at the right edge should be
a little more than at the top
and back, and the margin at
Notehead a k^itho, 1 layo, "'*" the bottom should be a little
more than at the right edge.
For an example of the workinjrs of the layout system For the booklet now supposed to be in course of prepar-
we will suppose that the principal of a local business col- ation, 2% X 4 inches has been determined as the proper
lege has brought in typewritten copy of about a thousand size of the type-page. Each page thus requires eleven
words to be made into a small booklet. A little ques- square inches of type matter. The layout man refers to
tioning brings out the information that the customer the table (Example 7) which gives the number of words
desires something attractive, refined, and of good qual- to a square inch and ascertains that eleven square
ity. He does not want a cheap job, and neither has he inches of ten-point type, the lines separated by two-
money to spend upon expensive de luxe booklets. point leads, should accommodate one hundred and sev-
The layout man looks over his sample papers and finds enty-six words. Multiplying this number by six, allow-
that there is on hand a ten-cent white antique paper ing two pages at the front of the booklet for the title,
25 X 38 inches in size. Taking a quarter sheet he folds
it repeatedly until the leaf appears to be about the
proper size. Measuring it he finds it to be 4% x 6%
inches. The leaf is then trimmed to 4% x .5% inches
(thus allowance should always be made for trimming the
edges after binding).
For the cover the layout man selects from his samples
a medium gray antique stock of good quality. The cover
T AI.M( )NI> STI 'OK )S
ARTISTS' M.VTKRIAI.S
stock should harmonize in finish with the paper on the
inside. In this instance an antique finished stock is
selected to cover the antique finished paper on the inside.
Many are the booklets that would have been improved
by attention to this rule of harmony. However, a rough
finished cover stock and a smooth inside paper is not as
inartistic a combination as a smooth cover stock and a
rough inside paper.
The cover stock selected in this instance is 20 x 25
inches in size, and an eighth of this sheet folded once
gives a leaf 5 x 6% inches. Deciding to have the cover etc., he finds the booklet will take 1,056 words, about
lap three-sixteenths of an inch over the edges of the in- the number of words in the copy supplied.
side leaves, it is trimmed to 4%6 x 6% inches. For a booklet of this kind the type should be no
On one of the inside leaves a page is off, thepenciled smaller than ten-point. Instead of stinting margins and
layout man judging how much of the paper should be sacrificing legibility, as is often done in endeavoring to
force copy into a limited number of pages, additional
leaves should be added.
The cover and inside papers having been prepared in
the proper size and number of leaves, the dummy is
For stitched with wire or sewed with silk floss as may be
desired. The arrangements of the title-page, the first
text-page and a page entirely text matter are indicated
in proper position by means of pencil and crayon ;or for
booklets of a large number of pages it is well to set the
first text-page in type and paste a proof of it in the
dummy, getting by this means the customer's approval
of both type-face and general effect.
The appearance of the printed page may be anticipated

TALMOND STUDIOS by pasting in position a type-page cut from another

booklet already printed. (Examples 2 and 3.) In a shop
where much booklet work is done, it would be a con-
Artists* Materials venience to the layout man if a number of specimen
pages, set in the available body type (both solid and
1004 FULTON STREET BROOKLYN leaded), were printed for use in preparing dummies.
These specimen pages should be about 5% x 7 inches, a
size that would make them usable for most purposes.
The cover arrangement was sketched on the gray stock
 , '

THE "LAYOUT" MAN 39

(Example l), the border being
represented by the gray lines
of a hard lead pencil. The type
i <P2> W j.»>APnnr34»irys» ^ ;r^*v.r y^»'yj^yi[^ry\ ,7*1 ^.^#*l>^-*««.*^*^•»*^ I

line was indicated by means of

a soft black lead pencil and an
orange crayon. No ornaments
'^I'^^ALMOND STVmostl *
are specified because they are
better omitted on booklets
where dignity is to be a prin-
cipal feature.
The dummy booklet thus
completed is submitted to the
customer and when approved C 1
goes to the work-rooms with the
copy. The compositor, make- fi
up man, stockman, pressman
and binder have no excuse for
any misunderstanding, as, gen- Notc-Kead a tfot
erally speaking, they have
merely to duplicate the dummy. The labor of the esti- lines are made
fit the outline of the illustration.
to The
mate man, too, is lessened, as the dummy booklet affords length of type lines should always be ascertained with
a substantial basis upon which to figure the cost. the pica (l2 points) as the unit of measurement.
The plan of making a dummy booklet, just explained, Supposing Examples 2, 3 and 4 to be dummies of
can be adapted to many jobs, but of course it needs be pages, the composition of which is to be done on the
varied to suit special requirements. linotype or monotype machine, the layout man with his
In cases of periodicals and voluminous catalogs, dummy pica measure starts at the initial letter T and measures
sheets should be printed with the outlines of the page and counts the lines, noting the results in the margins.
(See Example 4-a. The page as shown is slightly re-
duced, hence the lines do not measure as set forth.) The
figures are copied from the margins onto a slip and will
appear as shown in Example 4-b.
This plan emphasizes the necessity of a layout man as
a member of the executive staff in the modern printshop.
It may be a simple procedure to reset run-around matter
at the moment needed by the make-up man, but it is an
expensive habit.

The average stationery job is given scant attention in

the larger printshops where long runs on cjlinder presses
overshadow it in importance. This condition leads to
unsatisfactory results and the customer is the sufferer;
his stationery as a whole is not only inartistic but is a
patch-work of typographic styles and arrangements. To
s laid o
illustrate this A dealer in artists' materials orders at
:

various times letterheads, business cards and package

indicated by one-point rule. With such sheets the lay- labels, and the copy is sent to the work-rooms with no
out man is enabled quickly to paste in position prints of instructions about style. Assuming that a different
the illustrations and text matter from the galley proofs. compositor gets each order, the jobs are composed as
Getting his instructions in such methodical manner the shown in Examples 8, 9 and 10. These specimens are
make-up man can do his work without confusion of
orders, and the proof-reader's task is made easy.
When illustrations are provided to be incorporated in
the text matter there is more or less trouble in making :>":.;. -*<-^'Jp»^^*"J»^'^-^^i >.*^^>.A<7%
up the pages. To center all illustrations so as to avoid
changing the width of the type lines is easy but not i&ri_
artistic. It is economical to have cuts made the full
width of type matter, but the printer is seldom consulted
until after they are made. However, various sizes of
cuts may be attractively grouped on facing pages and
the type matter filled in around them. This method
may appear difficult because the text matter is often
composed on machines; but it is not difficult if prepared
in this manner: Take the prepared body-type sheets,
cut them to the required page size, paste them to the
dummy sheets, and upon the pages of text matter thus
presented fasten the prints of the illustrations in proper
positions. The body-type sheets need not be used on
pages for which there are no illustrations in such in-;

stances merely ascertain the number of lines to a page.

Example 4-a demonstrates how the print of the illustration
is placed over the body-type page, and the step" shape
of the pencil lines shows how the boundaries of the type
40 THE ART AND PRACTICE OF TYPOGRAPHY

yp^^^iJssiis. IE3^

Erinteiis

EXAMPLE
:, with ir in detail a:

ed. Red. rdfro

above the average in arrangement, but are faulty in should be easy to distinguish the right from the wrong
that the}' have no relation to each other in appear- color treatment in Examples 5 and 6. The colder color
ance; have nothing distinctive in their typography that should always predominate; backgrounds of bright red
identifies the business card with the letterhead or the and bright yellow are difficult to harmonize with any
label. color of ink excepting black.
How different the results had an artistic layout man From the insert (Examples 16 and 1?) will be seen how
prepared each order before it was given to the compositor. a color combination may be roughly sketched on the
Examples 11, 12 and 13, roughly sketched with pencil actual stock to be used. Thus the finished result may be
and crayon, demonstrate what could have been done. indicated without setting a line of type or inking a roller.
With stationery thus harmoniously treated a business When the page is set in type it is well to have the
house would be given credit for individuality and pro- proofs in the colors and on the stock to be used, but it
gressiveness. is unnecessary to separate the design into several forms

In a printshop doing a good class of work (every print- to do so. For a job such as Example 15, for instance,
shop should endeavor to do that) the layout man ought to two proofs maj' be pulled, one in black and one in orange,
make a study of color harmony. Not that it is necessary and the initial cut out of the sheet printed in orange and
for him to attend an art school or devote most of his time pasted in position on the sheet printed in black. An-
and attention to experimenting with prisms and light other and a more satisfactory way is to ink the entire
rays; charts and tables which help to solve the color page with black, then clean the black from the initials,
problem are easily obtainable. After a little study and and ink them with orange by means of a finger. It may
practice he will learn that while red, yellow and blue be relevant to suggest that the human skin is ideal for
(the primary colors) harmonize with each other, mixtures inking purposes, and that a printer's composition roller
of two or all three give shades of color considered more is an imitation of its qualities.

pleasing. Olive-green (an art shade) substituted for blue, The layout man, in addition to the study of ink har-
in combination with orange, produces an artistic blend in mony, should learn to blend colors and tints of paper
place of the gaudiness which otherwise would prevail. stock. He should know that a buff or cream inside paper
This because olive-green is a mixture of blue and orange ; reflects the color of a yellow brown cover stock, and
a relationship in color composition is established and hence makes a prettier combination than white inside
contrast lessened. paper and brown cover stock. Another important point
A black page increases in interest with the addition of is the color blending of a tipped-on illustration and the

a touch of red, and for this purpose vermilion is recom- stock acting as a background. The prevailing shade in a
mended. The vermilion shade of red is approximated by color illustration should be matched by the background
mixing white with orange-red. or by a surrounding border, or by both.
The colored crayons with which the layout man should When laying out advertisements or other display pages
be supplied, are exceedingly useful in determining color the size of the tyije-face should be written in the margin
combinations. The eye is a reliable guide in this matter, (Example 14). Practice will enable the layout man intu-
if carefully trained to recognize color ha itively to approximate the size needed.
IB
ARCHITECTURAL
DESIGNS
IN
STONE a? BRONZE
ILLUSTRATED
AND EXPLAINED
BY THE
WORLD'S GREATEST
ARCHITECT
SETFORD JETTON

OSWALD COMPANY I

PUBLISHERS

EXAMPLE 20

An architectural subject treated

appropriately
 !

HARMONY AND APPROPRIATENESS

IN music there is that which the Germans call "Leit- unnecessary but are about as poetic as the relief busts of
motir' —the guiding theme in the construction or inter- Pennsylvania politicians on the bronze doors of the cap-
pretation of musical compositions. The "Leit-motif" itol at Harrisburg.
finds a parallel in the central idea or motive governing It requires a discriminating judgment to distinguish
the composition of a building, a painting, a book or a between the appropriate and inappropriate. Typogra-
job of printing. If Gothic is selected as the style of phers frequently go wrong in the use of the old Roman
architecture for a building, every detail from the arches V. The V as part of the words PVBLIC LIBRARY on a
to the sm lUest bit of orna- stone building excites no
mentation is kept in har- L JE?i J*L JE?i. J*L J*. J*L -^ »fi2 comment, it seems appro-
^(^,^(4^(^,^(^,^<^
monv with the central idea (^^Jil^J^Q/^,J^Q/oJdl«uJ^LL^.J^Q/^.J^(l«.J^l priate and in good taste,
of construction. If the but as part of tiie words
building is to be Colonial, I'N'RE MILK on a grocer's
every detail is made appro- Proper Contrast letterhead it tempts the
priate to the Colonial risibility in our natures.
motive. maybe obtained with The plain people of one
The person is legion who of the new sections of New
undervalues the importance York City were astounded
of harmony and appropri- Lower-case Types recently to find the street
ateness. Houses are fur- signs bearing such names
ni>hed without regard to a by varying the type as Socrates, Horatius, Pose-
general plan and furniture idon, Aplirodite, Pericles
sizes and grouping
is added because it strikes and Seleucus. Names such
the fancy at the moment of in pleasing shapes as Wall Street, Broadway,
purchase. A Morris chair in Bowery and Fifth Avenue
dull-finished wood, a Louis are unobjectionable, but
XV'. table with dainty Seleucus Street and Pericles
curves and gilt luster, and Street—
a mahogany or ebonv piano After all, good judgment
case are gathered in motly
discord on an oriental rug.
Harmony is one of the most valuable
assets a man can
And when this same per- should be had between type
son has printing done, or Harmonious and appro-
does it himself, there is face and decoration as priate results in printing
again revealed an utter dis- are bi-ought about by dis-
well as between the
regard for the things that creet selection and use of
make for harmony. several lines these three e 1 e en t s m :

Wiiat appropriate? Type, ink, paper. It is one

is
of display
There are times when it is thing to ink the type and
difficult to givean unpreju- >
pull an impression on
diced answer, especially paper, and it is another
when an idealistic art inter- thing to do itproperly. It
pretation of the appropriate EXAMPLE 18 makes a difference what
is combatted by the homely To obtain harmony it is frequently necessary type is used, what ink is
of type, and either all capitals or all used, and what paper is
reasoning of a tiller of the
soil. As a finishing touch to used. There are hundreds
the classic architecture of the new agricultural building of type-faces, many colors and qualities of inks, and a
at Washington the words Fructus, Cereales, Forestes and variety of finishes and qualities of papers.
Flores were carved in suitable places on the structui
^
As to type-faces: Printers of law briefs and legal
The secretary of agriculture noticed the Latin words and blanks need the formal, legible modern romans. Print-
forthwith ordered the architect to have them recarved ers making a specialty of commercial statioi
in the English— Fruits, Grains, Woods and Flowers. ding invitations and calling cards need scripts and en-
Now there are those who say the words as modified gravers' romans. Printers whose chief product is high-
suggest a sign on a country store. The architect prob- class announcements and booklets cannot do without old-

ably reasons that the words as originally carved were style romans, italics and text faces. When everything in
purely decorative, and in their English form are not only printing from the diminutive calling card to the massive
42 THE ART AND PRACTICE OF TYPOGRAPHY

THE ::l Cbe !

The [
THE
AMERICAN • :
;american American AMERICAN
PRINTER - j^rinter ; Printer PRINTER
IS THE .. 13 tfje is the IS THE
PRINTERS :: Printtr'g Printer's PRINTER'S
SCHOOLMASTER &ci)oolmadter ! Schoolmaster SCHOOLMASTER
1
READ IT w Eeau it ;
\ Read it
READ IT
AND RISE \ \ and rise '.

: \ and rise
\ \
AND RISE
'

i' 4
A B D
The« is harmony between type-fa d border in each of the above pa nels

The 1! The 1 The I

American 1 <
American J American |american|
J
Printer Pointer I>RINTER
1 ] | pointer % 1 1
is the 1 > »»*»»« ! 5 is the %
Printer's | Printer's j « Printer's g I'UINTKU'S V
j

Schoolmaster j HCIIOOKMASTKR
Schoolmaster i j \ <» Schoolmaster ^ 1 |

Read it 1 i
Read it j * /?^«J /^
J 1^
liKAl> IT 1
and rise 1 and rise 6 ««<:/ rise ^ % A.NI) KISK %
1 ) < 5 $ % 1
E G H
The above type-faces and borders d •) not harmonize with each other

Cfte The The The

:amencan American American American
jSrinter
Printer Printer Printer
is the the is the
IS THE
is

PRINTER'S Printer's Printer's Printer's

SCHOOLMASTER Schoolmaster Schoolmaster Schoolmaster

READ IT Read it Read it Read it

AND RISE and rise and rise and rise

I J K L
There is harmony between ty pe-f ices in each of the above panels

THE The TIIK mt

AMERICAN American AMERICAN
PRINTER Printer i
PRINTER
i

IS THE IS THE
is the Printfr
PRINTER'S
Printer's IS THE
PRINTER'S
Schoolmaster PRINTKR'S
SCHOOLMASTER SCHOOLMASTER
SCIIOOI.]MASTER
READ IT READ IT Bead it
1
READ IT
AND RISE AND RISE and rise AND RISE
1

The above type-faces do not harmonize with each other

EXAMPLE 19.— Harmony of Type-Faces and Borders. (Note.— In studying an example, cover the balance of the page)
 EXAMPLE 21

A booklet cover, tLe coloring and typograpKy

oi ^I'liicL 18 suggestive or tlie subject
 HARMONY AND APPROPRIATENESS 43
catalog is solicited many styles of type-faces are needed.
As to inks There are inks ground in strong varnish
:

for bond papers, inks ground in soft varnish for coated

papers, and heavy opaque inks for dark cover papers,
and it makes a deal of difference if they are not used
appropriately. And then, in the matter of harmony of
colors there is a subject for much study. The wise printer
KiHHftlkitN
will use good black inks and enliven his jobs with mere
touches of orange or vermilion. Black and orange are
always pleasing in combination and look well on most
papers. There are pitfalls in the use of numerous colors,
and unless the subject of color harmony is understood by
the printer he may wisely hold to black and orange.
As to papers Wove and laid antique papers, white
:

and buff tinted, are appropriate for announcements and

booklets in combination with old-style type-faces and
black and orange inks. Dainty papers of linen finish in
combination with delicate engravers' type-faces, are ap-
propriate fur milliners, florists, jewelers and others cater-
ing to the esthetic tastes of women. Dull-finished coated
papers are considered more artistic than highly enameled
ones, altho there are many who prefer the luster of en-
ameled papers for halftone printing.
It is a stupendous undertaking, in face of the multi-
tudinous elements tliat are part of the production of
printed work to point out
a path that will lead to
good typography. There
are many printers doing
good work and each of
them has probably arrived
at his point of attainment
Type-design for catal
by diflFerent routes. The
chapters that precede this
and the chapters that fol- with it. If Caslon roman is chosen as the body letter,
low represent the author's Caslon bold, Caslon italic and Caslon text will afford
attempt to show the way variety in display while retaining harmony. (Of course
to good work and whether tlie large display sizes of the Caslon roman should be in-

he succeeds depends to a cluded.) The Cheltenham family probabl3' provides the

great degree upon the greatest variety of harmonizing faces. Scotch roman is a
reader-student himself. dignified and legible letter, and supplemented by its italic
Simplicity is synony- and the larger display sizes is a satisfactory face for many
mous with good typogra- purposes. Old-style antique is a useful letter where a
phy and its path is a black tone is desired and is pleasing in its original form.
straight and narrow one. Pabst is an artistic old-style face and is an admirable
who would do good typography must decide wisely letter for distinctive advertising literature, giving an
when accepting the good things offered by his friends effect approximating hand lettering.
the paper man, type man and ink man. They are gen- While iiarmony of type-faces is essential, yet a certain
erous in their offerings and willingly assist the doubting amount of contrast is desirable. At one time it was cus-
one in deciding, but confidence in his own judgment is a tomary to alternate a line of capitals with one of lower-
necessary quality for the typographer who would attain case. This arrangement gave contrast, but not harmony.
success. The best results are obtained by the use of either all
The ideal printshop is that one which contains only capitals or all lower-case. As explained in the chapter
harmonious type-faces, ink colors and paper stock. This "When Books Were Written," our alphabet in its orig-
ideal condition being impossible except in a small shop, inal Roman form consisted of capital letters only. Lower-
the best alternative is to have all type-faces as nearly case letters, also known as minuscules, are the result of
harmonious as possible. It would be wise to build upon evolution, and in form differ materially from the capitals.
the body Custom decrees that a capital letter be used to begin an
important word otherwise in lower-case, but with this
exception either kind is better used alone.
Harmony of type-faces and borders is illustrated in
Example 19. Section a is an all-capital scheme enclosed
in a heavy and light rule border. A border such as this
owes its origin to the panels used by the Romans to sur-
round inscriptions on stone, and as these inscriptions
were in capital letters only, the appropriateness of the
treatment is manifest.
In section b there is harmony from both the historic
and the artistic viewpoint. The black text face, repre-
senting as it does the direct result of the evolution from
capital letters, is appropriately used only in its lower-
case form. The use together of text capitals is objected
 :

44 THE ART AND PRACTICE OF TYPOGRAPHY

MW^M^^^iM^m^i^^m^.
ANNUAL REPORT
Bare Hooks
BOARD OF SURVEY
FOR 1908

CONTAINING DIAGRAMS
OF ALL
IMPROVEMENTS DURING THE PAST
YEARS TOGETHER WITH PLANS
AND SPECIFICATIONS FOR
THE COMING YEAR

THE SELFORD COMPANY

CITY OF PITTSBURGH
DEPARTMENT OF STREETS

EXAMPLE 26
A plain page, without < nament or decorative types, for
iaU and border purpose

to on the ground of illegibility. This black text face In all cases where ornamental borders are used more
(correctly called Gothic) is historically associated with finished results are obtained if a rule separates the bor-
ecclesiastical printing, and the border, consisting of der from the type, as in Sections b and c.
pointed crosses of black tone, blends with the pointed The next four panels demonstrate such harmony as
black letters of the type-face. may between type-faces of different series.
exist
Lower-case Caslon roman is shown by section C. This I. — For
more than a hundred years Caslon text and
letter has a peculiar gray tone, and the border, possess- Caslon roman have been used in combination. Altho
ing the same characteristic, is appropriate. The har- entirely different in appearance, yet they harmonize
mony which exists between the Caslon face and the bor- nicely when properly treated. Caslon text, also known
ders of Colonial days is also illustrated in Example 18. page of Caslon
as Cloister, gives decorative contrast to a
Section d shows a plain letter of modern cut known roman and worthy a place in every printshop.
is

erroneously as gothic. Containing no serifs, it lacks a J. —

This panel shows Caslon bold in combination with
feature which has always been considered necessary to Caslon roman, and demonstrates the close harmony exist-
beauty in type-faces. As a harmonious border for this ing between type-faces of the same family.
face there is nothing better than a plain rule of the width K. —
Another demonstration of the harmony of the
of the type strokes. family types.
The type and rule in the next four panels do not har- L. — Harmonious, to a certain extent.
monize for these reasons The next row of panels presents the "horrible ex-
E.— The border is not sufficiently old in style for a let- amples" which are defective for these reasons: Section
ter such as the Cheltenham, and the small horizontal M fails to harmonize because the type-face of the upper
lines of the border carry the eye in a direction contrary group is slightly extended and the one of the lower
to that of the up strokes of the letters. The border used group is condensed. The shape of the letters of a type-
on Section a would harmonize. face should conform to the shape of the page, and as far
F.— The border is too light and effeminate for a letter as possible to the shape of the companion letter, when
as strong and black as Winchell. The border used on a one is used. Condensed letters should be avoided except
or the one used on g would harmonize. for pages that are long and narrow.
G.— The border is too black. Italic, because of the N. —The type-face of the upper group has nothing in
slant of its letters, looks better not surrounded by a bor- common with that of the lower group. That of the
der, but when one is used it should be light and contain upper group is a distinctively English roman, with serifs,
some of the characteristics of the italic. and is set in lower-case, while that of the lower group
H.— The type-face, being extended, does not conform is a plain black modern letter, without serifs, and is set

to the shape of the panel. The old English border is not in capitals. The main display should never be lighter in
suitable, for in tone and character it is different from the tone than the less important type matter.
type-face. The border used on a would be better, but in o. —Inharmonious, because the lower type group, com-
the use of engravers' type-faces borders should be omitted. posed of lower-case italic, presents a widely different
 ;

HARMONY AND APPROPRIATENESS 45

1

••**••••••*•••• •
*

e aster ^ertiict
Cfjurtl)
*
*
•
•
*
DECORATIVE
MATERIALS
*
•
*
*
Ot tilt
• yl^llitk
•
* J^llly^!)^ •
• •

jl^elieemer
*
*
1™P
^^^^M£_
*
•
* to^^ff *
«*• * BUNTING *
&unbap
• WREATHS *
* FLAGS •
• ^c. *
• •
* *
* •
• *
• JOHN WRIGHTS SONS *
* *
* •••••••••••••*•
EXAMPLE 27-a EXAMPLE 28
Treatrnent appropriate for a church program, in style based upon Cover-page for a catalog of decorative materials, suggesting
old ecclesiastical manuscript books. (See specimen below) festive gatherings, music and waving flags

appearance from the extended roman capitals of the were selected that the motive should be emphasized.
upper group. The architecture of the Romans was frequently embel-
—
p. Mismated: one group is condensed while the other lished with inscriptions (see Example 24), and in mod-
is extended. ern architecture the panel of Roman lettering is a feature
the lettering is generally all capitals of the same size,
There are more typographic committed thru vio-
sins of a style near that of the ancient lettering and the panel
;

lation of the laws of appropriateness than in any other is outlined with molding, plain or decorative. Serving a

way. In this regard it would not be difficult to make purpose equivalent to the architect's panel molding, the
out cases against the best of typographers, whose sins type or rule border is a valuable addition to a page of
are washed away by good work in other respects. As type. A page of display type or a halftone not surrounded
in architecture where one part of a building bears re- by a border is like an oil painting without a frame.
lation to all other parts, so in typography there should The border around Example 20 is historically associated
be a motive that blends all elements in serving one well with architecture the ornament is an architectural one,
;

defined purpose. The phrase "is it appropriate?" prom- and the paper upon which the design is printed suggests
inently displayed above the type cabinets, over the onyx stone. Legibility is secured by printing the type
presses, in the stock-room, and over the layout man's in black, and interest is added to the decoration by print-
desk, would do good missionary work. ing that in orange.
An architectural motive was suggested by the copy Bismarck was called the Iron Chancellor" because
for Example 20, and type, border, ornament and stock of his great strength of character and unbending will.
Strength instantly associates itself with the mention of
iron or steel, hence the motive for the construction
of Example 22. It may be interesting to know that
the design of this page was further suggested by the
old lock-plate (Example 23). A printer with imagina-
tion can absorb ideas from many sources. The lock-
plate is not literally reproduced in type, but a few of
its features, including the key-hole, were borrowed and
conventionalized. An artist-designer does not copy
his models closely; they serve the purpose of suggest-
ing shape and treatment and his imagination does the
rest.
For the cover of a small catalog listing rare books, a
typographic motive is found in the woodcut borders and
initials of the early printers. Example 25 shows what
may be done with type-foundry material on such a cover.
4b THE ART AND PRACTICE OF TYPOGRAPHY
type-face is peculiarly fitting because of its pointed foim,
and also for the reason that a letter of similar design was
o o used by medieval scribes on ecclesiastical books (see Ex-
ample 27-b). Tiie crossed rules, which should be printed

COLONIAL in orange-red, are adapted from the guide lines as made

by the scribes for marking the position of a page on the

TRUST siieet.

and
When a holiday crowd is gathered, dignity is put aside
all enter into the festive spirit of the occasion. Here

COMPANY is the motive for the typographic treatment of a booklet

or catalog of decorative materials as presented by Ex-

o ample 28. It would be an excessive emphasis of appro-

o
riateness to print such a page in a combination of bright
red and blue. The colors should be softened. The page
would look well printed in a deep blue with a flat blue
tint overprinting the star border.
There is room for improvement in the support typog-
raphers give artists in the production of booklets and
catalogs. In many cases title-pages are constructed with
no regard to the motive suggested by the design on the
cover. Bibliophiles .judge a book not only by the excel-
lence of its execution, but by the harmonious unity that
J. F. WINTER. President may be expressed by every detail, from the literary con-
A. B. HILL, Vice-President tents to the last bit of tooling worked on the cover. The
H.N. SENTHELL. Cashier type, ornamentation, paper, ink, margins, leather, the ar-
W. L. WILLISON. Teller rangement of the title-page and the cover treatment, all
must be selected and utilized in expression of a dominant
central motive. The same
rule presents the key to good
typography in job work. Ex-
ample 2!) shows tlie Colonial
o o arch adapted as the border
of a booklet cover. The art-
ist gives treatment to
this
the cover becau.'^e of the
EXAMPLE 30 motive suggested by the
•Colonial style, appropriate for
name Colonial Trust Com-
design such as Example 29
pany," and when the title-
page is set it would be a mis-
The border of black tone and the type and initials are
is take not to use some Colonial
{riven the strength that harmonizes with it. arrangement. Example 30
Old books suggest discolored leather, dusty shelves blends with Example 29 and
and plain men, and it is an abrupt change to the subject EXAMPLE 29 IS modified from the old Col-

of millinery, with its bright colored feathers, ribbons The Colonial arch onial title-page treatment
and delicate finery. The milliner ornaments his sales- just enough to give it a mod-
room with vines and flowers and dainty colors, and the ern appearance without sacrificing the old-time atmos-
printer gets his typographic motive from such sources. phere. The border suggests both the widely-spaced rules
Example 21 illustrates a booklet cover treated thus ap- of the Colonial printers and the architectural pillars of
propriately. The page size is unconventional, the color- Example 29. No letter spacing is used, despite the temp-
ing is dainty, and the type lines are neatly diminutive. tation offered.
As a millinery store is unlike an office in which are
maps and blue prints and legal documents, so typogra- Discussion of the subject of harmony and approi)riate-
pliy for these two purposes should be unlike. Example 26 ness could be extended much further than is allowed by
is a page severely plain and non-sentimental. The types the limits of this chapter. Pages could be filled with
are merely to tell something in a blunt manner. There descriptions of instances in which the compositor had
is needed no touch of decoration or color to interest the erred in treating typography and ornamentation inhar-
reader, because those who read it would do so whatever moniously or too literally appropriate. The use of angelic
the treatment. This is the only example in the present ornaments on Y. M. C. A. printing, where something
chapter in which the advertising element is unimportant. more substantial is desirable the double-meaning that
;

The page is commonplace because it need not be any- may be read into the use of a horseshoe ornament on a
thing else. printer's letterhead the placing of illustrations of live
;

From the surveyor's office our journey of instruction fish, lobsters and animal food on banquet programs these —
takes us into a church during an elaborate Easter ser- are a few of the things that might be mentioned.
vice. Light filtered of its brightness by stained glass Orators owe success as much to words unspoken as to
windows high-pointed Gothic arches pointing toward
; words spoken. The more proficient an illustrator be-
; —
the dome soft organ-music all these create an atmos- comes, the fewer strokes will he make in forming a pic-
phere of solemnity and harmony. A program or pamph- ture. The better the typographer, the more restraint will
let for use during a church service should be as appro- he exercise in ornamenting or coloring a piece of print-
priate to the environment as a Book of Common Prayer or ing. This quality of restraint is especially useful in decid-
Bible. Typographic treatment good as given in Examples ing what is and what is not appropriate; in decorating a
22, 26 or 28 would be ridiculous for a church program. page of type, a small leaf ornament is sometimes to be
Example 27-a shows a page historically appropriate. The preferred to a large illustration of a plant or tree.
 KNIGHTS AND THEIR
MAIDS OF CAMELOT
SOME MYTHICAL RELATIONS CONCERNING A
PREPOSTEROUS EPISODE IN THE LIFE OF LADY
LANCELOT WHILE SOJOURNING AT CAMELOT

KING ARTHUR'S COURT

EXAMPLE 44
A study in uniTortn tone
ty Jolin Jepsoc
 TONE AND CONTRAST
THIS chapter is a story of the alpha and omega of color and functions of the day and night; theater choruses and
— white and black. Since the creation of the world, the soldiery are living masses of uniform tone and color.
when light first illumined the darkness, these two col- As uniformity is important in these things, so is uniform-
ors (if I may call them colors) have been emblematic of ity important in the tone of a page of printing. A type-
—
extremes white, the symbol of purity and goodness, page exhibiting a variegated mass of black and gray
black of impurity and evil. Wliite and black represent tones, is not unlike a squad of recruits in different stj'les
extremes in color. Mixing of all the color rays of the solar of clothing marching irregularly while on the contrary
;

spectrum produces white, and a type-page (;f uniform tone and

mixing of all the colors in the arrangement may be likened to
solid form of printing ink pro- a uniformly equipped regiment
duces black. From this contrast of soldiers marching with rhyth-
of white and black may be drawn mic tread.
a lesson in color. (Example 31.) A page of display typogra-
Light represents warnitl:, dark- phy composed of a mixture of
ness cold. As the colors are irregular gray and black tones
toward light they are warm ;is : is inexcusable in the sight of
they are toward darkness tiiey the artistic reader. As combina-
are cold. Red becomes warmer tions of inharmonious type-faces
as it takes on an orange hue, ami are wrong, equally so are com-
colder as it takes on a purple binations of incongruous tones.
hue. A warm color should be For the sake of contrast and
contrasted with a cold color— as variety in typography, art prin-
orange with black. The further ciples are too often ignored, the
in tone the color is from blat k printer confessing to ignorance
the more it contrasts with the or lack of ingenuity. Contrast
black. As an illustration: is necessary, but it may be had

Orange is more pleasing than a without sacrificing uniformity.

deeper shade of red as a com- Again making use of a military
panion color for black. Blue, simile soldiers are marched in
:

jjurple or green, selected to be platoons, companies, battalions

used with black, must be light- and regiments that the monot-
ened with white ink to get the ony of solid formation may be
desired contrast. broken; type is arranged in
White and black as a combin- groups and paragraphs for sim-
ation is and ever has been popu- ilar reasons. While an abso-
lar with writers, printers and lutely solid page of type may
readers. Fully nine-tenths of present a pleasing tone, a slight
the newspapers, books, catalogs EXAMPLE 32 break of the regularity is desir-
and other forms of reading mat- mplc able for reading purposes. Thus
ter are printed with black ink
Page by F. W. Kl I. Darmstadt art makes concession to utility,
on white stock. It is coincident but such concession should al-
that optical necessities require for best results in reading ways be granted reluctanth'. There is classic authority
a black-and-white combination, and black ink and white for the arrangement of the type lines in Example 20
paper are more cheaply and easily produced than other of the preceding chapter, but on the majority of print-
colors of ink and paper. ing jobs it is necessary to compromise with utility and
This chapter is also an illustrated sermon on uniform- emphasize important words, as in Example 19-a of the
ity oftone or depth of color, in which is pointed out the same chapter. The secret of producing artistic typogra-
value of bringing many spots of black or gray into har- phy in these practical times is to pilot the ideas of the
monious relation. The es- ^ customer into artistic chan-
thetic importance of uni- nels emphasize the words
;

formity of tone is univer- he wants emphasized, but

sally recognized. Choirs do it in a way that will re-
are robed in white and sult in creditable typogra-
black fashion has its uni-
; EXAMPLE 31 phy. There is a right way
form clothing for the hours Contrast in color ai and there is a wrong way
(471
 THE ART AND PRACTICE OF TYPOGRAPHY

EXAMPLE 35

of arranging type, and too many typograpliers arrange depth of color. One of the customs when constructing
it the wrong way and unjustly blame the customer for a booklet cover-page to be ornamented, is to first select
the result. an ornament that is appropriate in design and of proper
proportions. Upon this ornament the page is constructed,
The eflfectiveness of uniformly black tone on a back- and it dictates the characteristics of the border and of
ground of white is well illustrated on the beautiful book the type-face, and its tone determines the tone of the
title shown as Example 32, in which even depth of entire page. This is also true of a trade-mark cut fur-
color consistently maintained. There is not a weak
is nished by the customer, altho such cuts are frequently
spot on the page border, ornament and lettering are of
; so inartistic that compromising is necessary.
equal tone, and the white background is reflected thru Assuming that a cover-page is to be designed and that
the black print in agreeable contrast. The Germans are ornament a has been selected for use on the page, a rule
masters in their treatment of contrast and uniform tone, border is chosen with double lines approximating the
and he who bewails the limitations of black and white strength of those in the ornament. (Example 34.) To
printing should ponder over the results shown by this further reflect the tone and character of the ornament
specimen from over the sea. several appropriate border units are adapted as corner
Now for a practical demonstration of the workings of decorations. Selection of a type-face is next in order,
the theory of uniform tone in typography. Example 3.S and of those at hand Cheltenham capitals are chosen
displays four ornaments, each of a different tone or because of their open character.

EXAMPLE 33
depth of tone, used in the construction of the fo»
Examples 34. 35. 36 and 37
 TONE AND CONTRAST 49

«0» «@» «(}»«()»«()» «@» «(}»«()» «o»

EXAMPLE 36 EXAMPLE 37

The dark gray tone of ornament b is approximated in around the inside of the border in Example 35 finds
the egg-and-dart architectural border of Example 35, response in the lines around the ornament and serves to
and Boston Gothic further reflects the tone. As in Ex- unify the design.
ample 34, where the border is brought into relation with Ornament c, outlined in a medium black tone, is best
the ornament by the use of corner decorations, the line matched by constructing the bprder of rules that are

life is one of the most difficult and at the same lifeis one of the most difficult and at the
time fascinating themes that engage the human same time fascinating themes that engage
intellect. Says John Fiske, The materialistic
the human mind. Says John Fiske, "The
assumption that there is no such state of things
and that the life of the soul accordingly ends materialistic assumption that there is no
with the life of the body, is perhaps the most co- such state of things and that the life of
lossal instance of baseless assumption that is the soul accordingly ends with the life of
known to the history of philosophy, for we can-
the body, perhaps the most colossal in-
is
not scientifically demonstrate the immortality
of the soul, but the soul accepts its own immor- stance of baseless assumption that is known
tality, which is to say it is self-respecting and to the history of philosophy."We cannot
recognizes its fitness to live, hence its right to scientifically demonstrate the immortality
live. Immortality is more than continuous exist-
of the soul, but the soul accepts its own
ence, an everlasting continuation of our present
life. Immortality is endless existence plus a
immortality, which is to say is self-respect-
great moral purpose, which contains a true and ing and recognizes its fitness to live, hence
rational theodicy. From the initial dawning of its right to live. Iraniortality is more than
life, we see all things working together toward
continuous existence, an everlasting con-
one mighty goal, the evolution of the most spir-
itualquilities which characterize human effort. tinuation of our present life. Immortality
Tennyson's love refused to acknowledge the is endless existence plus a great moral
end of love. It reasons out of the depths of our purpose, which contains a true and rational
own conciousness, and this has always been the theodicy. "From the first dawning of life,
strongest defenseof the immortality of the soul.
It indicates a supreme faith in the reasonable-
we see all things working together toward
ness of God's way of doing things, and it is the one mighty goal, the evolution of the most
acceptance of this reasonableness that makes spiritual qualities which characterize human

e type-face is used on both pages; the

 a :

50 THE ART AND PRACTICE OF TYPOGRAPHY

strong and clear that reading may be made easy. The
artist-printer lessens the contrast between print and
paper by printing with gray ink on gray stock, brown
ink on light brown stock, and so forth. The utility
printer gets the maximum of contrast by printing with
black ink on white stock. As printing is both art and
business some compromise must be made, and it is this
On two-color printing have all reading matter in the
stronger color and subdue the color of the decoration to
lessen the contrast between the paper and the print of
the reading portion of the page (Example 20 of the pre-
vious chapter illustrates this point). Black print on white
paper is made artistic by impressing the print firmly on
antique paper. This roots the print to the paper, and
the result is more idealistic than that presented by the
print daintily set upon the surface of glossy, enameled
papers.
Lack of artistic feeling among typographers and cus-
tomers is responsible for unpleasant contrasts in tone.
A dense black illustration or initial will be set in a page
of light gray reading matter, or type of black tone will
be used on a page with an illustration of light lines.
Great contrast in any detail of typography is not art but
eccentricity this statement may be made plain by a
;

comparison. One winter's day when the conventional

folk of New York were wearing clothing of a somber
hue, they were startled by the appearance among them
of Mark Twain in a suit of white. Six months later the
humorist's garb would have excited no comment, but
the black clothed mass of humanity around him em-
phasized the whiteness of his attire, and the conspicu-
ousness thus produced separated him from his surround-
ings and made him an object of curiosity. Such things
are done by great men to show their disregard for cus-

bler .nifoi

about the same width as the lines of the ornament, and

separating these rules in the open style of the ink-ball
illustrations. (Example 36.) Caslon text is chosen as
the type-face because its pointed strokes are reflected in
the points of the leaves. There is also a similarity in
an' she lulu em roun' erboul,
the tone of the letters and leaves. Color could be intro-
duced into this design by filling the open parts of the •T»cll I don' see how dc chillun evah

border and ornament with a suitable tint. This plan of keeps Tom hollahin' out.

connecting the border with another part of the design Den she iifs em up head downards. so s

serves to make the page complete, to give unity — de^ wonc gil livah-grown,

quality that is all-important in art. This point may be Bui dey snoozes des ez peaceful n a
illustrated comparatively in this way : When mounting hza d on a stone.
pictures, if the principal color of a picture is brown, by
selecting a cover stock or cardboard of the same shade
of brown, the coloi- of the picture is reflected and picture W en h,t s mos „,gh time fu' w.kin' on

and mount are blended in complete unity. de dawn o' jedgmenl day.

The dense black tone of ornament d is duplicated in Seems lak I kin hyeah ol Gabiel lay hii

the dark-line border filled with black decorative units. trumpet down an' say,

(Example 37.) Chaucer Text being of the proper black •• Who dat walkin' 'roun so easy, down
tone is used for the type lines. The tone of this example on earf ermong de dead ? "
—
approximates that of the German page. Example 32. Twill he I.izy up a-tu'nm' of de chilkin
''ffjl^f:
These four examples afford an interesting study in
m de bed.
Ifll/'^'''''
uniform tone.
As the tone or depth of color increases from the
light gray of Example 34 to the dense black of Ex-
ample 37, it will be observed that the contrast between
the print and the paper background also increases.
This leads to the subject of contrast. What amount of
contrast is needed on the ideal job of printing? There
-—^ *-• ... ^f^'^f^^^

is conflict between art and utility on this question, but

there need be none. Art demands that the print be a

EXAMPLE 41
part of the paper upon which it is impressed, much as
The spotted black tone of the border is reflected in
the plant is a part of the earth in which its roots are text. The tone is made uniform by printing the bordei
buried, and utility demands that the print shall be light color. Page by University Press, Cambridge
ANTIQyi VNIVERSAM NATVRAM SVB
PERSONA PANIS DILIGENTISSIME DESCRIP.
SERVNT. HVIVS GENERATIONEM IN DV^
BIO RELINQyVNT. ALII ENIM ASSERVNT
EVM A MERCVRIO GENITVM ALII LONGE
;

ALIAM GENERATIONS FORMAM EI TRIBV^

VNT; AIVNT ENIM PROCOS VNIVERSOS
CVM PENELOPE REM HABVISSE, EX QyO
PROMISCVO CONCVBITV PANA COMMV.
NEM FILIVM ORTVM ESSE ATQVE IN HAG
POSTERIORE NARRATIONE, PROCVLDV.
BIO. ALIQVI EX RECENTIORIBVS VETERI
FABVL^ NOMEN PENELOPES IMPOSVERE,
QVOD ET FREQVENTER FACIVNT, CVM
NARRATIONES ANTIQyiORES AD PERSO.
NAS ET NOMINA IVNIORA TRADVCVNT,
IDQVE QyANDOQVE ABSVRDE ET INSVL.
SE; VT HIC CERNERE EST; CVM PAN EX
ANTIQV ISSIMIS DIIS, ET LONGE ANTE TEM.
PORA VLYSSIS FVERIT, ATQVE INSVPER
PENELOPE OB MATRONALEM CASTITA.
TEM ANTIQVITATI VENERABILIS HABE.
RETVR. NEQVE PRyETERMITTENDA EST
TERTIA ILLA GENERATIONIS EXPLICATIO:
QyiDAM ENIM PRODIDERVNT EVM lOVIS

EXAMPLE 43
Uniform tone in classic typograpny
Page by Bruce Rogers
 ;

TONE AND CONTRAST 51

even tones. Where one portion of the page is bolder
than the other, print it in a lighter shade of ink, or if
CORBETT & CROWLEY any part of a type-page must be in a lighter color, set
that part in a type-face of darker tone (Example 47).
PRINTERS AND BOOKBINDERS Job printers should be interested in Example 42, as it
is a good presentation of the theory of uniform tone.

The effect of the open-line illustration is duplicated in

BOOKS the spaced Jenson capitals and cross lines. The result
EDITIONS 1 1
would have been even better had the small groups on
either side of the illustration been slightly letterspaced
and the line at the bottom spaced less.
Example 43, on the insert, is a classic interpretation
of uniform tone. The architectural design is formed of
NOS. 24 AND 26 LOWELL AVENUE lines about the same strength as the strokes of the type-
HYDE PARK, NEW YORK face and the massed capital letters admit light sufficient
to give them a tone near to that of the open-spaced
border.
EXAMPLE 42
Example 44 (insert) is a superb blend of tone and
tration and type-face is he : blended. Card by characteristics. The delicate light-gray tone of the
School of Printing. Bost Camelot type-face is closely matched in the decoration
and border, and altogether this is a perfect exemplifica-
torn and by others because they are foolish or are adver- tion of the subject of this chapter. It is seldom that an
tising something, but it is common-sense right from the artist so carefully considers the characteristics of a type-
Bible to do, when in Rome, as the Romans do (meaning face and reproduces these characteristics in so admirable
that printed work which both attracts and repels by its a manner as was done by Mr. Jepson in this instance.
gaudy, unconventional appearance is not nearly so good Initials and headpieces should approach closely the tone
or desirable as the more conventional printed work which of the type-page of which they are parts. Example 45
tastefully and quietly presents its message in subdued shows such a combination, with the tone of the decora-
tones). One man will become widely known because he tion just a trifle darker than that of the text portion. An
has dived from a big bridge or gone over Niagara Falls initial has other duties to perform than merely to look

another because he has painted a great picture or cut a pretty; it must direct the eye to the beginning of the
great statue. The one thrills, the other impresses. It reading matter. In the manuscript books of the Middle
may be easier to produce typography which attracts at-
tention by contrast, but such results do not bring the
lasting satisfaction that comes from typography thought-
fully and artistically done.
Several other points are suggested by Examples 34 to
37. A page for a cover should be of darker tone than a
page to be used as a title inside the book this where the ;

body-type of the inside pages is of the customary gray

tone. A cover placed upon a book to protect it, suggests
strength and the typography of the cover should con-
NOTE
form to this suggestion. The reason for the uniform tone
presented by each of the four examples above mentioned ^^r^^HIS volume of papers, tinconneded
is another important point. Were the border darker than \l^ ^ "^ '''^>' ^''^' '^

ic^=^^ through from

'^'^ ^^ better to read
the beginning, rather
the ornament and type lines, the ornament darker than
the border and type lines, or the type lines darker than than dip into at random. ^
certain thread

the ornament and border, there would not be uniformity of meaning binds them. (Memories of child-
of tone— the quality so important to good typography. hood and youth, portraits of those who have
gone before its in the battle, — taken together,
they build up a face that "I have laved long
The tone of a massed page is of vital importance in '

the typography of a book, and a happy medium is some- since and lost awhile, ' the face of what was
where between the underspaced black type-page of once myself. This has come by accident; I had

Morris and the overspaced hair-line type-page against no design at first to be autobiographical ; I
which the Morris page was a protest. Examples 38 and was but led away by the charm of beloved
39 show the manner in which the tone of a page may be memories and by regret for the irrevocable
controlled by spacing. In Example 38 the page is thinly dead; and when my own young face (which
is a face of the dead also) began to appear in
spaced between words and lines and in Example 39
the page is doubly spaced, presenting two extremes of the well oiby a hind of magic, I was the first

spacing. to be surprised at the occurrence.

The tone of the pen-and-ink outline illustration in (My grandfather the pious child, myfather
Example 40 is admirably duplicated in the typographical the idle eager sentimental youth, I have thus

treatment accorded the page. The result would not unconsciously exposed. Of their descendant,

have been as satisfactory if there had been no quad lines the person of to-day, [wish to keep the secret:

to break the solidity of the page.

The spotted black tone of the decorative border on
Example 41 is reflected in the typography of the page,
a result obtained by using a bold face body-type and
separating the words with a liberal amount of space.
However the tone would not be equal printed in one EXAMPLE 45
color, but by printing the border in a lighter color the tialand headpiece is lightened t
tones are equalized. Here is a suggestion for obtaining Page by Heintzemann Press, B
52 THE ART AND PRACTICE OF TYPOGRAPHY

I
*»¥¥¥»¥¥¥¥¥¥<¥¥¥¥¥¥ WW WtWW W

MAKE ALL PARTS EMPHASIZE PARTS IN

UNIFORM IN TONE LIGHT COLOR

WHEN ONLY ONE WHEN TWO SHADES
COLOR IS USED ARE USED
ON A JOB OF PRINTING |J; ON A JOB OF PRINTING
aaaaQ.aaaaaaaaaaaQ.aaaaaaQaa

EXAMPLE 46 EXAMPLE 47

Ages, written without paragraphs, the starting point of a to make reading easy. (Example 48.) Notwithstanding
new thought was denoted by an initial more or less elab- this exception made in the case of reading matter, there
orate. The utilitarian purpose thus served by the initial is need of retaining uniform tone between display lines

is reason for making it a trifle darker than the remainder and border.
of the page. However, if there is great contrast in tone, If a catalog is illustrated (and the majority are) it is
the page will be difficult to read because of the initial important to have the illustrations prominent on the
claiming too much attention. The efl^ect would be much page, sacrificing tone to utility. The custom is to print
like attempting to listen to one speaker while another the illustrations in a dense black and the remainder of
is calling and beckoning. the page in a gray or brown, causing the illustrations to
Every rule has its exception and I wish to record one stand out in relief and plainly exhibiting the details an —
in the matter of uniform tone. On a page composed of important point when machinery is depicted.
display lines and a large amount of reading matter it is In advertising composition it is seldom possible to
an offence against legibility to set the reading matter in have an even tone on the entire page. The New York
a type-face of black tone to correspond with the display Herald advertising pages are unique in this respect.
lines, considerable contrast being necessary in such cases Outline type-faces are used, and all illustrations are re-
drawn in outline before they arc published. This serves
to give a uniformly gray tone to the pages, but the ad-
vertisers are not enthusiastic over the effects. While
other newspapers may not be able to have a uniform
page tone, it is possible to have each advertisement pre-
DISPLAY LINES sent a tone uniform as regards displayed parts and bor-
der, and the good typographer will secure it.
IN TONE SHOULD MATCH Irregular letter-spacing by imitators of Bradley has
THE TONE OF THE BORDER been the cause of many pages of unsatisfactory tone. In
a displayed page where one line is spaced between let-

T TAVE no use for excuses for not

ters, all lines should be similarly spaced. Example 49
presents a decidedly unconventional letterhead by reason
1 1 doing a thing —
there is no ex-
of its letter-spacing, but it illustrates the point that all
"* cusefor excuses. They weaken lines should be spaced equally. It may be well to warn job
character; they make a person after compositors inclined to imitate the style of this heading.
awhile a walking apology instead of a There are few customers who would concede any merit
to suchan arrangement, and it should be used sparingly.
man who has a right to hold up his
head and walk fearlessly and have his
word count in council. The world has
no use for a weakling, with a ready THE
tongue for excuses, but unwilling hands B O O K BV L D E R S SHOP
I

for work. The best word of advice I 2 6 EAST13th STREET

could give to a young man starting out
Tele phone 2829 i8th Street
in any business is, avoid the necessity
P R I N T I N G
for the first excuse. Master the first

task that is given to you, and master Th o m a s M aitland CI eland

the next — don't let them master you. S u pe rintenden t

EXAMPLE 49

should match the border Equal spacing is necessary to obta

 GASTRONOMICAL
ARGUMENTATION

EPICUREAN SOCIETY

EXAMPLE 58
In -whicli tte ornament, border and
type-race are in proportion
 —

13

5
W K,c^gas^=^ VW^-iS^—^y-T

PROPORTION, BALANCE AND SPACING

SYMMETRY is necessary to beauty. This law of esthet- as something inferior. The book printer plans to please
ics is as applicable to typography as to sculpture and the few. His highest ideal in bookmaking is a volume
architecture. Proportion and balance —the things that with uncut leaves ornamenting the book shelves of the
—
make for symmetry in typography are obtained only collector. The job printer's mission is to be all things
by giving the work more attention than seems necessary to all men, to fill the needs of the hour. He prints the
to the average producer and buyer of printing. refined announcements of art schools one day and an-
Why should the printer worry about esthetics about — other day finds him placing wood type to tell the story
symmetrj? What has art to do with printing, anyway.'' of a rural sale of articles too numerous to mention."
Questions such as these find too frequent voice in the There should be more tolerance between the book
printing trade, coming from the employee whose inter- printer and the job printer, and also between the printer
est and ambitions who regards his call-
end when he 'gets ing as a business and
the scale," and the the printer who re-
employer who is gards it as an art.
satisfied merely to The employer and
deliver so many employee who con-
pounds of paper and sider printing only a
ounces of ink for so means to an end and
much money. Pity that end money, are
the man whose work as near right and as
is drudgery and who near wrong as they
denies that art and who produce art
beauty are meant printing for art's
for him. He has his sake and forget the
antithesis in the pay envelop and the
man who, appreci- customer's check.
ating the higher The first starve
blessings, neglects their souls, the last
to give value to the their bodies.
more common and The printer who
practical things. does things artistic-
There have al- ally in an econom-
ways been two op- EXAMPLE 51 ical manner "strikes
posing classes in — nother method of det
length. The length of the page
twelve" (in the
religion, politics,
i

slang of Elbert
EXAMPLE 50 measure fifty per cent more than
art, music, business. its width. These examples
Hubbard). Printing
ng the page
On all questions one uld measure need not be shorn
portion of humanity ts width portionate margins of beauty to be
is "for" and the profitable to both
other "against," mostly because of the influence of en- printer and customer, tho beauty too conspicuous turns
vironment upon tastes and interests. Mozart's and Beet- attention from the real purpose of the printed job
hoven's music charms and enthuses and also lulls to which, in the case of a booklet, is the message the words
sleep. One class should try to understand the other. convey. An equestrian statue of Napoleon should fea-
Each has good reasons for its preferences, but none at ture the great conqueror, not the horse, but would be
all for its prejudices. The painter Rubens gathering in- incomplete with the horse left out.
spiration in the courts of royalty, portrayed luxury and Art is essential to printing; so are Uncle Sam's speci-
magnificence. Millet, painting in a barn, pictured pov- mens of steel engraving. The more art the printer
erty, sorrow and dulled minds. What pleased one found absorbs the larger should grow his collection of these en-
little sympathy in the other. During the Middle Ages gravings. Study of art arouses ambition ambition brings
;

learned men talked, wrote and thought in Latin, and better and harder work. It reveals in the typographer
when it was proposed to translate the Scriptures into the the difference between mere lead-lifting and the artistic
language of the masses these men held up their hands selection and arrangement of types. The boy who sweeps
in horror. the floor and does his best is nearer art-heaven than he
Today the book printer looks upon the job printer who sets type and cares not how he does it.
much as the Roman patrician looked upon the plebian, The printer who determines to learn about art who —
54 THE ART AND PRACTICE OF TYPOGRAPHY
makes continued effort to one page,
find the reason why one much as
man's work good and an- double col-
other's is
is

not, will be sur-

prised and gratified at the
u m
n s are
now treated
TYPES OF
new world which unfolds it-
self as he studies.
find
He
that altho having eyes,
will
by placing
one closely
beside the
MEDIUM
he has really seen only as
he has appreciated. There
other.The
principal
WIDTH
is no easy road to the ap- reason,
preciation of the beautiful.
Art does not consist merely
however,
that the ar-
is ^
of a set of rules to be ob- rangement
served there are few beacon
; has the
lights placed by those who sanction of
have trod the road. Beyond long usage
a certain point the novice and the ap-
must depend upon intuition I)roval of
or "feeling." Great paint- the best
ers have been asked their book-mak-
method of producing master- ers since
|)ieces, and have been unable books were
to explain. written.
EXAMPLE 53 EXAMPLE 55

which vertical lines In introducing the subject The job lal page shape, with type
predominate of "Proportion" it is well printer, it

first to dispose of book pages. is reason-

In olden times the sizes of books were known by the able to suppose, is more interested in proportion as it
number of folds to a sheet of jjaper about 18 x S-t inches. refers to display typography. He asks: What relation
A book made from such sheets, folded once into two has type, in the shape of its face, to the page of which
leaves, was known as a folio volume and measured about it is a part? And the answer is: A type-face should con-
12 X 18 inches. Folded twice into four leaves, a quarto, form in the proportion of its letters to the proportion of
measuring 9x12 inches. Folded three times into eight the page. Let us thoroly understand this. In Example
leaves, an octavo, measuring 6x9 inches. Paper is now 52 there are shown three widths of type condensed, —
made in a variety of sizes, which allow of individual medium and extended. The type of medium width is
preferences being satisfied in the making of a book. more used than the condensed
However the sizes do not depart far from the rule of or extended kind, because most
proportion which holds that the width of the page should pages have a proportion such
be two-thirds its length. as Example 55. From view-
Examples 50 and 51 illustrate two widely-used meth- points of both economy and
ods of determining page lengths. By the first method art, the type-face of medium
(Example 50) the page should measure diagonally twice EXAMPLE 52 width should be given prefer-
its width. In this instance the width being eight picas, Three widths of type-faces encc when Selecting type
the diagonal measurement is sixteen picas. By the sec- equipment. Condensed types
ond method the length of the page should measure fifty are properly proportioned for use as headings in the
per cent more than its width. Here the width being narrow columns of newspapers and for narrow folders
eight picas the length is twelve picas. These measure- and booklets.
ments may or may not include the run- Many of the laws which are necessary to good typog-
ning titles or folios. raphy also govern the other arts. As an instance, in
If only small margins are possible, architecture it is requisite that a tall and narrow build-
the page (exclusive of running title) ing contain a preponderance of vertical lines, a feature
should be about centered, with a slight most noticeable in church buildings of Gothic style
inclination toward the head and back. (Example 54). Because the extent of vertical lines is
But when margins are reasonably ample greater than that of horizontal ones in a condensed type-
the page should set liberally toward face, such a face is proper for a long and narrow page
the head and back the margins of the
; (Example 5.S). The proportion of page shown by Ex-
head and back (exclusive of the running ample 55 is about
title) should be about the same, the that met with most
outer side margin should be fifty per frequently. Here
cent more than the back margin, and the extent of ver-
the foot margin one hundred per cent tical lines is in a
more than the back margin. Various slight majority,
explanations of this rule have been put but it is interest-
forward, a few of which are: The old ing to observe that
book-owner making marginal notations in Example 56
as he read, needed wide margins for where the page is
the purpose. Early manuscript books more wide than
were bound on wood, and this wood was long, the extent of
extended at the foot and used to hold horizontal lines is
the book when reading. Two pages greater than that
being exposed to view were treated as of vertical ones.
 PROPORTION, BALANCE AND SPACING 55
the eye to take in at a glance both the page lines run-
ning vertically and the rules running horizontally is as
difficult as watching a three-ring circus. Examples 59

EXTENDED and 60 also illustrate this point.

I have prepared in Example 58 (see insert) a page in

which not only are the ornament, type-face and page-

TYPES design in proportion, but the characteristics of the orna-

ment are reflected in the border, and the tone is uniform.
Irregularity of form is valuable in breaking monotony,
and in the higher forms of art is essential, but as con-
ec IS' tained in Example 61 this feature is inharmonious. Be-
fore experimenting with variety or getting agitated
about monotony the typographer should perfect himself
in the things that make for regularity. When he learns
to set a job that is harmonious and in proportion then it
—
may be well to introduce irregularity in homeopathetic
doses.

There is much uncertainty manifested among typogra-

phers as to the propor-
tionate strength of dis- ^^
''~~
play lines on a page.
It is not always possible to follow out in every detail
A type line is propor-
the requirements of proportion. Architects must sacri-
tionately large or small
fice much in the interests of utility and in deference to
as it contrasts with its
the wishes of their clients. Printers must do likewise, but
environment. Gulliver
as a rule they travel farther from true art principles than
was a giant when
do architects. Consider the contrasting proi)ortions of The
the structures in Examples
among pigmies.
foremost citizen of a
.54 and 57. In Example 54
country town is con-
notice that the openings have
siderably reduced in
been made to conform to the
importance when he
general proportions, and that
rubs elbows with the
vertical lines have been mul-
big men of the cities.
tiplied to emphasize narrow-
The homely adage that
ness and hight. As a con-
"a big frog in a small
trast, in Example 57 obser\'e
puddle is a small frog
the width of the oi)enings;
in a big puddle," is
how it blends with the gen-
applicable to typogra-
eral proportion of this struc-
phy. A display line sur-
ture. Now to ascertain that
rounded by other type
typography parallels archi-
lines (Example 64)
tecture compare Example 53
must be made larger
with 54, and 5(3 with 57.
or by strengthened
An exaggerated idea of
strokes made bolder
the relation of lines to pro-
than when alone on
portion is furnished by Ex-
the page (Example 65).
amples 62 (see insert) and 63.
Example
The old City Hall in
The vertical lines of
New York is claimed
62 run with the length of the
to be the most beautiful work of architecture in the city,
page as smoothly as a canoe
but is ridiculously out of proportion with the towering
floating down stream. The
office buildings sur-
horizontal lines of Example
rounding it.
63 are irritating in their dis-
Examples 66, 67
EXAMPLE 59 regard of proportion. For
and 68 are studies
in the proportion of
a type-face to the MISMATED
page of which it is a

part. In Example 66
TYPES
the page is largely
covered with type,
treatment that is
necessary on poster,
dodger and other
printed matter that
must force its pres-
ence upon the pub-
lic. In Example 67
the page consists
mostly of blank
EXAMPLE 60

Tlie type-faces of these two examples space, the type

standing modestly
 a

56 THE ART AND PRACTICE OF TYPOGRAPHY

What is thereto be done that the calling of Gutenberg, Aldus

and Estienne may again resume its place among the fine arts?

The American Printer The American Printer

answer to this question
finds the in education— bringing
knowledge to the apprentice, to the journeyman, to the
executive, to the proprietor. It has been said that one should
either play or work, but the truth is that art is work done
as play, work done for the love of it, pleasure in accom-
plishment. Where a man's heart is, there is art. Love,
effort, ambition, — all these have to do with art printing.

lade larger thar

and apologetically midst of that space. This treat-

in the the upper left corner and by the border surrounding the
ment is proper on dainty works of poetry or when the page. Examples 69 and 75 show out-of-center balance
demands of extreme refinement are to be satisfied. Ex- adapted to a business card and a booklet cover.
ample 68 is the happy medium," the compromise — While horizontally the center is the point of perfect
strength of display that will be satisfactory in almost balance, vertically it is not. Stick a pin thru the very
every case. This method of arriving at correct treat- center of an oblong piece of cardboard and twirl the
ment emphasizes the need in the typographer of a card when movement ceases the card will not hang up-
;

judicial as well as an artistic temperament. The wise righ tly .

judge knows that truth is about midway between the Mark off
claims of opposing counsel. the card in
three equal
THE LOUNSBOROUGH
Balance is another important subject, as it has a big sections PHOTOGRAPH STUDIO
share in making typography good or bad. The builder and stick Artistic Portraits in Oil
works with plumb-line and spirit-level that his walls may the pin
be in perfect balance, tho sometimes he is tempted, as thru the
the printer is tempted, to work away from the center of horizontal 316
gravity. In Italy there is a building, an architectural center of Main Street
curiosity —
the leaning tower of Pisa (Example 73) in the the line Pittsfield
construction of which gravity has been defied to the separating
limit, and in Canada only recently, a bridge in course of the upper EXAMPLE 69

construction on this gravity-defying principle, fell in a two -thirds. r balance, adapted t(

mass into the river. In typography, safety from blunder After being
lies in type lines horizontally centered. Will Bradley, twirled the card will cease to move, in a perfectly up-
experimenting with out-of-the-center balance, ^both suc- right position. Example 71 shows a word placed in exact
ceeded and failed. Compositors imitating him generally center, yet it appears to be low. Example 72 shows a
fail. Example 76 is a Bradley page, in which he was line above center at the point of vertical balance. On a
fairly successful. Balance is saved by the type-lines in title-page, business card, and on most jobs of printing

The The
American American
Printer
Printer

Large Medium

EXAMPLE 66 EXAMPLE 67 EXAMPLE 68

Type proportionately too large foi oportionately too sn This proportion about right for the
average page average page average page
M.1 i«.
s«u MjM i*i
i«
i«j iH
:-
m to M ^j t*i ty f*i

P?l fe

1*1 fej ^»i Wm b m m m

l*j i*jm 1*1 L»u I*

i% m m
.•J ^!*L

h k 1*1
,*.
r«i
ii
ui M m i«j m M hi m m mm &
im

EXAMPLE 62

la 'wIucL tLe linefl of tte design run in

the proper direction

Page by WiU Bradley
 PROPORTION, BALANCE AND SPACING
the weight should
come at this point.
The principal line,
SAINT ANDREWS or group, should
CHURCH provide strength
WILMINGTON necessary to give
balance. Example
70 presents a page
with type group
and ornament
placed unusually
high. The typog-
rapher responsible
was, like Bradley,
testing balance to
the limit.
Sometimes the
customer gets a"
notion he wants a EXAMPLE 71
type-line placed
diagonally across o be lo> balar
the page in a man-
ner like Example of spacing particularly prominent (Ex-
is
74'. Such arrange- ample 79-a). To partly overcome this
ments generally irregularity the companion
letters
show lack of imag- should be spaced as shown in 79-b.
ination and are When the letters A T occur together,
crudely freakish. and the space between them should be
There are so many decreased, it is necessary to file the
orderly ways of ar- upper right of the type A and the
EXAMPLE 70
ranging type that lower left of the type t.
lich the upper type group is uni
high. Page by D. B. Updike
such poorly bal- With roman type-faces, important
anced specimens words are usually emphasized by italics
are deplorable. or small capitals. The Germans, using
Spacing is seemingly one of the little things merely — for body purposes a text letter which
incidental to the mechanical practice of typography. has no italic or small capitals, space the
When the apprentice compositor is told to divide his emphasis (Example 80-a).
letters to get
spaces evenly among all the words in a line; not to thin Letter-spaced words thus used look
space one line and double-thick-space another: to trans- neater than italic, and the idea may
pose a two-point lead, or make some other, what to him well be adapted to roman types (Ex-
may appear to be trivial alteration in spacing, he judges ample 80-b). EXAMPLE 73
his instructor to be over-particular. Yet the proper ap- The relation of lines to proportion, ]

portionment of space on a page deter-

mines the tone and the balance and
aids in giving proportion and emphasis.
In type-making when a font of type
is designed, not only is each letter con- T\^t Jbrtool of
sidered separately, but in combination
with every other letter of the alphabet, yrtnttttg N
that when the letters are assembled into
words space may be evenly distributed.
L. B. Benton in designing his Clearface
Bold gave special attention to this fea-
ture and has demonstrated that legibiity
is increased
With proper
t
space distri-
bution. Be-

% cause of the
excessive
A open space it

^^ contains, the
capital L
gives the
most trouble
^"y^
of any letter
used as an
tp initial. As
part of the
word "Mil- EXAMPLE 75 EXAMPLE 76
EXAMPLE 74 linery"' the t balances the design Out-of-center balance. Page by
A disorderly arrangement irregularity by School of Printing. Bost, Will Bradley
58 THE ART AND PRACTICE OF TYPOGRAPHY
as i 1 1 u s - satisfactory
trated by yet it en-
And Noah was six hundred years old when the Examples ables illus- And Noah was six hundred years old when
flood of waters was upon the earth. And Noah 62 and 63, trations to the flood of waters was upon the earth.
And Noah went in, and his sons, and his
went in, and his sons, and his wife, and his sons' is also to be be grouped
wife, and his sons' wives with him, into
considered pleasingly the ark, because of the waters of the flood.
wives with him, into the ark, because ofthe wa-
in the com- and makes Of clean beasts, and of beasts that are not
ters of the flood. Of clean beasts, and o clean, and of fowls, and of every thing that
position of possible a
that are not clean, and of fowls, and o creepeth upon the ground, there went in
plain read- squaring of
two and two unto Noah into the ark, male
thing that creepeth upon the ground, there ing pages. the pages and female, as God had commanded Noah.
went in two and two unto Noah into the ark, Example 77 which could And it came to pass after the seven days,
shows how not be done that the waters of the flood were upon the
maleand female, as God had commandedNoah. earth. In the six hundredth year of Noah's
the effect otherwise.
life, in the second month, on the seven-
And it came to pass after the seven days, that
of horizon- It is not teenth day of the month, on the same day
the waters ofthe flood were upon the earth. In tal lines is always that were all the fountains of the great deep
the six hundredth year of Noah's life, in the given by results are broken up, and the windows of heaven
were opened. And the rain was upon the
second month, on the seventeenth day of the narrow as perfect
earth forty days and forty nights. In the
month, on the same day were all the fountains
spacing aswe desire selfsame day entered Noah, and Shem, and
between them. In Ham, and Japheth, the sons of Noah, and
of the great deep broken up, and the windows of
the words New Eng- Noah's wife, and the three wives of his sons

and wide land there

spacing be- is printer
a
EXAMPLE 77 tween the who, in the example 78
Th< effect of horizontal lines is lines. This opinion of The effect of horizontal lines is avoided by having
spacing between words and wide spacing gives a re- those fortu- ^'^ space between words approximate that
between lines
sult, like natetohave
that of Ex- viewed his
ample 63, contrary to the principles of proportion. How work, is producing typography classically perfect yet this ;

this maybe overcome is illustrated in Example 78, where man goes from his work at the close of the day almost dis-
there theis same
amount of space be-
tween words as be- « .frt ,«„ .,. ™.m w .,.m .,u<len„ no. onl, to, . bu.to.«

'MILLINERY tween lines. This

*MILLINERY treatment not only TOlcSci. t..
(ibo<l4Io>T<n
IHcaiciu
lint, tn iZ«g
it, taS liotlugal
gives better propor- ., Kh.01. .nd im ., l.,o.d.nin, .h.„ id.., .h,.(i.
a,"4ul.<fcVn"b.a"|
tion, but improves the
tone of the page. o.oho itnb OToo.
ntoonb otS'" >tn
Adapting this prin- Th. .n.t.uc.lon g.v.n In Ni.u.il Sc.nce d»l.
^taolfSr'ilfuntoirt amll^^'^ix-
ot the "L com- ciple to display
on, iwlcfK Mft.m H
Examples 81 position,
and 82 are enlightening. Example 81 shows the man-
ner in which some years ago display lines were errone- EXAMPLE 80
Emphasis obtained by letter-spacing, in lieu of italic
ously distributed over the entire page, presenting in
effect the
faults of couraged
E xam p le because of
77. The the faults
manner of that are evi-
The rectifying dent to his
these faults The
is demon- eye. The
strated in artist's Art and Practice
Art and Practice Example ideal al-
82, where ways eludes of Typography
the lines him and it

are grouped seems to A Manual

of Typography at the point him a hope- for Compositors
of balance less chase,
in the up- yet he con-
per part of tinues on
the page. lest he lose
The nar- sight of it
row meas- altogether.
ure to which It is a good
these words sign when
for Compositors
are set ne- one recog-
cessitates nizes imper-
letter-spac- fections ; it
ing. There- means that
EXAMPLE81 suiting ap- he is gain- EXAMPLE 82
1 obsolete practice of spreading the pearance ing ground The correct and modem practice of grouping the
ines over the page is far from on success. lines at the point of balance
 :

less than a century, the confines of the city of Buffalo

IN
have changed from the camping and hunting ground of
Of
the Senecas to the city second in importance in the Empire

State, eighth in size and population in the United States,

and one of the leading commercial cities of the world.

The growth and progress of BufftJo has been largely due to

(I) its geographical location, the benefits flowing from the com-

merce of the Great Lakes and of the Elrie CaneJ, and latterly

from the vast railroad systems which extended their lines to this

point to secure their share of its enormous commerce; (2) to

the enterprise, progressiveness and public spirit of its citizens

reflected through its chief commercial organization first known as

the " Board of Trade " and now celebrating its semi-centennial

as the " Chamber of Commerce."

The first commercial organization was founded in 1814 soon
after the destruction of the village of Buffalo by the British and

their Indian allies; formed for their mutual protection, for the

rebuilding of the village, and re-establishment of trade and com-

merce. This was the second commercial organization to be
formed in the country, being preceded only by the Chamber of

Commerce of New York, chartered by the King in 1 768.

This organization, few in numbers, was largely responsible for

securing the western terminus of the Erie Canal at Buffalo rather

than at Black Rock, between which villages in those days a

keen rivalry existed.

Early in the 40's the organization having lapsed bto a state

of innocuous desuetude, Mr. Russel A. He3rwood, in January,

1844, called together a number of the more influential and

prominent citizens of Buffalo for the purpose of organizing a

Board of Trade, and on January 1 6th of that year constituted

the organization which has since been superseded by the

Chamber of Commerce. The Board of Trade was incorporated

March 7, 1 85 7, and conducted its affairs in the rooms donated

EXAMPLE 125

niufltrating the significance or omamentation,

as applied to a hooklct.
 ORNAMENTATION
GIVE a child the choice oftwo toys, alike except that average man has given thought to art. Many a one has
one has a flower painted upon it, and he will select the thrown oft' his lethargy to discover beautiful things all
ornamented one. This proves the human race has a about which he had never before noticed.
natural liking for ornamentation. When the old-time Art galleries and libraries all over the United States
trader visited savajie countries, he took with him colored are aiding greatly in the cultivation of taste for art and
glass and brought back gold. The glass soon after orna- things beautiful, and the printer to whom these privileges
mented the somber bodies of the savages, and the gold are accessible yet who does not avail himself of their ad-
becanif rings and bracelets worn by the whites. There vantages is much like the man who was lost in the Adir-
are those in this daj- who love the trees and the flowers ondacks, not knowing he was but a half-mile from a rail-
and hear music in the brooks, road. China, who could conquer
but more of us find pleasure in the world if she but knew her
artificially ornamented ball-rooms power, continues to sleep as she
with music blown and sawn and has slept for centuries, while a
hammered from brass and catgut little handful of intelligent

and sheepskin. people on a small island of

Man was created in a garden Europe wield an influence that
of flowers and trees pleasant to is felt wherever the sun shines.

the sight, yet he has ever been exa? Wake up from your drudgery,
yearning for a new Kden of pure The beac brother printers, take less
gold, wiiose foundations are gar- thought of food and raiment,
nished with precious stones, forgetting that Solomon in all use your spare time in learning of the things about
his glory was not arrayed like the lily of the field. Nature you, of that which has been done before; apply the
is the great artist, and man's ornamentation at best is a knowledge thus gained and the good things of the earth
poor imitation of natural things. The trees of the forest will be added unto you.
gave the motive for the stone columns and ornamental
capitals of architecture, and the plant and animal world Is ornamentation necessary to art typography ? Ask
furnished themes for talented calligraphers in the days one good printer and he will answer, yes. Ask another
when books were, literally, written. The blue vault of the and he will answer, no. One of the meanings of orna-
skies inspired Michael Angelo to plan the great dome of ment as given by the Standard dictionary is : A part or
St. Peter's at Rome, as the sun furnished a model for the an addition that contributes to the beauty or elegance of
Indian while decorating his tepee, and tlie flowers of the a thing." A paper may be so pleasing in texture as to
field have provided inexhaustible color harmonies. give beauty or elegance to an otherwise plain page of
In the early days of this country most of the inhabit- j)rinting; in fact, it is sometimes a mistake to use type
ants devoted their waking hours to the struggle for exist- ornaments or other embellishment on an Italian hand-
ence, and it has been only within recent years that the made paper. On the contrary, a stock poor in quality
60 THE ART AND PRACTICE OF TYPOGRAPHY
his taste ar-
tistic by his
abstinence.
When he again
began using
ornaments it
was with discrimination
and after study of their
significance and appropri-
ateness.

This leads to the sub-

ject of motive or reason in

(or color had better be covered with

decoration to divert attention from the
ornamentation. The styles
of typography may be gen-
erally divided into two
paper. parts, one dominated by
There are printshops in which all Roman or Italian influence
ornaments are kept under lock and key and the other by Gothic
EXAMPLE 87 ;

a compositor wisliing to use decoration or German influence.

must present good reasons before he During the Middle Ages
gets it. Customers have become sus- the Gothic influence was
picious of type ornamentation because felt chiefly because the
of the peculiar use to which pointed style of archi-
printers sometimes put it. A tecture and embellish-
young man of my acquaint- ment was sanctioned by
ance became saturated with the Christian church. As
EXAMPLE 88
The winged ball, :

much used by tbe Egyptians

a desire to do artistic printing
and had a number of type
ornaments purchased with
which to express his ideas.
art was practically dead
outside the church, the
art-workers absorbed the
Gothic style.
1
EXAMPLE 94
Ornamentation as used by
When one job after another came from the customer When typography was tbe Romans on an entablature
with ominous blue marks over the cherished ornaments, invented, Gutenberg's and a Corinthian pillar,
showing egg-and-dart, bead.
he realized the necessity of revising his ideas of art. For first book was based upon
fully a year after this he worked without voluntarily the Gothic style — the
using an ornament, meanwhile developing all the possi- type-face a pointed black
bilities of Caslon type-faces and appropri- letter, such then used on manuscript
ate paper stocks and color combinations. books, and the ornamentation (done by hand)
~
It has been claimed that fasting has pointed foliage. It was some years after this
beneficial effect on that typography came under the influence of the
the body be that
; Italian Renaissance and both type-faces and
as it may our friend decoration assumed tlie Roman style. In the
certainly improved old days there was sympathy between the
various arts and crafts and it worked for har-
mony in effects. Building-decoration, metal-
carving and wood-engraving were governed by
XMlOliZ/ the same artistic motive, and were often done
by the same man, much as the printer at one
time was compositor, pressman, binder, type-
founder, ink-maker and paper-maker, all in one.
Now, many a job of printing goes wrong be-
cause the ideas of several people, inharmonious
from lack of relation, are injected into the job
during the several stages of its production.
The relation of typography to architecture
is plainly shown in the formation of the Roman

and Gothic alphabets. The letters of the Roman

alphabet, dignified in their straight strokes and
symmetrical in their rounded lines, suggest
features of Roman architecture (Example 106;
also see Example 43 of a previous chapter).
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 the pointed
leaf ornamentation of the Gothic period.
(Example 107.)

Ornamentation is both inventive and imi-

EXAMPLE 91 tative. An ornament purely inventive or one
Plain and dignified. purely imitativeis seldom artistic. A child may
The Doric pillar make a jumble of lines that altho original means
 EXAMPLE 98
Damty, elaborate rococo ornament, a«
applied to a program title-page.
Compare -Witt tlie cbair. Example 97.
 ORNAM ENTATION
nothing : when it is older it may
draw a flower so realistic and imi-
tative that little is left tothe imag-
ination. When a flower or plant
is used as a model in designing an
ornament it is "conventionalized,"
that is, it is blended with its en-
vironment. A flower in a garden
surrounded by other vegetation
should be as the other flowers, but
as an ornament on the flat sur- example 95

f;ice of paper it should be without Square-lined, orna-

perspective. Example 108-a shows mentUss furniture

how commonplace an ornament

looks when its details are carefully shaded in perspective.
Examples 108-b and 108-c show
how more decorative an ornament
is when either outlined or filled in.

Sometimes shadows are merely sug-

gested as on tlie fruit basket and
book ornaments in Example 113.
The inartistic results of perspective
on flat surfaces are found also in
the 'ornamental'" shaded letters of
the last century.
In the conventionalized decora-
tive art of all ages may be found
tj-aces of the things which have in-
spired the decorator. The lotus leaf,
EXAMPLE 97
and the papyrus plant (which once
gave writing material to the world),
thousands of years ago influenced
Egyptian design (Example 87).

Religion dictated many of the decorative forms in ancient

art. Tile winged-ball-and-asps (Example 88) was a fav-
orite device in Egyptian decoration and has come to us
by way of Roman mythology as the winged staff" of the
herald Mercury, the libbons on the staflf supplanting the
Egyptian asps, but later evolving into serpents as in the

NEALE, BARR decorative border of Example L25. The work of the best
artists is full of meaning. The Egyptians considered
certain animals sacred, and they were reproduced numer-

^COMPANYan- ously in the picture writing and ornamentation of the

time. The sacred beetle as conventionalized Mas much
used. In Example 125 the cog-wheel of commerce is
nounce for j^ay I a-na the conventionalized as the rim of the ball, which also
contains a seal. The anchor and rope, hourglass, wreath,
trwoweeks following, the torch, acanthus leaves, all are conventionalized and
Exhibit of a Loan Col- blended pleasingly in outline drawing. The tone of the
border approximates that of the type matter it surrounds.
lection of Stained Qlass The acanthus leaf (Example 89) is the model for much
of the elaborate leaf decoration found on the capitals of
vvinaows, ^Rare Potteries, Corinthian columns and wherever
rich imposing leaf ornament is de-
ana Barnes Enamels from sired. The anthemion (Example 90)

the Barnes Studios, New

is a palm-like ornament used by the

Greeks and Romans and now fre-

quently found in decorative work of
York. Displayed in the an architectural nature.
Barnes Room,Top Floor It may not occur to the average
printer that architecture is in any way

allied with typography that there is

;

any connection between the ornamen-

tation of a building and a job of print-
EXAMPLE 100

Slightly ornamental typography. Compare with chai ing. Both Bruce Rogei's, of the River-
opposite. Design by Will Bradley side Press, and D. B. Updike, of the
 —

62 THE ART AND PRACTICE OF TYPOGRAPHY

I
I I I I I I I M M |>|<|.|i|i|i{' Let us apply the egg-and-dart and bead ornaments as
borders in typography, and notice how admirably they
serve the purpose. Example 85 shows the egg-and-dart
ornament perhaps too carefully drawn as to detail; and
Example 8G demonstrates how the bead ornament may
o o o o o o be adapted to panel work.
From early times there seems to have been a triple
division of taste regarding ornament. In the days of
Rome these divisions were given expression in the treat-

00000000 ment of supporting columns, the three styles being know n

respectively as Doric, Ionic, and Corinthian. The Doric
column is severely plain, the Ionic slightlj' ornamental,
and the Corinthian elaborately ornamental.
The Doric style (Example 91 ) is emblematic of dig-
OoOoOoOoOoO nity, simplicity and strength, and appeals to the man
preferring these qualities in printing.
The Ionic style (Example 92) represents refinement in
ornament, and pleases the manable to discriminatebetween
the severely plain and the over-ornamented —
a quality
Merrymount use conventionalized architectural
Press, of judgment worth cultivating by every typographer.
columns and arches ornament title-pages of classic mo-
to The Corinthian style (Example 93) expresses the pref-
tives. The averagetypographer, tho, finds more inspiration erence of many who delight in ostentation and excess
in the ornamentation that is only an embellishment to ar- of ornament. The elaborate, showy acanthus leaf usually
chitecture. There are several ornamental units that are
used more frequently than others, and these are the egg-
and-dart (Example 83) and the bead (Example Si).
You, who are reading this, are invited to verify by obser-
vation this last statement. A printer who did so was sr?*
astonished at the eggs, darts, and beads that were tu be
seen wherever he looked. Cut into the stone of buildings,
carved into the wood of furniture, used on molding about
doors and windows, on office partitions, on library lamps, ral )nalized

in the ceiling panels of restaurants, about the prosceniums

in theaters, around the mirror in the barber shop forms the chief decoration for the capital surmounting the
wherever he looked there were the ornaments. It is column, and the entablature (Example 94) is particularly
remarkable how non-observant the average printer is. The rich in ornamentation.
hands of artists who lived thousands of years ago the — The Doric pillar has been called masculine and the
—
Greeks and the Romans made these same designs, and Ionic feminine, the sturdiness of the one and the grace
yet a knowledge of history is counted non-essential by of the other also being likened to the warlike Spartans
most workmen in the printshops. who emphasized the development of the body, and the
artistic Athenians
who especially
developed the intel-
lect.
fo] |c^oiz^f^51 [o] [c=ioi=)| [o This diff"erence in
ideals and prefer-
ROMAN ences has comedown
the centuries to our
ARCHITECTURAL 1 0otntet) S)tple
| time. While Crom-
STYLE well, plain, blunt,
and even disapprov-
ing of sculpture and
painting, was ruling
England, across the
channel Louis IV.
strutted in corsets
and on high red
heels amid gilt and
glamour and glitter
in the courts of
France.
Monks and nuns
lived plainly sur-
'^f Compare IBorlirrann^rppf '/Fate -/i rounded by bare
walls and square-cut
[o] |c=ioi=d1 [o] [^[^30^ [o chairs,and dressed
in subdued browns
and blacks, while at
Rome surrounded by
EXAMPLE 106 EXAMPLE 107
Roman architectura the art works of
Type border of of English-Gothic pointed
Compare straight and curved lin are black pointed effects with
Michael Angelo and
the Roman type-face the Gothic type-face Raphael the higher
 ORNAMENTATION

dignitaries were clothed in brilliant reds, gold and white.

Morris loved an old worn-out house, square-cut furni-
ture, burlap, and subdued colors while the Newljriches
;

boast of the magnificence of their mansions, Louis Quinze

ball-rooms and imported tapestry.
Only recently two churches had been remodeled. In
the one was placed ornamental brass railings, lectern,
pulpit and candelabra, and stained-glass pictorial win-
dows; the walls were covered with gilt fleurs-de-lis on
maroon backgrounds, and the entire effect was one of
cheap magnificence. The other church had been an old
Colonial structure of square proportions. Dignified ma-
hogany furnishings were selected, the walls were orna-
mented in pure geometric designs, pale gold on tinted
backgrounds, and the windows were made of small panes
of glass subdued in color, in harmony with the architec-
ture of the building, with a result that spoke good taste
and refinement.
Examples 95, 9(5, 97, 98, 99, 100, indicate the three
—
divisions of taste the plain, ornamentless the slightly
;

—
ornamental, and the elaborately ornamental applied to
typography and reflected in furniture. The typojrrapher
should learn that the arts are related, that the styles of
home-furnishings and architecture influence the styles
of typography. A few years ago mission furniture was
introduced and along with it came architecture that
called for exposed roof supports, s(iuare-cut moldings,
coarse fabric wall coverings, subdued green and brown
tapestries. And before they knew the reason, printers EXAMPLE 113
were using heavy brass rules, rugged type-faces and Type ornament based upon the
printing on dark-hued anti(iue papers. Example 9() is a
program page ()rodu(ed under these influences. Compare
it with the
64 THE ART AND PRACTICE OF TYPOGRAPHY

M^ U^t ^mt it dtttl) Bioc Mt Mt tli^ s h

l^^n gttlii

flrifl|)ltor ftnft lititf t&lOT Hnmi?: % gag unto boo i M

Holif pur fflfrobg Bl^gg tiffm tdtrt forg? goo^ and s a s
Brggtortl)?roli> I)ifl) (if gpit ffoHg og? tmd pfrgfrot? goo

EXAMPLE 115 Oi il hand-lettered effect; obtained by initials. t let ind rule

o the dainty, elabor- cessful. The pen-and-ink border design (Example 98) is
ately ornamental a clever adaptation of the Louis XV'. rococo style to a
SMITHSONIAN chair (Example 9?) modern program title-page. There is not an absolutely
INSTITUTE and the title-page straight vertical or horizontal line in the border, and with
(Example 98). Both the curves and flowers, ribbons, lattice-work and cupid,
chair and title-page very appropriate for the program of an event held
it is
FOUNDED 1846
designs are based under the auspices of a Colonial society of women.
o upon the frivolous Examples 99 and 100 show a chair and an announce-
EXAMPLE 1
rococo style of the ment page both slightly ornamented to please the sen-
may have been luggested
period known as sible folks who like neither the severely plain nor the
inscription pli Louis XV. (or Louis elaborately ornamental.
lines on books Quinze). In that
period, shells and Ornament is secondary to the real purpose of (he
leaves conventionalized into graceful, golden curves thing embellishes; it should not be so lavish as to
it
were blended with a profusion of roses and other flow- distract attention from the more important object. A
ers. Straight lines were avoided, and furniture and booklet is issued to convey a message, and should the
architecture took on curves even to the extent of causing reading matter be overshadowed by ornamentation, this
structural weakness. purpose may not be accomplished. A "flowery" oration
Because of the fact that type is built upon horizontal may entertain and please an audience, but it does not con-
and vertical lines, rococo type ornamentation is not suc- vince. In 1896 Bryan stampeded a convention by his
extemporaneous elo-
quence and meta-
phor, but when be
^M»S^^;S^-^^^^^3{^^^ came to the "ene-
my's country" and
CBurgrr faced an audience
Cflpiis)
» <Ztiuu (ontlllo rt auctoriMK ;icid<nilw
which wanted facts,
Cmnrum R(gl» BonisslK (didit fridcri(us fiMtf it he read his address
0«rthn3
16. erat.- un< Dfnkftcln. 4(s minlrrcn R.ldif Im jnuftum
from carefully pre-
pon Ki.ro pon p. 0. Ungr und p. Sdiiftr. eenn pared manuscript.
17. ZfltfdTrtff

hfHUSflffl
During theMiddle
(PfrlJ9 d Ages, when nations
W. Pmfidini
B.bUothck lu Berlin Pun Cduird Siibiu. (DcrUg von
were fighting for
p. firhfr u existence and ne-
\9. D.C jnnft< d« MpinirdKn SdiirotiifHKn von Shinkidii cessities of life were
10. IITinnlungni dcs Seminars fiir Oriralillfdu Spradim barely obtainable,
an itx ftdniglidioi fricdridi - Olilhdnu - anipcrfilit lu
there was little or-
Berlin, hrtausscgrboi von profdTor Dr. Cduard Sadiau.
( Somminionsperlag ppn ^nrg Rdnur, Berlin.) 2 Bande. namentation except
21. Cinfuhrung in die (apanifdie Sdirift ppn prpfelTpr Dr. in isolated instances,
RudpirCanjr. (Pertag ppn (D. Spemann, Stuttgart und
Berlin but when, about the
fifteenth century,
the Renaissance
came, art received an
enthusiastic recep-
tion. Ornamentation
was indulged in to
excess, the artists
using all the classic
~WxiW forms and inventing
new ones. Example
EXAMPLE 109, showing wall
117 EXAMPLE 118
rnamentation, and blank spaces filled FiUin blank spaces with ornamentation. border decoration,
by decoration. From an old don ; on manuscript books. Page by Gov looks to the printer
manuscript book ment Printshop. Berlin, Germany likea specimen sheet
 ORNAMENTATION
of type borders. This brings to mind that there is always
the temptation to over-ornament when an artistic job is de-
sired, and the necessity of advising printers to restrain
themselves and save a few ornaments for other work. Our
brethren of the cloth like to repeat the story of the the-
ological student preaching his first sermon before the Sem-
inary authorities. He began at "Genesis" and took his
hearers thru the entire Bible to "Revelation." When
he had finished an old professor gravely asked what he
would preach about the next Sunday.
The famous designer Chippendale, first made his fur-
niture serviceable and then added ornament, from which
fact the printer should profit. Have a printed job serve
its purpose, and ornament it only so far as is consistent
to this end.

Ornamentation when used for border purposes has

two features which may not be apparent to the super-
ficial —
glance regularity in repet tion and variety in repe-
tition. Example 101 shows repeated strokes of the same
length. In Example 102 by alternating the length of
the strokes, the design is made more interesting. Ex-
amples 103, 104 and 10.5 illustrate this principle in
rounded forms. In the first there is monotonous repeti-
tion, in the second there is less monotony because the
oval form is less regular than the circle, and in Example
105 by contrasting the forms in both size and shape,
the design acquires new decorative interest. This prin-
ciple of contrast and variety is exemplified in most border
designs. In Example 107 the light scroll lines contrast
with the black leaves, and in Example lOG curves are
contrasted with angles. Contrast is sometimes obtained
with color, as shown in Example 123.

Ornament as used by the printer may be divided into

four classes: Ornament based upon geometric lines
(Example 111), ornament based upon foliage (Example
112), ornament based upon the inanimate (Example 113)

St. John's Lutheran Church, liaston, Penna. EXAMPLE 120. INITIALS

a^Foliage decoration based on the acanthus leaf
b— Imitation of mortised wroodcut initials
c — Modern adaptation of Roman torch
d-Rugged Colonial style

The Reformation -Sugges

f-Class: ind Ro.
-Plain black and white effect
-Interlacing foliage. Celtic style
Festival
k-Woodc, effec sed by Moi

and ornament based upon the animate (Example 114-).

The center ornament in Example 111 contains the cross
and circle, ecclesiastic devices, and its conventionalized
pointed leaves would also admit it in the group shown
as Example 112 —
ornament based upon foliage. Leaves
and flowers from the beginning have been a prolific
Auspices of the Endress Missionary Society
source of inspiration to artists. Before the invention of
and the Luther League
typography the decorator of manuscript books reveled in
foliage, as will be seen by Example 117, and today when
decoration is added by the process of printing the same
liberal use of foliage is evidenced (Example 118). In
Friday, October th.rty-f.rs both examples should be noticed the custom of filling
blank spaces with decoration.
The inanimate (Example 1 1 3) lends itself better for or-
namental purposes than does the animate (Example 114),
and the less familiar the subject the better ornament
it makes. An ornament based upon the animate is
shown in Example 124 and as will be seen it is not as
 ^

66 THE ART AND PRACTICE OF TYPOGRAPHY

effects, pre-
ThelYY ?RE^S-Seattles Printen
valent just now
in typography,
may have been
%^ suggested by
the corner bolts
with which
brass plates are
fastened to
EXAMPLE 121 walls.
applied to letterhead.' Design by In the book-
Harry A. Anger, Seattle. Wash. let decoration
(Example 122)
pleasing as the one in Example 121, which is based upon the artist has
the inanimate. taken his motive
Initials afford a convenient means of ornamentation from the word
(Example 120). An initial well chosen as to tone and "Washington"
appropriateness often satisfies all demands in this line. making the cap-
The mortised Colonial initial indicated by h looks well itol dome and

with Caslon roman and printed on antique paper. The its supports the
acanthus design a looks well with old-style antique the ;
central figure in
classic design f, with a letter such as the Cheltenham. the design,
Initials are used in a highly decorative manner in Ex- which is Coloni-

ample 115, after the style found in ecclesiastical manu- al in character.

scripts. The possibilities of type and rule are here well Drawing a line
set forth. down thru the
center of the of booklets and catalogs
Sometimes ornaments in the corners of a plain rule
border (Example 116) are sufficient decoration. These design it will be
found that with a few minor exceptions the right half is
a duplicate in reverse of the left half. This effect is fre-
quently found in decorative work, as it gives balance and
differentiates between illustration and decoration. An
illustrative design, showing an actual scene, would not
be so artistic.
Wall paper and linoleum designs are made in patterns
that repeat at intervals and for this reason answer the
purpose of decoration.
Example 119 presents a program page, which, while
attractive, has but one ornament, an ecclesiastic design.
The arrangement of bands above and below the main
display assists in forming a decorative effect. The origi-
nal type portions of these bands were in orange.
Type ornaments in use today come more from Gothic-
N establishing a school for girls and young English than from Italian sources. The reason seems
women at the National Capital, we chose to be that classic architectural ornament does not have
t> form one of distinctly College grade, as the interest for the average person that the old Eng-
\
offering the most inviting grade and field
lish designs have. The type ornaments cast by Caslon
; ,

.!^ u --_ -: for school work in the city. The wisdom as well as his type-facesseem not to stale with age.
of such choice has been fully attested. Education may be In closing this chapter it may be well again to warn
distinguished as Primary, Academic, College, and Univer- the printer not to over-ornament. The relation of orna-
sity. The place of the College is between the Academy ment to typography is well covered in the caution of an
and the University. This place we occupy — offering also
experienced architect to a novice: "Ornament con-
some years of Primary and Academic work in our Prepar- struction, but do not construct ornament."
atory School.
Every young lady, if possible, should have a College
education, no matter what her work in life may be. Only
a few women will, or can, enter the professions — except
that of teaching,

All who can, should

and for

first
that the College

do the College work, and

may prepare.
then,
COOK PRINTING CO.
if a higher or a professional training is desired, go to the lOiK. S. BROAD^M'AY ::; LOS ANOELES
University for that.
The mission of the Young Ladies' College is to fully

prepare young women for their places in the home and in

^^aar^ —
o AND
society. Its work is necessarily more extensive than the
lOINAL
FECTivE DE- —JB^^^^^V .^-^

Academic and distinct from it; and, necessarily, less exten-

Si

sn
ONS

P RINTING
IN FINE _^

^"^^^^^^ *^ ^
EXAMPLE 122
ation applied to the modem booklet
-TKomsen Co., Baltimore, Md.
 a
.2

wo ^
< IS S

Qui
 THE TYPOGRAPHY OF BOOKS
GOOD TASTE, a quality essential to the successful pro- The merchant catering to the whims of fashion ever has
duction of all kinds of printing, is of great importance unsalable stock on his shelves. In the days of militant
in the typography of books. In the matter of good taste Rome the crowd which one day cheered Sulla, the next
most of us are specialists— we perfect our judgment in day crowned Marius with laurel.
some one respect and let it remain erratic in others. A The natural tendency of humanity is radical. The
musician or other artist may stand high in his class and conservatives are in the minority, yet their influence is
yet, perhaps, show poor taste in dress and manners. greater because their opinions are generally based upon
A person of good taste is necessarily conservative. He facts, and are seldom biased by prejudice. The natural
weighs all new things in the balance of judgment, and tendency of job printers is radical. Left much to their own
allows enthusiastic faddists to push him off the sidewalk whims and fancies they produce printed things which
rather than join the crowd and shout with it. He knows may please only for the moment. The test of gold is not
the fickleness of mobs and remembers that in a week in its appearance when purchased, but in years of wear.
hosannas have been changed to shouts of bitter invective. Because a job of printing is made for short service

JOHN GREENLEAF WHITTIER

MEMOIR
THEOCRITUS AND SELECTED POEMS
BY BLISS PERRY
TKAKSLATED L\TO EXGLISH VERSE
BY CHARLES STUART CALVERLEY

m
Houghton Mifflin & Company
Boston and M'nu Tori
YORK
HOUG HTON, MIFFLIN AND COMPANY

EXAMPLE 128
EXAMPLE 129

tb a nineteentb century motive

Title-page ot a book oi claasic poems
uce Rogers. Riverside Press, Cambridge, Mas Riverside Press, Cambridge, M
68 THE ART AND PRACTICE OF TYPOGRAPHY

Memories of a Hundred MEMORIES OF A HUNDRED YEARS

Years CHAPTER I

THE ORATORS
MODERN AMEltlCAN ORATORY

THE cant phrase conventional conversation

of
EDWARD EVERETT HALE says age
that the oratory of is over. I do
not believe tliis. The couditious are changed.
The methods are changed. But it is as true as
it ever was that if a man wants to lead men, he

had better be able to tell men what he wants.

VOLUME II And it will be well for him and them if he can
tell them this, so that they .shall believe him and

remember afterward what he has said to them.

William McElroy, who is himself no mean
judge, told me that George William Curtis once
said to him that the iii.>-f ! ;n.i i h.iM- ]Ki>sage in
modern oratory, the pa- u . iiit is best

worth rememlKTiiig, i> tl jiij- .'!I known

and often cited in Weiklo Liin.i>>jirB oiation at

Dartmouth in 1838. Carlyle speaks of that ad-

dress as Iving on a counter in an Oxford book-

EXAMPLE 131

itle-page containing old-style type-faces and the

3 type-fac

is no reason why it should not be as well done as book which had withstood the test of centuries. Book pages
composition is required to be. All the art-reasons in produced fifty years ago by Pickering and Whittingham
book typography are equally applicable to job typogra- look well today not because they are old, but because
;

phy. The two methods should not be judged by separ- they were in good taste then, and are in good taste now.
ate standards —
a thing is good, or it is not. At the Pages set by their contemporaries in condensed roman
present time educational work is elevating the standard look abominable now, because they were contrary to true
of job typography and the job compositor, drawing closer art principles then.
to his book brother, is beginning to notice the faults and
flaws in the latter's work. The book industry in America is tremendous so much —
so that because of its magnitude quality in typography is
The book typographer, governed
like the lawyer, is likely to be lost sight of. In New York City in one year
by precedent. When the legal man presents an argu- six millions and a half books are read or consulted thru
ment he cites Doe v. Doe, and Smith v. Jones, and with itspublic library system! Could the monk, with his mere
each new discovery of precedent is increasingly happy. score of books chained to shelves, have had a vision of
The common law under which we in America are gov- this, what would have been his thoughts? Or, Benjamin
erned originated in England centuries ago, and the radi- Franklin, as he founded the first circulating library?
cals who would dispense with this law catalog themselves Andrew Carnegie, ridiculed when announcing his inten-
as anarchists. The conservative man is constructive. tion to use his wealth in providing buildings for public
When a new thing has been proved good he believes in libraries, lived to see himself acknowledged a benefactor
adding itto what has already been constructed. The of mankind.
radicalis destructive in that he would destroy what has Next to providing books is the necessity of providing
been constructed and set some new thing in its place. good books and of printing them according to the laws
Attics hold masterpieces which have been discarded for of art and good taste. Continual association develops a
new, frivolous things that from an art standpoint are taste for the things associated with. If the majority of
worthless. books are poorly composed or poorly printed, they will
William Morris set out to change book typography, unconsciously be taken as standards of book style by the
and in contrast to the typography of the day his ideas reading public. The style of book typography, averaged
may have seemed radical. What he really oifered was in this way, is today far from flattering. It is rarely
the good things found in the works of the old masters that the reading pages, title-page and cover harmonize in
—
of Venice and Nuremberg typography and decoration style and motive. On the average volume the text-pages
 THE TYPOGRAPHY OF BOOKS 69

•??:«;?: «iy:^;.^«;-T<yv^ ^^ -^^t, r^^ ^^ r^^

I THE duke! The Duke Decides

decides! The
CHAPTER
Man u.ith

y
the
I

Mandate

AT six o'clock on a
uptown corner of Broadway,
]^Iay evening, at
in
an
New
York City, the bowels of the earth opened
and
disgorged a crowd of weary-faced men and
women who scattered in all directions. They
were the employees of a huge "drj--goods
store," lea\-ing work for the day. It was a
stringent rule of the firm that everjone draw-
ing wages, from the smart managers of depart-
ments and well-dressed salesladies down to the
counting-hotise drudgesand cheek-boys, should
descend into the basement, and there file past
the timekeeper and a private detective before
passing up a narrow staircase, and so out by a
sort of stage-door into the side street.
The great plate-glass portals on the main
thoroughfare were not for the working bees of
—
of industry only for the gay butter-
this hive
flies of fashion by whom they lived.
The last to come out was a young man
dressed in a threadbare suit of tweeds, that

miu9^u my^9iu 9iu ^u ^t»-tit»'t^ i^

- -
,it » [9]

EXAMPLE 132
Two pages of c.

Typography by the Hi i, Boston, Mas

seem have been set in any face that chanced to be on

to effect of the whole. The reproduced pages are shown in
the composing machine at the time; the title-page is in the actual positions of the originals. The margins of a
some type foreign in style and design to the face used full reading page measure five picas at the fold, six picas
on the body of the book, and the cover (generally the at the head, seven-and-a-half picas at the outer edge,
only part of the work given artistic attention) is designed and eleven picas at the foot. The type-page covers
without regard to what is on the inside. The whole effect slightly more than one-third of the surface of the leaf
reminds one of a box of berries with only the healthy upon which it is printed. The type-page in proportion
members of the family in view. Many a time I have measures diagonally twice its width, a point illustrated
picked up a book in artistic binding only to lay it down in Example 50 of a previous chapter.
disappointed at the typographical treatment of the in- —
Example 128. A reduced facsimile of the title-page
side pages. Even a book should be honestly what it of a limited edition of classic poems, produced at the
seems, and not a wooden nutmeg. Riverside Press under the supervision of Bruce Rogers.
This typographer stands foremost among those in Amer-
The book-page reproductions used in connection with ica who are giving themselves to the work of steering
this chapter may prove more valuable if each is consid- the printing craft back to the waters in which it sailed in
ered separatelv in the order of its appearance. the days of Aldus Manutius. Bruce Rogers came to New
—
Examples 120 and 127 (Insert). The title-page and England from Indiana with no technical knowledge of
an inside page of a book which in its way is a model. From typography, but artistic talent soon enabled him to
the viewpoints of art, legibility, good taste, typography, gather the details, and since 1900 he has been design-
printing, and binding, the book is almost perfect. The ing books for the Riverside Press that have brought him
classic restraint of the Italian school and the human in- fame and raised the standard of printing in America.
terest of the Gothic are here blended harmoniously. The product of the house of Houghton-Mifflin Company
George French is a lover of lower-case letters, and from is supervised by Mr. Rogers, hence books with the im-

the label-title on the cover to the last paragraph of this print of this company are rarely anything but the best
volume not a line has been set in capitals. The type- examples of typography. Printers would do well to make
face is a handsome old-style roman based upon the Cas- a study of them.
lon model, and in the book itself is printed upon a hard —
Example 129. There is one feature of Bruce Rogers'
hand-made paper in a dense and clear black ink. The work which stands out prominently, and that is his re-
only decoration used in the book is a part of the chapter gard for the appropriate. The literary motive of a book
initials, altho decoration is suggested in the use of brack- gives the cue for its typographical treatment, and he
ets on each side of the page numbers. Only two sizes of prints as if he were living in the period so presented,
type are on the title-page, and the chapter headings and influenced by its tastes. The "John Greenleaf
cling to the type-page in a manner that helps the tone VVhittier" title-page suggests a product of the middle
 ;

70 THE ART AND PRACTICE OF TYPOGRAPHY

IN LIGHTER VEIN li_L

^
1 1

IN LIGHTER VEIN you're a daft idle body, who goes moan-

A COLLECTION OF ing about the hills, and has not wit
ANECDOTES, WITTY SAYINGS enough to raise a field of oats." The
BON MOTS, BRIGHT REPARTEES child had heard the opinion so often
ECCENTRICITIES AND that she was well able to repeat, even if
REMINISCENCES OF she did not understand it.

WELL-KNOWN MEN AND WOMEN ELLA Wheeler Wilcox is the

WHO ARE OR HAVE BEEN author of an epigram which will
PROMINENT IN THE live through the ages. It is bright,
PUBLIC EYE truthful and terse. She writes: " Divorce
COLLECTED, EDITED :ape t hell.
AND PRESENTED TO THE PUBLIC hoever uses it always smells of
smoke afterward and
JOHN DE MORGAN and bruises for life."
usually bears scars

Emperor William
THEmany of Ger-
got sharp rebuff a at a Court
ball some time since. At a review
little

"^^ he had reprimanded the old General

von Meerscheidt for losing his presence
of mind at a critical moment. " If your
Majesty thinks that I am getting too
old, I beg of you to allow me to
resign." "No, no," replied the kai-
ser, "you are too young to resign.
Indeed, your blood didn't course
if

PAUL ELDER ^COMPANY through your veins quite so fast, you

SAN FRANCISCO AND NEW YORK would be a more useful army leader."
On the evening of that day the kaiser
met the general at a Court ball. The
u 1
u
EXAMPLE 134

Two pages, tlie typography of which sho^

T H 1 MILLIONAIRE'S SON
business for literature, but one could hardly marry
tion comes through achievement alone; that
on such a prospect, and with such a father as his
in the background. Moreover, an engagement at this
the building of character from habit is

time would be more than hkely to defeat it^ own ends wrought out only through the play of the
yet, after such a scene, his duty to Alexa became individual will. Stultify the will, prohibit its
imperative. What was to be done?
play, and you have at once destroyed its power
He had gone no further than this question when
her note came. So great was his confidence in her, of growth. The principle of life is movement,
his reliance in her judgment, that at once he dashed and stagnation is death. So that if a thing has
off the reply, to assure her of this. In first receiving
no play, you may be sure it has no life.
the note he had been relieved, crediting her with some
So, too, if you will follow the trail of the
of his own difficulties, and reading between the hues
word into meaning of playfulness and amuse-
if we see more of each other, it must be on a calmer ment; perhaps you will not be far wrong if you
footing." declare that play means health. Play is the
It was as if Alexa herself had come to the rescue.
fine flavour of the spirit, the expression of joy.
But had re-read the note five or six times,
after he
doubt crept in, and doubt on a vital question. Per- Just as we gain freedom for the play of our
haps, after all, she did not care. Perhaps the note powers, we gain enjoyment in the playfulness
was to say, " I was momentarily carried away, and of spirit. The animals play, and man in a
showed more than I felt." This was horrible, and
normal, healthy state takes the universe for his
worse than separation. Yet how could he ask her if

she loved him, and yet tell her in the same breath
playroom. To be a doleful, puritanic, unso-
that every monition of prudence was against their cial Pharisee is to be a degenerate. A sour
engagement ? Was ever man in more hideous dilemma ? visage means debauchery of the soul, as truly
Business was unendurable under these conditions.
as other appearances indicate bodily intem-
He left the office early, and made posthaste for
perance. To keep the Ten Commandments is
Whistle's, delighting her hugely by a request for
lunch. After he had eaten, his energy rose again. not the whole business of man, not his whole
225 244
EXAMPLE 136 EXAMPLE 137

A text-page in modern roman A text-page in old-style type-faces

By Colonial Press. Boston, Mass By Colonial Press. Boston. Mass.
 THE TYPOGRAPHY OF BOOKS 71
nineteenth century, when Whittier lived, and
Example 128 is imbued with the spirit of the
Greek Theocritus. But two sizes of tjpe are
used in the Whittier page, and these are ap- Cfje Centti Cfjapter.
portioned according to the importance of the
wording. USree came to "Piay a Ccme for tSe Hing <£9
//ot3l)

—
Examples 130 and 131. Two pages from Queen. .And. ofSoxju tSe King vuaj' notpieaj'ed <iuit/>
^Iso more about 7(_ol/e "Polie.
tSe yfluj-ie.
a book issued by a prominent publishing-
house and printed b)- a prominent press.
They are reproduced for the purpose of point-
ing out a fault common to a majority of books of
—
the present day in harmonious typography.
While the text pages are consistent in the
use of plain modern roman, the title-jiage
with no regard for the face used on the text
pages is composed in Caslon roman and mod-
ernized old-style. It would seem that, true
to the title, the printer had aimed to present
three representative type-faces used during a
hundred years. And to make matters worse,
the cover contains an elaborate twentieth e the three Musicians appeared be-
century design !Why do not publishers real- e King and Queen, the entertainment
ize that these things are wrong.^ Why do I end, and only the few people
not printers realize it? After the six hundred who
waited to see the donkey riding of
pages of this book had been set in modern \ remained in the park.
Rolie Polie
roman, the cost of setting a title-page also in Upon
Mr. Poodle hearing that Rolie Polie
modern roman would have been ridiculously proposed to give a performance, he hurried off to find the
little clown, and put an end to his plans. "There is no
small. Printers doing work for publishers
telling, your Honor," he said to the Mayor, " what that little
should provide display faces to match their
clown of mine may do; he is apt to be up to all kinds of
machine letters, or else when buying matrices tricks, and if he once gets astride his donkey and tries to
of a body face, assure themselves that display perform in this park, something serious is sure to happen."
faces may also be had. Artists, too, should
be cautioned to make their design not only 75
after the motive suggested by the literary
contents of the book, but also after the typog-
raphy (which should of course be based upon
the literary motive).
Page from a n by Will Bradley

—
Examples 132 and 133. Two pages in style composite Col-
onial and modern. The careful typographer left to his own
judgment would have inserted a half-point rule all around the
In Merry Mood inside of the ornamental border (this would have blended the
border with the inner cross rules); but the unfinished effect
A Book of Cheerful Rhymes here presented is perhaps just what was desired. 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
By decoration to the running head. Certain books lend them-
selves to decoration this is one of them, because it is of the
;
Nixon Waterman
entertaining sort. Serious books, such as those on the sub-
jects of law, medicine and science, should have no decoration.
The wise book typographer will not use decoration unless he
comprehends just what he is doing.
—
Examples 134 and 135. J. H. Nash, who designed the
typography of the book of which these two pages are a part,
produced results that are exceptionally good from a typo-
graphical point of view. The border as seen in Example 134
was used on the title, introduction and contents pages, and
the border in Example 135 was used thruout the text pages.
The crossed-line border effect was even adapted to the frontis-
piece. The title-page is an excellent example of consistent
typography not a line of lower-case is to be found on the
;

page, and prominence is proportionately given the title of the

Forbes & Company book and the names of author and publishers. The reading
matter is set within six points of the rule border, that the
page should have but one margin. If the space between type
and border were larger it would give the appearance of another
margin. The initial letters assist the reader in locating the
beginning of each story.
—
Example 136. This page is in a style associated with the
modern novel and was set on the linotype in eleven-point Scotch
Title-page in lower Roman the lines twenty picas wide, leaded with two-point
;
 a

72 THE ART AND PRACTICE OF TYPOGRAPHY

RECORDS OF SHELLEY, H\'RON

AND THE AUTHOR
BY EDWARD JOHN TRELAWNY
WITH AN INTRODUCTION BY
GEORGE EDWARD WOODBERRY
VOLUME ONE

CHAPTER III

IN WHICH I SEE A NEW KIND OF FOG

w £ had bread
pper.
a I

n
milk and hot gingerbread
noticed
on the milk.
with satisfaction

I did not
a little girl.

Sally ?
" said I, a imbed my bread.
V," answered Cousin Sally.
'
Kitty corrected.
"She's what yoi a red c

rejoined.
" I dor 1 that I ! "I r she
doesn't have cream on hei nilk."
" Doesn't have cream on her milk !
" exclaimed
Kitty. Cousin Sally's face turned red and she
looked at me sharply ; she thought that I was COMPANY
finding fault with the milk she had given me.

27

EXAMPLE 140
Harmony iin tone of type-face and d<
Typography by the Trc New York
EXAMPLE 141

leads. The running head is in capitals of the body let-

A title-page of classic design
By William Aspenwall Bradley. New York
ter, separated from the reading page by a half-point
rule, and the page number is centered at the foot. illustration has been treated by Beatrice Stevens in a
—
Example 137. A good example of modern book com- semi-decorative spirit, and is very effective. The capitals
position, set on the linotype in twelve-point Caslon old- of the body matter are used for the "Chapter III" line,
style, the lines twenty picas wide, separated by four and smaller capitals for the descriptive line under it.
points. The running head is in Cathedral text, a black The plain initial is more effective than an ornamental one
text letter suited to a book of this kind. An amount would have been.
of space equal to a line of type and the leading follow- —
Example 141. A title-page of classic design. The
ing it, has been placed between the running head and the anchor and dolphin, originally the device of Aldus, as
reading page. enlarged in outline has much to do with the effectiveness
—
Example 138. An intei-esting title-page, neat and of the page. The dignified beauty of this page makes it
refreshing in its departure from the conventional page worthy of close study.
of modern roman capitals. Here Caslon lower-case is —
Example 142 (insert). -This is presented merely as a
spaced to allow a plenteous amount of white background suggestion in the adaptation of old title-pages to present-
to show thru. The tone of the page would be improved if day work. By referring to the chapter "Typography in
the device were in outline instead of silhouette. The Colonial Days," it will be seen that the Midsommer
upper type group has been made to conform to the tri- Nights Dreame" title-page, printed in 1600, inspired
angular shape of the device. Altogether the page is the arrangement of the one here presented.
well suited to the volume of which it is the title — —
Example 143. This is a page from one of the Roy-
book of rhymes. crofters' serious efforts in bookmaking. It was printed
—
Example 139. A page from a book for children, writ- in dense black ink on white stock, the large text initials
ten and illustrated by Will Bradley. The type-face is a standing forth in pleasing contrast.
wide, legible letter and was especially designed by Mr. —
Example 144. This is a page from a book by Theo-
Bradley. Each chapter is begun with a line of old Eng- dore L. De Vinne, and probably presents his personal
lish black letter, followed by several lines of highly dec- ideas in book typography. Notice the spacing around the
The illustrations are interpreted in the
orative italic. sub-heading, and the treatment of footnotes. The first
grotesque decorative style that Bradley does so well. ine under the sub-heading is not indented.
The running heads and page numbers are in the italic. Examples 145 and 146.— D. B. Updike, of the Merry-
—
Example 140. A page notable for the harmony be- mount Press, is responsible for the typography of these
tween the tone of the type-face and decoration. The pages, which are a portion of a book containing the cere-
 Heroes of
Revolutionary Times
in America
The Glories and Sufferings of the Men in

Buff and Blue, from Lexington to Valley

Forge and Yorktown

By

James Sheldon Wallace

Published by the Society of Sons of American Revolution

EXAMPLE 142

Adaptation o{ an old title-page to modem purposes

 THE TYPOGRAPHY OF BOOKS 73

Treatment of suhhead'mgs 135

gbt jWan of feorrotog
The publisher may not consent to what he calls a

needless waste of white paper. In some books the

had sisters who grew up and
JiiSUS
were married at Nazareth. He also
chapters are as brief as they are in the Bible, under
which condition the new chapter must closely fol-
had brothers. For them he had Httle low the previous chapter. To prevent unsightly
regard —
family ties were nothing to gaps of white space, it is often necessary to fivernui
him. Like aU men over whose birth many pages previously made up. Paragiaphs iiui;-t
there is a cloud, he recognized only be made longer or shorter by a wider or narrowi-r
the kinship of the spirit. So we hear of his spacing of lines, and an unequal amount of blauk

asking almost contemptuously, "Who is my must be put between the chapters. Hymn-books
and collections of desultory poems in diffei-eut
brother ? He had two cousins, sons of Marj'
'
'

measui'es often require similar treatment. No fixed

Cleophas, sister of his mother, who were very nile can be laid down for the amount of blauk be-
much attached to him, and called themselves tween chaptei-s, but it must be large in the sump-
"the brothers of our Lord." His earnest, tuous and small in the compact book.'
thoughtful ways set him apart from the rest
and he was regarded as strange and different. SUBHEADINGS
They did not understand him —they could not Subheadings, of the same intended to relieve
—and e%-idently had little faith in his unusual,
the monotony
class,

of plain type, should be in the same

strange and peculiar ways. face and size of tj-pe throughout the book. For
^^p^HE word Galilee means "mixed." a subheading of one or two lines only, the small
£W\ It was evidently so used because capitals of the text are commonly used. For sub-
A I of the extremely varied population headings of three lines or more, italic lower-case of

^^^^ which
There
inliabited the province.
were Egyptians, Syrians,
Greeks and Jews —
the latter being somewhat
in the majority. Many were reckoned as Jews
who had simply married into Jewish families;
for a Gentile to become a Jew, no particular
rite was required. The assumption is that Jesus

EXAMPLE
Text-page frc ook by De Vinne. Note
les. subheading! and foot!

EXAMPLE 143

By
•page of a de luxe vi
the R. )ycrofters. East Aui
Ex.AMPLE 148. —
This book has a French motive and
Bruce Rogers has reflected it in the use of a style of page
mony of marriage as per-
formed in the Protestant
Episcopal Church. The
type is a special letter
based upon early forms. C ORaftimonv:
Jform
<^?e of iiofemni^otton
(Zoitttin wit? (C9e fotm of .Sofemnijation of
The book was printed in of
black and vermilion. Mr. a Crrtificote of flpocriajfr
Updike, with Bruce Rog- C" Jit t^e ba^ mb time appointed
ers, believes that the way for Solemnisation of (Xfattif
to improve typography in t^e pet6on$ to 6e mattieb
tttonp,

America is to do typog- 6§aff come into tf^e 6ob^ of tfje

raphy as well as it can C^urc^.ot e^aff 6c teab^ in eome
be done. He established pcopcc f^onee, wit? t^cic ftienbc
the .Merrymount Press in onJutcigPoure; anb t^ete'etanbf
1898, and was the first to ins toeetfjev, tfje &)anon tfje cig^t
import the beautiful letter Sjanb^anb t^e Woman on tfje (eft,
now so popular, known as tfie flPmietec efiaff ea?,

Scotch Roman. L nlike a^^-^6JtmC^ beloveb, we

Mr. Rogers, wliose ener- 1 lace satfjeteb toget^ee
gies are confined to one
*^^-^ fjeteintfjeeisfjtoflSob,
publisher, Mr. Updike anb in tfje face of t^ie compony,
ei^an anb
plans books for many to join tosetfjet tfjie

publishers. tfjie Woman in fjoff e^atrimonf;

Example 147. A page — -w$ic$ if an tjonouraBte eetate,
byT. M.Cleland, who de-
signed the Delia Robbia
type-face. A clever adap-
tation of foliage decoration
to the historic crossed- EXAMPLE 145 EXAMPLE 146

Two pages from a small ecclesiastical book. By D. B. Updike. Boston, Mas

line border.
74 THE ART AND PRACTICE OF TYPOGRAPHY

CORNEILLE
He was a man of
THE Dame-de-la-Garde.
great self-esteem. A modern critic

WORD AT ST. KAVIN'S dubs him

casse.' The
'
Scudery
fortress
le capitaine Fra-
of which he had
charge stood upon a high rock. The
BLISS CARMAN Marquise de Rambouillet
she could not imagine de Scudery in
said that

command of a fortress which was situ-

ated in a valley. She used to picture

him in the act of living up to his con-

ception of his importance, '
with head
touching the clouds, his look fixed
with contempt upon all beneath him.'
Scudery declares that in penning
his criticism he is not making a satire

or a defamatory pamphlet, but a few

'simple observations.' He does not

distinguish accurately between libel

and criticism. He says of the Cid

THE MONADNOCK PRESS that '
the subject itself is absolutely
NELSON
NEW HAMPSHIRE

EXAMPLE 148
Text-page with a French typographic motive
By Bruce Rogers, Cambridge, Mass.

numerals beginning with the first chapter, all

EXAMPLE 147 pages in advance of the first chapter being num-
Clever adaptation of foliage decoration to the historic crossed-line boi der bered with lower-case Koman numerals. The page
By T. M. Cleland. New York numbers, when at the foot should be separated
from the type page by the same amount of space
heading closely associated with French books of the last used between the lines. There is tendency among inex-
century. The ingenious printer may approximate the perienced printers to place the numbers too far from
appearance of these headings by combining certain floret the type page.
ornaments with brass rule. The type-face used in this There is a rule that the running title should be sep-
instance is one made by the old firm of Farmer, Little arated from the type page by space equivalent to a
& Co. Typographers producing special edition books, to quad line of the size of body-type used, altho the best
avoid types that have become commonplace thru extens- typographers prefer only about half that amount of space.
ive use by printers generally, have fonts cast from old Pages containing chapter headings are lowered at the
matrices, import type from foreign countries, or design head below the regular page hight. The George French
special faces themselves. By these methods their pro- book (see Example 127) shows a lowering of five picas
duct is given individuality and made different from the space. Other books show more or less this amount of
mass of printing. space, but five picas will be found a pleasing distance.
When initials are used the space between them and
Custom has developed a law for the arrangement of the type should be the same, both at the right side and
the several parts of a book. There is first a blank leaf foot of initials.
known as the fly-leaf, followed by a leaf with the title The position of a book page should be toward the
of the volume in small type slightly above center or binding and the head. In elaborate books of wide mar-
placed toward the upper right corner. The next leaf gins this inclination should be great, but in the conven-
contains the title-page, which usually gives the title of tional book of narrower margins it should be less notice-
the work, name of author or editor, place of origin, name able — say six points toward the binding and eighteen
of publisher and date of issue. On the back of this leaf, points toward the head.
slightly above center, is the copyright notice, and in The use of an em-quad between sentences on a book
the lower center or right corner the imprint of the page is encouraged bj' many printers, but the new-
printer. The table of contents and the table of illustra- thought compositor uses two three-to-em spaces or less.
tions follow, taking as many pages as are necessary. The By referring to Example 127 it will be found that George
preface, or author's introduction, is next, after which French favors use of the same amount of space that sep-
another half-title or a frontispiece may be inserted ahead arates other words in the same line. The capital letter
of the first chapter. The dedication, at one time occu- seems sufficient indication of the beginning of a sentence.
pying a page in the fore part of the book, is now little In the first book printed from separate types (see repro-
used. The index is inserted in the rear of the book. duction of page from Gutenberg's Bible in the chapter on
This rear-index is not found in novels, but in books on "The Origin of Typography") there was no space used
technical subjects and those used for reference purposes. between sentences, the period in the judgment of the
It is customary to number book pages with Arabic printer separating the words sufficiently.
 m

^E]

BOOKLETS
THE word "booklet," the literal meaning of which is business message. To an extent its mission is educa-
a diminutive book," has been found convenient by the tional ;it introduces the business house, gives authori-

printer and the advertising public to denote the numer- tative answers to questions that the prospective buyer
ous bound bits of printed matter used in advertising. would naturally ask, explains advantages and gives rea-
"Brochure" and "pamphlet" are two other names some- sons for superiority. The booklet is best if written in a
times applied to this class of printing. A booklet is sup- style that is non-technical and treated by the artist and
posed to have a cover, which generally consists of heavy printer in a manner that will interest the recipient.
paper now to be had in generous variety of colors and The booklet is used as a medium for publicity by rail-
finishes. roads, cities, hotels, real estate companies, banks, cloth-
The chap-books sold in the seventeenth century, con- iers, educational institutions, printers; manufacturers
taining abbreviated stories, were, perhaps, prototypes of of automobiles, musical instruments, cameras, and tools
the booklet, but as now used the booklet is a modern and implements of many kinds. If one wishes intelli-
conception. It is a result of that growth and develop- gently to purchase a piano or other expensive article he
ment which has taught the mass of consumers to be par- obtains a booklet on the subject, and whether he buys
ticular and discriminating, and fo demand quality and or not depends largely upon the impression obtained
artistic workmanship. When the "dodger" or hand-bill from the booklet; if it is well written, carefully illus-
ceased to be effective as a publicity auxiliary to the trated and handsomely printed, these things will exert
newspaper, the booklet was born. The laws consider a influence in favor of a sale. The printer's share in pro-
few placards or the publication in one or two obscure ducing such a booklet is large, altho he is called upon
newspapers to work in
su ci en t
ffi

notification
to the public,

n o t ^ 1
but the gen-
eral adver-
G r e. e. n tiser knows
the futility
of such obso-
lete mediums
and gets his
message to
the public
by doz
m ethods —
traveling
salesmen,
newspapers
and maga-
zines, cata-
logs, book-
lets, circu-
lars, posters,
novelties.
ar a rds
electric
PA5ADE-nA
CALIF-ORniA
signs, etc.
Next to the

U • 3 -A salesmen
and samples,
and the cata-
log, thebook-
let affords the
most com- EXAMPLE 150
EXAMPLE 149 plete presen- and photograph
r-page by Norman Pierce. Los Angeles tation of the Winchell, New York
76 THE ART AND PRACTICE OF TYPOGRAPHY
learns something of his tastes and preferences. This
printer then plans as many as a half-dozen dummy book-
lets, giving the customer a variety of choice in paper,

/^T
^-m. illustration, decoration, typography, size and price. It is
seldom that the customer is unable to decide on one of
^^Ij^IfIII

M
rV^^I ^a
sEH
r

^ Quality

printer
is

case of money; the

who is equipped
or the mediocre, cannot at
^itK.ii_^
not simply

for
i^*ly3

any price
^V
poor work,
the dummies submitted, and those not accepted are
placed in service when an order is in sight from another
buyer of printing. Of course for the average job it would
not be profitable to prepare more than one or two dum-
mies, but for the high-class booklet the extra effort can
be made to pay dividends.
To properly plan a booklet the commercial printer
/(^^^P produce anything better than he and must know something of the principles of art and of
v^^Ri his employees are trained to do, or than good book typography. Booklet printing is really the
his plant is equipped for producing. connecting link between job printing and book printing.
R'
Every good advertiser once in his Theunconventionalityof job typography and the dignity
has probably over-reached the mark
life and conservatism of book typography may be blended in
of good buying, and these very men, the booklet.
who have paid for their experience,
Booklets may be divided into three classes: illustra-
form the present backbone of the
tive,decorative, and purely typographical and these ;

demand for fine printing.

three classes are well represented in the specimens re-
A good print shop must have not only produced in this chapter.
a perfect mechanical equipment and —
Example 149. A cover-page by Norman Pierce, one
employees trained for the production of of the most original booklet designers of America. His
'I

%^ ^ high-grade work, but must be decorative work contains little or no perspective and much
l^ifiM^ equipped to anticipate a fin- is in the style known technically as wash-drawing. The

W^ ished productThis means a lettering in this design was printed in gold, flat on the
surface of the cover stock. The sheet was pebbled after

1
i 1

I r.f(.'./4rrj|r.

EXAMPLE 151

Designed by Herbert W. Meyer. New York

not the decoration. I have in mind an instance in

fit

which the artist laid out sixteen pages of marginal illus-

trative decoration, and the writer supplied only half
enough copy. To overcome the deficiency the printer set
the text matter in eighteen-point type, but even with ^Tlofe/ <3^ronfenac
that large face the spaces left for the reading matter
were only partly filled. If the writer was unable to fill THE FRONTENAC is located on Island Fronle-

nac. St. Lawrence River. New York, in the heart

the space the artist should have decreased the number
of the Thousand Islands, and overlooks an unrivaled
of decorative pages or else planned his decoration to and woodland. recog-
panorama ot river, islands It is

cover more surface. nized as an ideal summer resort hotel, thoroughly modern
Those houses which have made a success of booklet and convenient and is favored especially by families who
printing produce a job that is harmonious and complete. desire ease and comfort.
Reading matter, illustration, decoration, paper, ink and The main building and annex contain over three

hundred and luxuriously furnished rooms, the major-

color treatment, all blend on their booklets. There is a fifty

ity being en suite, and all commanding extensive views

central motive around which all concerned in the make-up
of the river and islands. There are one hundred private
of the booklet weave their ideas. numerous general baths on each
baths, together with
Altho such a condition is ideal it is not absolutely floor. The buildings are lighted with electncity and
necessary for a printshop to have under its roof a com- warmed by steam and open lires; they are well equip-
plete equipment for producing every detail of a booklet. ped with elevators, numerous stairways and exits. The
One of the successful producers of booklets an artist — plumbing and fixtures are the best and no expense has

with associates able to interpret his ideas had a palm — been spared to make this hotel the finest of its kind.

in his artistic suite of offices which he enjoyed showing

to visitors who asked to see the "plant." Then there is
the head of a large printing plant who manages to pro-
duce high-class booklets. He has artistic ideas and de-
pends upon the open field of artists and engravers to EXAMPLE 152
develop and perfect his plans. He manages to meet a mbination of photograph, band-lettering and type
prospective customer and from conversation with him By Morrill Press. Fulton, N. Y.
 BOOKLETS 77
ried to the inside pages, the initial letters
being drawn upon small photographic repro-
ductions of sections of the building.
—
Example 151. This page is from a booklet
Tl designed in a humorous style by Herbert W.
Meyer. The grotesque illustrations serve to
THE cafe. iUust
unique feature
flie opposite
odel hotel.
page, is

Opening off
a
picture the points of the story and also act
&e Palm Ro intended for flie use of as decoration. The typography blends well
l>o& ladies and gentlemen. with the art work.
Architecturally, it is one of flie most admirable —
Example 152. This is the first reading
rooms of its kind, iie beauty of &e mammo& fireplace page of a booklet issued in the interests of a
being especially noticeable. summer hotel. .About three dozen photo-
graphs were shown in halftone, most of the
—
pages containing two one at the head and
one at the foot of each page. Enough descrip-
tive matter was furnished to fill the space be-
tween the halftones, which were without the
line around the edge generally placed there
by the engraver, supposedly for the protec-
tion of the plates. The best printers are
ordering these lines left oft", as without them
the prints are more artistic.
The halftones were printed in a dark olive-
green and the print was made even more
effective by an egg-shell finish given the
paper after printing. This method of slightly
roughing paper after printing is much used
on booklet work. It not only hides slight
defects in presswork, but gives a soft, artistic
finish to the printed sheet, and especially im-
proves gold-bronze printing.
—
Examples 153 and 154. Two facing pages
from a booklet designed by Edward Everett

EXAMPLE 153

New York

printing. A competing house, imitating the

Pierce style, embossed the gold letters,
thereby departing from the chief motive of
a style which calls for flat effects.
In Fierce booklets illustration and decora-
tion predominate over typography, but all
three as a rule blend harmoniously. The art-
ist is the chief factor in the production of
booklets of this kind he must have imagina-
;

tion, a certain carelessness of touch in draw-

ing and a fine sense of color blending.
Ex.\MPLE 150. — Edward Everett Winchell
designed this booklet cover for the Matthews-
Northrup Works. Mr. Winchell's style of dec-
oration, entirely ditferent from that of Mr.
Pierce, is that of carefully drawn solids or
outlines. Mr. Pierce bases his decorative
motives upon the style of the Japanese; Mr.
Winchell upon the style of the Greeks and
Romans. The cover shown is unusual in that
a photograph of the building, printed upon
both front and back covers, serves as the de-
sign. This plan of printing a design upon
both front and back covers, adopted by sev-
eral of the leading booklet printers, has prac-
tical value in that the booklet can be identi-
fied whether lying upon its face or back. When
the design does not extend over both pages
it is merely duplicated for the purpose. The

main part of this example was printed in dark

yellow-brown and the sky warmed by a tint EXAMPLE 154
of orange. The motive established on the a page when the photograph is of other proportions
cover, of using illustration decoratively, is car- Note treatment of caption
78 THE ART AND PRACTICE OF TYPOGRAPHY
Winchell ony is avoided which alway npanies a line or page
and pre- in dead center.
senting the —
Example 155. This cover-page presents a result ob-
attractive tained by adapting a photograph to purposes of design.
features of The halftone is made larger than the booklet size so that
a large New when the booklet is printed and trimmed the picture-
York hotel. design may completely cover the surface. The title may
There is be lettered on the photograph or engraved on the half-
but a small tone after it is made. There are artists who object to
amount of lettering placed in a design or picture where it has
descriptive no visible means of support, and their objections may
matter, extend to lettering as here used. As in architecture
c o n fi n e d there should be structural reasons for every line of a
mostly to building design, so typographic or kindred designs should
two pages be held together by related lines and groups. The de-
in the front signer who violates these principles may have argument
of the book, on his side in the fact that modern architecture accom-
yet the plishes queer things, such as theater balconies without
treatment pillars and steps without visible support. Then, too, illu-
is such that minated advertising phrases are constantly seen stand-
more words ing out from the night like stars in the sky, and stream-
would have ers float above city streets seemingly attached to nothing.
spoiled it. Still, a booklet cover should be basicly artistic rather than
The plain freakish. The method of providing a cover-design dem-
rule border onstrated by the page under consideration is satisfactory
gives uni- for many purposes and has possibilities in many ways
form shape for adaptation to booklet printing. Type forms could be

EXAMPLE 155
to the pages designed for use in conjunction with photographs, thus
Adapting a photograph to a cove r-page design and pleas- confining almost the entire production of a booklet to
Simple, but effectiv con- ingly the printshop. Of course in selecting and preparing a
with trasts photograph for such purposes its composition must be
the liberal white space inside. In Example 153 the de- considered so that balance may be secured.
scriptive matter is grouped at the head of the page in —
Example 156. ^Here is a strong and eff'ective cover,
Avil, a handsome old-style roman type-face. The vign- made so by simple means. The design was printed in
etted edges of the halftone fading into the surrounding dark gray and gold on light gray stock. The border,
white space is effective. Example 154 demonstrates how which reaches to the edge of the paper, contains char-
an illustration which is out of proportion to the page acters shaped like crucibles, about which articles the
may be placed to get good results. The caption set in booklet tells. Here is an eff'ect that may be easily ap-
capital letters slightly spaced, is in keeping with the proximated by any printer. A border such as this could
squared style of the page. Compositors should study the be cut out of pressboard, which, mounted on an old
position of this caption. Many would be inclined to electrotype block, would serve for a short run; for a
center it long run it could be electrotyped. But these simple
effects must be handled properly or they will not look
right. The Bart-
lett-Orr Press did
this, and it is to
such printers that
the buying pub-
licturns when it
desires simple
Fads(f
designs. It is the
little fellow with
slight knowledge Fables
of designing who
produces "elabo- ABOUT
rate" effects; the
more he learns
"Printin
the less elaborate
are his designs.
Example 157.
with a Mor; ^
— Lettering has
an important
place in booklet
designing, along
with decoration
and illustration.
This example was
printed on hand-
made paper and
EXAMPLE 156 the deckle-edges example 157
Effective results by simple and rough sur- A hand-lettered cover-page
r by Bartlett-Orr Press. New York face of the paper By Blanchard Press. New York
 announcemem
Cour0e0 of
3n0truction
in

IRral estate
fall 1900

TL\it mtst feidf

ounff 99cn'0 C^tistian
*a9Soctation
318 Wittt 57tt) dtrrrt
Citp of ntto Pork

'»!1
^«««n«sg«SKS«aai

EXAMPLE 158

An (rtterwise good typograpliic page tkat

is too dainty for tLe purpose

EXAMPLE 159

More appropriate treatment or the cover

 —

BOOKLETS 79
blended with the careless finish of letters and border.
There was a further blend of the hand-lettering and the
Casion type-face used on the inside pages. The lettering
was based upon the Casion model, which is standard for
old-style effects. Here is a hint for printers Distinction

B/WK^OFFICE
:

will be added to booklets otherwise printed from Casion

type if the cover and display headings are hand-lettered.
This may be done with good results by setting them first
in Casion type. After the type has been arranged satis-
factorily take a print in blue tint on paper suitable for
BUILDINGS
drawing with ink. The letters may then be traced free-
hand with black india ink over the blue print and any
desired ruggedness or variation introduced. As light blue
ink will not reproduce when a zinc etching is made
the blue proof need not be carefully adhered to. Colonial
effects require variety, hence italic and small capitals
should be introduced in such lettered designs.
—
Examples 158 and 159 (Insert). These two specimens
are shown to illustrate the paradoxical case of a good speci-
men which is not good. Example 158 is that specimen;
it is good from a typographical viewpoint —
type-face,
border and ornament harmonize, the page balances, the
color combination (in the original brown and green on
:

—
green onyx) is harmonious but fails in that it is not ap-
propriate for the purpose for which it was intended. The
printer set out to give his customer a handsome job —one
of which he would feel proud and one the customer
could not but praise. A press proof was taken, that
none of the good points should be missed, but despite all
this careful preparation the customer pronounced judg- EXAMPLE 162

ment against it. The type was too dainty and decora- Lettering and decoration in rich, ref

tive, he said, and the general appearance more appro-

By F. W. Goudy, New Yor
priate for a booklet other than one on the subject of
real estate. It was finally decided to have the cover let- possible with type alone —and are also possible when
tered and this was done by F. W. Goudy with the result harmoniously combined with ornaments and decora-
shown by Example 15J>. The surface of the paper close tion. Of course stock cuts and ornaments, if inharmoni-
to the edges was utilized by the artist and the lettering ous should not be used. The type foundries have a
made large and legible. The words "Real Estate" were large assortment of artistic borders and ornaments, and
not only made large but were given additional promin- material for booklet decoration can be had from this
ence by outlining the letters and printing within them source at small expense. Then, too, by patronizing some
in white ink. Comparison of the two
specimens proves the customer to
have been right. Study the speci-
mens, reader, and judge for yourself.
Examples 160 and 101 (Insert).
These specimens demonstrate that it
ABOVT
is possible for printers to adapt typog-

raphy to plates already made, and to

use one design on every page of a
booklet. It is reciuired with a border
of this kind, to unify the page and to
BOYS WHATEVER wc on approval, whether ps
for or not; but we do n
send

send a number of articles

preserve the tone, that the reading for the selection of a single one.
matter be set closely to it. The ty- Responsible persons by giving proper
references may have goods charged on
pography, too, should have sufficient monthly account and shipped subject to
strength to stand with the border. out rules of delivery. In all other case»

When selecting a type-face for such we send by express with bill for col-

purpose the characteristics of the Dt livery:

border should be studied here Old-
; All purchases are delivered free with-
in 1 oo miles of this city, and to such
style Antique blends well with the further poinu on each line of railway
style of decoration found in the bor- as do n. 1 the loo-milc

der. If a border is of strong tone, as

Mail orders if t

in this instance, by printing it in col- .....^ and fiilly paid in ad-

to any part of
ors subdued with white, an effective ince, arc delivered free
,e United States. Charge orders are
result obtained.
is

The printer will do well to study ROGERS, PEET

this matter of adaptation. From the & COMPANY e goods bought and paid for

very nature of his work, making

designs with cast characters, he is
limited where the artist is not.
Nevertheless it has been proved by
printers who have surmounted these
difficulties that artistic results are
80 THE ART AND PRACTICE OF TYPOGRAPHY
good engraving est point
house, artists' de- of popular-
signs may be ob- ity. This
tained at reason- style has
LEGEND able prices but waned, and
while engravers
;

advertising
HlINTRODVCTIONliy
will finish your booklets as
THREE-HANDLED dra w i ng s and a class have "1 1 7 E have renovated our

LOVING
complete your become VV Show Rooms and are !
ideas, it well
is more con- displaying a very full line of

CUP for the printer to ventional ;

our Plumbing Goods m an

be able to design some claim attractive setting so as to

his own booklets also that render inspection and selec-

and give the en- they have tion a pleasure to our patrons.

graver close in- d eterior- You will be cordially wel-

structions as to ated —
a r e
comed
feel
at any time, and
confident that you will
we

what wanted.
is mediocre.
find our goods, our prices,
Many customers The trouble
and our attention to your
have been disap- may be that wants entirely
pointed when every print-
satisfactory.

"leaving er is not an

m^^^^^^^M
it to
the engraver," artist and
EXAMPLE 165 because the en- every artist
By Munder-
refined cover-page. graver cannot in- is not a ^^^P
Tboi sen Company, Baltimore, Md. terpret another's printer.
ideas without Bradley is

getting an understanding as to what they are. Leave it both and

entirely to the other man only when you are willing to that per-
accept his ideas. EXAMPLE 166

—
Example 162. This is the cover of a booklet which, plains why Page in renaissance panel
By Gregson 6f Crosby. Bostoi
excepting two photogravure prints and this design, was he is able
set in Caslon type. The booklet was printed in black and to accom-
vermilion on Japan vellum, a rich and dignified combin- plish much more than the rest of us. The two pages
ation. The cover-design is by F. W. Goudy and is char- shown are from a booklet done for Rogers, Peet & Co.,
acteristic of all and printed
his work. The thruout in
style of letter- black and ver-
ing is that pe- milion. The
culiar to the title "About
P a b s t type-
donmrnPrintms Boys," was
11 _JJtL[ -I^JIjL-. IJIIIL season's course of lec-
face, also de- probably en-
signed by him. a Ci*^iQ ">' ''''"^- ""^ " *'" ^ ^^' graved in
Examples dmtt in HIt m
<

~-^iouZ'\^^''^
wood, as was
163 AND 164. f^ jjil l|U r devoted whoUy to printing,
the hour-glass
— These pages ornament; the
are from a V^i^^^S^^viE thoroughly practical. The remainder of
booklet
signed
de-
and
Printing lectures will be given by men of experience in
the page is in
Caslon roman.
printed by
Will Bradley,
who more
W1907 by exhibits. In last season's course for instance,

some of the chemicals used in ink-making were

shown in the lecture on that subject, and their
These pages
may seem de-
fe c t i V e
is effect on various grades of paper demonstrated; to
prolific in during the lecture on paper-making a piece of hand- those whose
ideas and more those present the very best possible first-hand in-
idea of beauty
radical in the in printing in-
manner of This course is not for the purpose of making
cludes dainty
their presen- time devoted to the lectures. Neither is if merely
tints and
tation than for beginners, altho employers would do well to curved lines.
any other art- encourage their apprentices to attend the course. As pages of a
The main idea is to give such instruction as will
ist or anyother knowledge of those already booklet of the
help enlarge the
printer could printers, and add to their earning capacity. Men "nice" or "el-
be or would allied with the business of printing, but not di-
egant" kind,
rectly engaged therein would also find the lectures
dare they would
,

to be. worth while. "The man who knows" is the man

This booklet (SliristiQn %ison(ition who gets along best in business life in this age. no doubt be
was produced Ust year's class included apprentices, joumey- out of place,
318 ®lf5t57tl) Stmt
by Bradley in fhe course will again be under the direction of but as parts of
1899 while (Sit^ of %t\o ^ml a booklet
connected printed on an-
with the Uni- tique paper in
versity Press antique inks
and when his EXAMPLE 167 EXAMPLE 168
and bound in
Colon'al style Typography in imitation of hand-lettering and ( 'he condensed black let antique style,
was at its high- thruout for headings. By ,. New York the typogra-
 To You
Who Are Interested
in Helping Mankind to
Help Themselves

t
The
Washington Association
for the Prevention and Relief
of Tuberculosis
 — —

BOOKLETS 81
phy should not ical p u r -
be other than an- poses. The
tique —or Colon- type-face is
ial, as it is better Pabst, a
^rospectufi; known. The standard

BEj^^l
printer who nar- art roman.
rows his type Example
work to a single 166.— This
pet style and page pre-
does no other sents the
kind also narrows entire read-
his field of use- ing portion
fulness. There of a booklet
are those who do d e si gn ed
this and succeed, fora plumb-
but they are ex- er's supply
ceptionally tal- house by
ented and do per- Gregson &
fect work. There Crosby.
are those, too, The design
who narrow their isan inter-
endeavors to the esting in-
con V en t ion a 1 terpreta-
style— like the tion of a
man at the meet- renaissance

The American
Gjrrespondence School of
ing whose
ities
to
him
limited
seconding
abil- panel, the
type por-
tion in
I^H^IK'. EXAMPLE 170
Typography the motion" French Old esign all in type-founders" material
and fail to pro- Style being ByFr ink L. Crocker, Jersey City, N. J.
36 Easi Twenty-second Street

Nrv, York C«y

duce anything so spaced as
above medioc- to blend with the decorative border. The initial "W,"
rity. I have in however, is too dark for the lettered word "introduc-
mind printers of tion;" if no were used, the first line beginning
initial
the old school, evenly at the left, the tone would be still better.
EXAMPLE 169 those who work —
Examples 167 and 168. These two pages are shown
Pleasing u»e of lower-case and by rule of thumb, as specimens of results obtained by the exclusive use of
color. By Augurte Giraldi, New York whose knowledge type founders' material. The border and initial are imi-
of their craft does tative wood-cut effects and the condensed text (named

not extend beyond the four walls of the room in which Chaucer) is a clever adaptation of hand-lettering. Use of
they work, whose ambition as apprentices was to get the same style of letter as on the cover, for the headings of
the scale," and having got it settled down to a routine the inside pages, gives the entire booklet a sense of com-
existence the most exciting fea- pleteness that would not be
tures of which are the whistle present were the pages not
and the pay envelop. The rea- thus related. The condensed
type-face, too, is in proportion
son these men do not succeed
to the shape of the pages.
is because of competition
there are so many others doing
The Example 169.— This is the
by Aug-
work just as they are doing it, Mae Benson School title-page of a booklet
uste Giraldi, one of the pro-
which suggests this truth:
"The poorer the work the more moters of the American Cor-
competition; the better the Applied Design respondence School of Typog-
work the less competition." raphy, later incorporated with
Poor printing means poor prices for Men ©Women The American Printer. It is a

and poor wages good printing good example of the use of

;

means good prices and good lower-case. The ample white

space and the border in red
wages.
Example 165. This is the— form a pleasing contrast.
Example 170.— That type
cover-page of a dainty little
founders' material affords op-
booklet in black and vermilion
portunity for almost limitless
on Japan vellum. It is sug-
effect is demonstrated by this
gested for pages which should
a style dignified,
specimen. The crossed lines
be treated in
neat atid refined and most— were made of brass rule and
the horse ornaments were sawn
pages will be benefited by just 54 Madison Avenue to get the effect shown. The
such treatment. A border de- New Tork
letters were red inside of black
sign such as the egg-and-dart
outlines the trappings of the
is approved by the most cul-
;

horses were also in red. The

tured people; it is a classic
inner parts of the crossed rules
combination much used in archi-
were in a cream tint, and the
tecture and is being adopted by
entire design was printed on a
the best printers for typograph- Title-page ii
82 THE ART AND PRACTICE OF TYPOGRAPHY

THE
ART PORTFOLIO
FROM THE
A SELECTION INTER
NATIONAL STUDIO OF ONE HUN
DRED PLATES OF THE BEST
CONTEMPORARY ART RE
PRODUCED IN COLOR
PHOTOGRAVURE THIRTY
a HALF-TONE 5UMMLR MORNING5
IN THL
BOY5' VACATION
SCHOOL

JOHN LANE
NUMBER is I FIFTH AVENUE
NEW YORK
1901

EXAMPLE 172 EXAMPLE 174

ing specimen of the fan-shaped title-page Commendable use of capitals on a typographic page
By A. F. Mackay. New York By W. A. Woodis. Blanchard Press. Worcester. Mass.

dark gray-brown paper. This gave a subdued tone tliat waste-basket illustration printed on both front and rear
is pleasing to the artistic sense. in gold ink set into the stock by a heavy impression. The
Example 171. —The decorative and legible
stylish, simplicity of the typography accords with the treatment
Caslon type-face almost invariably gives good results on as a whole.
booklet printing. This page by Lee L. Crittenden is
admirable for the use of small capitals and italic in com- Printers will accomplish the most in booklet printing,
bination. as in other branches of the craft, if they live in an artis-
Example 172. —Mr. Mackay has produced in this title- tic atmosphere. Sir Joshua Reynolds, the great English
page an unusual arrangement, even in tone and consist- painter, said: "The more extensive your acquaintance
ent in the use of Caslon capitals. To obtain the desired is with the works of those who have excelled, the more
shape words were divided and hyphens omitted, expedi- extensive will be your powers of invention." Thatis the
encies that should seldom be resorted to on commercial reason painters haunt Italy and other art centers where
printing, as the works of the old masters are accessible. The printer
~
customers should take journals such as The American Printer,
are likely devoted to the art of typography, for these journals
The Anti-Waste-Basket Idea to object. bring to the great army of craftsmen specimens of the
Example works of famous printers and of those who are doing
Dedicated to the man who means 173.— This their mite in the cause of good typography.
well and wants to do well— who is the first The helpful atmosphere of the trade papers could be
wants to know the good of anything inside page supplemented by specimen booklets for study purposes.
—
and everything who, when he knows, of a book- These booklets could be obtained by writing to the
makes that knowledge serve him I et, the printers producing them, or to the advertiser, and many
stock of could be had from retail houses selling the articles ad-
which con- vertised in the booklets.
sisted of a The printer must learn more than he now knows about
thin straw- art or he will become only a caddie in the game of book-
colored let printing, with the artist and ad-writer making all
Japan ese the hits. The printer is depending too much upon the
paper, artist and too little upon himself. The possibilities of
printed on type arrangement have not been exhausted and never
one side will be, yet many workers at the printing trade act upon
only. The the assumption that good printing is impossible without
the artist's initiative and co-operation. Many a good job
heavy, of printing has been spoiled by inferior lettering or
rough, dark decoration.
EXAMPLE 173 green paper Withal, there is nothing more ideal than a good printer
Unconventional arrangement of a booklet p contained and a good artist working together to produce perfect
By Corday ^ Gross. Cleveland. O. only the printing.
 Q - -g

h ^
h h f^

C/D C/D C/3 C/D C/3 >> fe

. c^ Tj5 uS CD r-I od 05
CO 00 OO

pq

S-li
 :

CATALOGS
RL'SKIN, enumerating three branches of arehilectural delights tt) the artistic eye, and similar care and taste are
virtue, requires of a buildin<j (l) That it act well, and do shown in printing the catalog.
the things was intended to do, in the best way (2)
it ;
The
catalog is a portable show-case and from it the
That it speak well, and say the things it was intended to custonur niakts selection, often witliout seeing the article
say, in the best words; (.S) That it look well, and please itself. I'lusf facts make it vitally essential tiiat goods be
us by its presence, whatever it has to do or say. disi)la.\ t(l iiivitin;;l.\ and in good taste. Display an article
These three retiuirenients can as well be applied to the l)rt)perl.\ and it requires fewer words to sell it.

catalog, which to the printer is a book or booklet contain- Take a girl of plain features, dress her handsomely and
ing an illustrated list of articles offered for sale place her on a stage amid beautiful colors and lights, and
( 1 ) The catalog should ail well; it should be constructed a dozen millionaires will want to marry her an extreme —
in a manner fitting the purpose for which it is issued. If, illustration of the power of attractive (lis])lay emphasizing
say, it contiiin a list of plumbers' suppliesand the book is the necessity of playing up" tiie ordinary to create the
to be handled by rugged men, it should be bound in strong desire of possession. It is also possible to make an imi)res-
stock of a color that will not easily soil. If it contain a sion by seemingly contrary methods. It is told of .losepli-
list of jewelry, and the book is to be iiandlcd by dainty ine that, wishing to gain the admiration of Napoleon, she
women, it should be bound appeared at a reception in
delicately in light stock a gown of pure white, with-
sewed with silk floss. out ornaments. The con-
(2) The catalog should trast with the elaborate cos-
speak well; the illustrations tumes of the other women
should be faithful presenta- and the elegant furnishings
tions of the articles to be of the room was such as to
sold, and the descriptive bring words of compliment
matter should be well writ- from the emperor. It should
ten, accurate and complete. be remembered, however,
(3) The catalog should especially by the typogra-
look well; the type-faces, pher, that mere plainness
paper, ink and binding of dress did not win Joseph-
should be harmimious; the ine her triumph, but artis-
illustrations and descriptive tic simplicity, which is quite
matter arranged with regard different. A block of marble
to balance and proi)ortion, rough-hewn from the quarry
and the treatment as a is plain, but carved into
whole should be pleasing classic statuary is more than
and interesting. that.
There was a time when An important tenet in
catalogs were printed with- catalog printing is that at-
out attention to these tention must be given to
things, or if the first two the manner of presentment
requirements were complied or the catalog will not en-
with the third was ignored. tirely fulfil its purpose.
It will necessitate no effVjrt This manner may vary with
for the reader to recall the the article catalogued, as
days when merchants had treatment suitable for one
no orderly plans for display- thing may be unsuitable for
ing their wares —
when the another, but the re()uire-
average store-room and ments of Ruskinapjily to all.
window looked like a curi-
osity shop. They were the Example 175 (Insert).—
days when the catalog was How should a jeweler's cat-
a heterogeneous collection alog be treated? Not many
of woodcuts and type-faces, printers could give a satis-
packed <m the pages to the factory answer to this ques-
very edge of the paper. EXAMPLE 176
tion, yet in the specimen
Now many show-win- Artistic treatment of a glove catalog pages here shown Edward
df)ws and sales-rooms are signed by Hall-Taylor Company, Milwaukee Stern & Co. have done so.
84 THE ART AND PRACTICE OF TYPOGRAPHY

THE METROPOLITAN MUSEUM OF ART CATALOGUE

CATALOGUE
OF A (Obverse) Bust ofU^ashington, side view, head in
profile, directed left ; Continental costume. At the
MEMORIAL EXHIBITION right, the fasces of magistracy, forming a border
about the edge, thirteen stars.
OF THE WORKS
OF PHILIP MARTINY, W >DELLER. DESIGN
AUGUSTUS SAINT-GAUDENS AND COPYRIGHT BY
CAUDENS

(Reverse) Upper half, an American eagle, with

wings spread, claws holding arrows and olive
branch bearing shield with legend E PLVRIBVS
VNVM. Lnuer left, coat of arms of New York
State. Thirty-eight stars forming border.

TO COMMEMORATE THE INAVGVRATION

OF GEORGE WASHINGTON AS FIRST PRE-

MITTEE ON CELEBRA

by Mr. Frederick S. Ifail.

NEW YORK MDCCCCVIII
:
,t

EXAMPLE 177 EXAMPLE 178

Title-page of catalog of exhibits Both pages by D. B. Updike. Boston, Mas

Treatment more pleasing and ap- the four-color process the gloves
propriate cannot be imagined. are shown in their natural colors,
Daintiness, simplicity, refinement and placed in the "spot light,"
and art are combined in this cata- as it were, by the gradual fading

log and every detail is essential away of the dark background about
to the effect as a whole. Omit the them. A general talk on the sub-
touch of orange and there is a ject of gloves is carried from page
depreciation of twenty per cent; to page, while the number and
omit the pressed border, another description are placed in smaller
twenty per cent ;
print the pages type directly beneath the articles.
in black instead of gray, another Examples 177 and 178.— These
twenty per cent; print the illus- pages are from a catalog of articles
tration directly on the stock (using on exhibition but not for sale.
coated paper thruout) another D. B. Updike is responsible for
twenty per cent. This would leave the typography, hence the pages
but an ordinary job of printing afford an interesting study. The
with only twenty per cent of the catalog is printed in four sizes of
effectiveness of this one. type, altho a cursory view of the
Tell the average customer the pages would lead to the impression
cost of printing a touch of color that a less number is used. Thereare
such as on this example and he three sizes of capitals and one size
will decide it not worth while. Yet of italic. A fact that makes the
the value of color is not in the catalog unique is the absence of
quantity used — more color here roman lower-case. It is difficult to
would have spoiled the catalog. realize an eighty -two-page book
—
Example 176. This firm has without roman lower-case, but here
gloves to sell and in a particularly is one. The title-page (Example
pleasing and artistic manner cata- EXAMPLE 179
177) is composed in three sizes of
logs them for the information of Page from sewing Tnacbin< capitals, all closely related in size,
the buying public. By means of By Mattbews-Northrup Works. and corresponding to the sizes used
 CATALOGS 85
on the inner pajres. The important at the head is % inch ; at the binding
words, "Catalogue," "Menn)rial edge % inch ; at the outer edge 1^
Exhibition," and Augustus Saint- inches; at the foot 1% inches or
Gaudens" are set in a size-larger
face than the minor words "of a" c 179. —This shows a page
and of the works of," altho the from a catalog of sewing machines
difference is but a point. The small and sewing machine parts. The
wiH)dcut isappropriate with the classic workings of the machine are pic-
style of the tjpe composition and tured in such a realistic manner that
the harmony is further enhanced by the effect is almost equivalent to a
printing in a clear black ink on thin demonstration on the machine itself.
white antique paper. Example 178 The border does not force itself on
shows a page from the body of the the attention, yet furnishes the dec-
catalog, the features of which are orative element to the page. The
worth noting. All lines excepting type matter, in Caslon roman, is
the exhibit number are set flush at stylishly arranged in harmony with
the left, and the paragraphs or illustration and border.
groups are separated by space. The Example 180. Badges of honor —
title of the exhibit is set in the or insignia are here illustrated and
larger capitals the descriptive mat-
; described in black and white with-
ter in italic lower-case, and quoted out ornament. Some individualitj' is
words in the smaller capitals. Punc- given the page by the lettered lines
tuation at the ends of lines is some- at head and foot.
times omitted and sometimes used.
EXAMPLE 180
Examples 181 and 182. Speed- —
The rule adopted by modern typog- Page from badge catalog
indicating apparatus is displayed in
raphers, to omit punctuation points By Edward Stern 6/ Co.. Philadelphia this catalog. The effect presented
at the ends of display lines, leads to by instruments illustrated in half-
nice distinctions when a page such as this one is to be tone on a dark square background, surrounded by a deep-
treated. The size of the leaf of this catalog is 4% X 7% red border, is a pleasing one. The border is just strong
inches, the type-pages measuring 2% xSVi inches or less, enough to balance the illustration. The treatment of the
the type-pages not being of regular length. The margin type-page (Example 18l) is simple, yet unusual. Many

TYPE B
This instrument is designed for belt drive
from horizontal shaft.
Approximate total height, 20"
Range of scale, according to purchaser's
specifications.

EXAMPLE 181 EXAMPLE 182

These trvo facing pages ided for their strong treatment md pleasing use of color
By Matthews-Northrup Works. Buffalo, N. Y.
 .

86 THE ART AND PRACTICE OF TYPOGRAPHY

monplace. Smaller type, too, would have impaired the
effectiveness of the page.
17 —
Example 183. This is a Bruce Rogers page, from a
catalog of books. The style of type arrangement, it will
SONGS AND SONNETS OF PIERRE be noticed, is the same as that used on Example 178, ex-
DE RONSARD. cepting that the number is placed flush with the other
Selected and translated by Curtis Hidden Page. lines at the left. Both Updike and Rogers make use of
400 copies, published June, 1903. this classic arrangement and both are masters of it. In
Priee, ;jf4.oo, net. this example, unlike No. 178, punctuation points are
Edition exhausted. placed at the ends of all lines excepting the number,
altho on the title-page and other displayed headings
18
none is used. There is no roman lower-case on this cat-
FIFTEEN SONNETS OF PETRARCH. alog, and altho occurring in italic lines all figures are
Selected and translated by Thomas IVentworth upright.
Higginson. Example 184.—The treatment of this page is a new
400 copies, published October, 1903. idea in catalog illustration. A
halftone plate has been
Tall \6mo. Price, $^.00, net. made from a combination pen-and-pencil drawing, pro-
Edition exhausted. jecting the automobile into the foreground clear of the
J9 details of its surroundings, which, however, have sug-
gestive value. This treatment gives a two-color effect and
MY COOKERY BOOKS. is recommended for catalogs on which but one printing is
By Elizabeth Robins Pennell. desired.
300 copies, published December, 1903. —
Example 185. This page is notable because of the soft
^arto, illustrated. Price, $20.00, net. blend between the illustration and type-page. To get this
Still obtainable. result two impressions were necessary. The illustrations
20 were printed in black ink, and true to their name produced
a halftone, or gray tone. The type matter printed in gray
THE HISTORY OF OLIVER AND ink matched the prevailing tone of the illustration the —
ARTHUR. principle here involved being the same as when mounting
Originally written in Latin. Translated into French a picture the dominating tone or color is duplicated in the
w I 5 1 1 and into German by Wilhelm Liely in i 5 2 1 mount. The vignetted edge of the halftone in this catalog
I^ow done into English by William Leighton and page is an important factor in securing the proper blend.
Eliza Barrett. —
Examples 186 and 187. The logical arrangement for
300 copies, published December, 1903. catalog pages seems to be that of illustrating the article
Siuarto, illustrated. Price, $1 5.00, net. on one page and devoting the facing page to its descrip-
Still obtainable. tion. This plan has been artistically carried out in the
examples under consideration. In the original the metal
work and the
rays of ligiit
on the half-

EXAMPLE 183
tone page
Classic style of book-catalog typography were tinted
By Bruce Rogers. Cambridge, Mass. with buff, and
the same color
printers would have placed the reading matter near the used for the
center of the page and in doing so have made it com- rule border on

EXAMPLE 184 EXAMPLE 185

1 pen-and-pencil drawing, emphasizing the car. Automobile catalog Use of the vignetted halftone in a tool catalog
by Matthews-Northrup Works, Buffalo. N. Y. By Little y Becker, St. Louis, Mo.
 ;

CATALOGS 87

The Tuerk Alternating Current

Deflector Ceiling Fan with Electroliers
Type D

EXAMPLE 186
Illustrative and descriptive pages faced each other in this effec

the tjpe-page. It is essential from the viewpoint of good There is no space between paragraphs this is a feature ;

advertising on a catalog that the name of the article ad- of much of Bradley's Colonial typography, and is men-
vertised or that of the firm issuing the catalog be placed
on each page. It will be noticed this has been done here
on the halftone it ai)pears in white letters in the upper
right corner, and on tlie type-page is oddly arranged at
the head inside the parallel rule border. The page num-
ber or folio appears inside the border at the foot of the
page. The small vignetted line illustration suggests the
No. 2 Brownie Camera
article placed in use.
Example 188. — Here is a page depending mainly on its
THIS camera
of
fication
IS

the
an ampli-
No. I

typographic treatment for effectiveness. The title is Brownie, taking larger pic-

strong, yet pleasing, placed as it is between rules. There tures and with greater capa-

is wisdom in setting the bilk" in a size of type that is bilities.

Truly remarkable pictures

easily read. If a person is interested he will also read the
have been produced bv these
matter at the font of the page. It is frequently noticeable instruments, in the hands of
that a catalog or jjage advertisement set all in one size school children, while work
of type U)oks flat and unattractive. By enlarging the of the highest character has

forepart a size and reducing the remainder a size, contrast been done with them b)- ex-
perts. They are as simple in operation as the No. Brownie
is introduced and interest added. The camera illustration
i

and are truly ser\iceable and reliable cameras. When fitted

is a neat one and acts well the part required of it. Com-
with the Kodak Portrait Attachment, good-sized bust portraits
positors will notice that the edge of the camera and not the of excellent quality may be made. Equipped with rwo finders,
edge of the vignette is aligned with the side of the type- and covered with fine imitation leather, the No. 2 Brownie is
page. This is a jxiint overlooked by some in setting type attractive and substantial in appearance, and in every respect

around cuts. Vignetted edges and insignificant projections fully merits the remarkable popularity it has attained.

should always extend into the margin, and the main por-
tion of the illustration aligned with the side of the type- IN DETAIL F°r
.ding. Size of Camera, six 4x3 J
page. -
:d 4i-inch focus. Shutter,

—
Example 189. A Bradley page always has interest for
the printer; this one is no exception. In Example 183 is
seen how Bruce Rogers treats a book catalog page, but
here we have treatment radically different. But then it
is for a different purpose. The Rogers i}age goes to a
selected list of bibliophiles and its dignified exclusiveness
is fitting; but the Bradley page goes to a larger class of
readers, lovers of pictures and modern art, and this purpose
is expressed in the arrangement. There is contrast of size,

of capitals and lower-case, of old English Gothic and old

English roman type-faces, and above all the initials glare
at you — but you are not offended, you rather like it. Printed by Matthews-Northrup Works, Buffalo, N. Y.
 . 1 1 v

88 THE ART AND PRACTICE OF TYPOGRAPHY

prices appearing under them in small size. The woodcut
ornament fits in with the motive merely as decoration,

unless the red apples ma.v count for appropriateness. The

style of this page is acceptable coming from Bradley, but
ANEW book containing 85 of Mr. Gibsons latest drawings, in-
cluding the studies of English Society recently exhibited at the compositors in general should beware of it. Where few
Fine Art Society in London. Printed entirely from new plates mav succeed in producing a presentable page, manv will
on beautiful paper made especially for the book, and hand-
.
fail.
somely bound in white vellum and imperial Japan, bearing the imprint
of one of the most charming figures Mr. Gibson has ever drawn. Large —
Examples 192 and 193. These two pages are from a
copy ei Pnc. SS-O catalog of wire screen. In the original the section of
screen shown in Example 193 was in black, and the figure
of the man was in light olive, thus throwing the screen
into prominence. The makers of the best catalogs realize
ing by Mr. Gib e. $10.0^
that the article 's the thing" and always aim to give it
proper emphasis. The tabular matter in Example 192
looks well entirely surrounded with rule, and with the
SIX LARGE PHOTOGRAVURES AND COPPER ETCH- descriptive matter alongside makes a pleasing page. The
INGS COMPRISING MANY OK THE BEST KNOWN CHAR-
ACTERS FROM DICKENS' WORKS, PORTRAYED IN MR. manufacturer's name and address panelled at the head of
GIBSON'S HAPPIEST MANNER. THESE ARE THE FIRST the pages is disposed of attractively. The page numbers
ENTIRELY ADEQUATE REPRODUCTIONS THAT HAVE
BEEN MADE OFTHE DRAWINGS OFTHIS POPULAR ARTIST were made too small their position at the foot of the
;

ARE PARTICULARLY SUITABLE FOR FRAMING ON AC- pages toward the fold is good, however.
COUNT OF THEIR SIZE AND STRENGTH OF TREATMENT. —
Example 194. -Mr. Nash's work is generally distin-

AS in
actual reproductions of the artist's
advance of anything heretofore attempted, each proof being
carefully printed by hand.
- exquisite which they have been reproduced make
care with
The
work these plates are far

large size of the prints and the

guished by parallel rule border worked into various attract-
ive designs, and he has accomplished results by these
methods not thought possible by the average typographer.
them the best examples of Mr. Gibson's work which can be obtained
They are printed on heavy deckle edge plate paper, 16x20 inches, and
The specimen shown is an example of the possibilities of
enclosed in an artistic portfolio. Price, $5.00 the parallel rule combined with a handsome type-face.
There will also be an Edition-df.-Lijxe of the portfolio, each print The ornaments introduced into the upper corners reflect
being on Japan paper, numbered and signed by Mr. Gibson. This edition
will be limited to
the character and tone of the border and type-face, and
50 copies, and orders will be received at $10.00 each
i

until half the edition is sold, the right to advance the price at that time the display lines in capitals lend further harmony.
without further notice, being reserved.
Single Proofs from the portfolio. Pric.
tee,
ice, $10.00

$2.00 each,
—
Example 195.^ The reproduction of this page fails to
Artist's Proofs, signed by Mr. Gibson.
suggest the pleasing appearance of the original. The il-
ice, $4.00 each.
lustrations were printed in black and were brightened at
several points with yellow and blue tints. The border
EXAMPLE 189 was in light green.
Book-catalog page by Will Bradley —
Example 196. A feature that adds much to the qual-
ity of this page is the introduction of an imaginary por-
tioned as a hint to compositors setting this style of work. tion of the building architecture, thus freeing the organ
—
Example 190. Rubber {joods form the subject of this illustration of the usual store-room atmosphere. A faint
catalog, which vividly presents likenesses of the goods orange tint overprinted a portion of the illustration, in
themselves. A pleasing salmon tint was used for the rule the original. The
borders and introduced in the halftone print. The effect- double line bor-
iveness of this page is due mainly to the work of the en- der was also in
graver and orange tint.
pressman. Example
I iM 1 \] V 1 1 \ II I M I M I inM ^^^ border, — T his
197.
page SCOTCH TAM
O'SHANTERS
1 1 1, 1^ , ,
V „ \\ opened at the shows yet an-
II ^1 L n I I I
s 1
outer side of other treatment
the page, of a book catalog. r O Q. U E I

permits side- Type-faces (ex- RATING

notes to be in- cepting the run-
serted. The ning title) and
page number DOUBLE-BAND
and name of
border blend har-
moniously. The
WINTER CAPS
manufac- border has a
DouUt-bind winttt cipi . . 1 .00 «nd < l jo
.

turer appears Christmas motive BLUE GLENGARRY

in small tjpe Example 198.
in the head —The printed
margin. advertising mat-
Example ter of financial
191 .—An- houses is gener-
other Brad- ally treated se-
ley page, this verely and inar-
one from a tistically ; in fact,
catalog of such printing has
boys' wear. been so common-
The articles place that the
are displayed little book under
squared con sid eration
li o f gives pleasure
EXAMPLE 190 spaced capi- and satisfaction EXAMPLE 19
From a catalog of rubber goods tals. Colonial to the lover of Page from catalog of boys'
By Matthews-Nortbrup Works. Buffalo, N. Y. style, the the artistic. The By Will Bradley
 CATALOGS

T r L E R C O M I

Facing pages f re sen. shoxving tabular treatment and u

orifrinal cover was printed in and yellow-brown

black page included reds, greens, browns and blues. The panel
tint on yellow-brown Italian hand-made paper. The in- containing the lettering would have been more pleasing
side leaves were of bufF-tinted paper that blended with the had the "l906"" not been injected into it.
cover. Scotch Roman was the type-face principally used.
—
Example 199. The treatments accorded catalog covers
are interestingly varied. There is scarcely a limit to the
possibilities of attractive designs for such purposes. This
cover is unusual in composition, especially in the position
of the fan motor and the lettering. The coloring of the

^ c,.„.u,.„.

•r.both books and men, speaks to you directly and intimately in the*
rteen clear, strong, confident essays on real essentials-
He writes of Beauty. Life. Religion. Philosophy. The World-Message
irk. Health and Happiness and great kindred s&bjeas with a sanity
ir insight and grace of diaion that are at once a rerelation and a del ight

WHERE DWELLS THE SOUL SERENE

philosophy that Mr. Kirkham has expressed in this volume of thii

ements of Freedom, The Idea of Religion. The Signifieanc

and True Aims are among the
jght. Ethical Relations. Wealth,

as to believe in C.

s
•>li5I®lC?I®'5?:®M®SS;®ISICiS®K'i4

EXAMPLE 194 EXAMPLE 195

talog page, with parallel line bordi Page frotn automobile catalog in colors
gned by J. H. Nash. New York By R. R. Donnelley fe? Sons Co.. Chicago
THE ART AND PRACTICE OF TYPOGRAPHY

EXAMPLE 199
Cover of a motor catalog
this cliajrt By Matthews-Northrup Works. Buffalo. N. Y.
>:r^

€[agter Day 0txWt^

Qfjttrcl) ot Our JI(orti
,/^::^^>^^yrc_

mm %mk
mm
C|)eiDormng)6>erlJtieat lOo'doife
€ift €[bentng jBerbite at 8 o'riotfe

jgpecial fPugJcal Program

t3l)e fPeggtal)

EXAMPLE 200
Program cover page in
ecclesiastical style
 a

V
^Fl

PROGRAMS
"LET all things be done decently and in order." These any other line of printing, offer 0])i)<)rtimit> for artistic
words t)f Paul, while possible of wide application, have treatment, and their production is ]>l(asurc to tlic artist-
peculiar sijjnificance applied t«> the program. The pro- printer who believes significance is an iiii|)(>rtant cKmcnt
gram exists because of recognition of the necessity of in good typography.
orderly procedure "where two or three are gathered to- The key to the proper treatment of ecclesiastical print-
gether." Historically the program has come to us frcmi ing lies in the old manuscript books written in the mon-
the early tinies when all knowledge was transmitted by asteries. Black ink was commonly used for the main
word of mouth. Church services are the result of evolu- portion of books, and vermilion, a red eartli ( nihrica) for
tion from ancient ceremonies, and other exercises t\)r titles and important parts of the text. In tiie writing of
which programs are used originated in the far past. Missals (containing services of the celebration of mass),
Pn)grams familiar to printers could be divided into of Psalters (cntainiim tin- i)salms), and of Books of Hours
four classes Programs of sacred services, dance programs,
: (containing |)ra\ trs aiul offices for the several hours of
banquet programs, and programs for various entertain- the day), maitt-sc crosses and uncial capitals were written
ments. In this order they will be considered. in vermilion. Uncial cajjitals are now made by several
The historical side of the program of sacred services type foundries as Missal initials, Caxton initials, Sylph
should not be overlooked. It is a mistake for printers to initials, etc., and maltese crosses are easily procured. As

produce church programs in the same style of typography black text letters were also used (m these missals and
employed on secular forms. Church programs, more than psalters, the tyjie-faces now known as Caslon Text,

©orning jSraper. ttje r^olp communion fxm lIMon— Exodus, iht Twcllih Clupitr. Tweniy-riehi Vtrstj

anD Sermon c..,-

«.«««.-. c
bnent IrtWn— Sj.m M«thew. ihr Twmir^i MhOao,.,

Jor4.«
Organ prtluCc Offcrtotf ant^tm l.U«-u,C
CuDd Oflcnnry lor Ej'ter Day.
S,..«r
cum am*^.-" A..W. Tho. *.. s>«P«.
SKtintr
4IU61VM

1 Caatet anthem ^"^^rSh*^ ^.t^^ M ESUS li«J I tb7 Krrors now Jbm livM lom bam know^j

Proper IHilms li . Iv.u. Cxi.

Gloria patrf Er5£r?J^ii°^i£

Ce 3^cum Lauliamuti IL'mS .1™!° J s 6 I Cor «»•»•

ol- J.

guWlatc ©CO
a«tlpti(m
• Pr^« Cod from ""o"'^^^
5nttott ant^era ^^^^
'°
^i^'^"'^'^ '"'".''R'Sb^'s ^nctust Ijolr Communion
'-f^- *'"^'"
Chr.st^~».-.^..=^»^
(Juc^arigtic
Hymnlio. Brown
CH«aT ^n ^i)"^^*'!^
toi svjjc
,^ ,^
©lotia m Cjrtelgig I
Nb nam. O Fuher mi
'"'' '^'""'"
6l?tte eietwn
Wirrtn
PUm Sotig. - - - -
^unc ©(mitti«
©lortaCibl Tte on. Iivt. pure, imm
PUu. Song. ... - Coonod
lattegjitonal
^rmnlii "^mo.mn"
^''"'"'-
'"'''f^ll.vin

Rimbaall
©toan jSositluDe
^cmum br t^c Hrctor

EXAMPLE 201 EXAMPLE 202

ing An almost perfect specimen of church program printing, showing

 '

92 THE ART AND PRACTICE OF TYPOGRAPHY

Cloister Black, red lines
Flemish Black, which are a
etc., being l^rominent
copies of these part of the
©erbiceg in Oebication of
early text let- page have
ters, are ap- historic sig-
tfje Qorttmingter Qnibf-
WEDNESDAY, THURSDAY
propriate faces nificance.
for display Now grown terian Gfturcl) :: Dctoaorfe
portions of to possess
church pro- decorative
grams. Text value, they
letters were originated
long ago dis- thru the
HOLY WEEK continued for necessities
body purposes of writers of
in English manuscript
printing, books, and
AND WEDNESDAY hence they were orig-
have become inally guide DECEMBER
unfamiliar to lines for
the general writing.
reader and it They desig-
GOOD FRIDAY

EASTER-EVEN
is not desirable
to use them for
nated the
position of
_ 1

such purposes. the page

A roman letter and the e Crittenden. New York
such as Caslon lines of let-
is the best ters. With the ancient churchmen the maltese cross was
companion for the symbol of Christ and today also these crosses have
WEDNESDAY EVENING PREACHERS
these black that significance, altho to a great extent they are now
text letters. considered merely as ecclesiastical decoration. The square
The Church device in the center is in the Celtic style of ornament.
of England, The significance of the design lies in the decorative cross
EXAMPLE 203 the American and the letters I. H. S. (lestix IIoMiiniin Sahdlor, Latin,
issic treatment of church progra branch of meaning "jesus Saviour of Men"). It may be well to sug-
By D. B. Updike. Boston, Ma which is known gest that treatment of church printing should be varied
as the Protes- sometimes with the denomination for which the work is
tant Episcopal Church, deserves much credit for the modern done. The majority of clergymen will be pleased with print-
development of an ecclesiastical style of printing. Because ing treated in the accepted ecclesiastical style, jet there are
of the custom of using red ink in forms of service, for the some, prejudiced against high church" liturgies and '

parts giving direction as to the conduct of the services, emblems, and others with individual ideas of what is ap-
these parts have become known propriate, who must be con-
as rubrics." It is necessary sidered. The writer recalls an
to mention to printers gener- instance in which the cus-
ally that when colors are used tomer, an Episcopal clergy-
on programs or books of ser- man, objected to what he
vice the "rubrics" should be called a Latin" cross, used
in red. This treatment is il-
lustrated in the page from the
marriage service shown as Ex-
ample 146 in the chapter on
QOME, Holy
^ Spirit, God <mi Lord
as an ornament on a title-page,
and was satisfied when a mal-
tese cross
the purpose.
was substituted
Many church
for
jjro-
grams which now appear com-
I
'
Books," which also shows
On theMieverVS "ojwu'r"
an uncial initial. When only To .trengthen, save, and make a. whole. monplace would take on a
black is used it is customary
to set the rubrics in italic.
S iWe w"* do°s?^eo ISfte"^'"'
Th^toThy p™ise""Lid7he°saDg.
churchly aspect if rubricated,
even tho that be possible only
ExAMPLE200(lnsert).— This Thou strong Defence, Thou holy Light, on the title-page.
Teach UB to know our God aright,
title-page presents a modern
The Word 'oTlitl mi trnTh i^pSt :
'
The example under consid-
interpretation of the historic eration (No. 200) it will be
ecclesiastical treatment. The But jSia for ol't MastOTOwnf noticed, is constructed on
black type-face is Caslon Text, squared lines, a shape dictated
'

and is a copy of one of the He"? S to wait with°rS.dy flTt" by the large decorative device.
early manuscript letters, as be- r.5L','^sfgSru':?^i'ihT=-' While the page as arranged is
fore mentioned. As pointed interesting and fairly harmoni-
Gothic has become the ac- Sllh^t aTdTeaTrTX/r.urse , Au.en. ous, the pointed letters in the
cepted style of church archi- type lines would blend better
tecture, so pointed Gothic with a device of the pointed
type-faces have been adopted Gothic kind, or, again, the
for church printing by typog- squared device would be in
raphers who know. Uncial ru- closer harmony with a squared
bricated initials as used on this type-effect such as could be
title-page are known commer- obtained with roman capitals,
cially as Caxton initials. The Generous margin e pleasing EXAMPLE 201. This page —
 —

PROGRAMS 93
presents an excel- astical ty-
lent suogestion for pography,
the arranorement of t r e a t s
a program in which church
numerous small programs.
titles appear. If Here is an
each titlewere set Updike
in a measure the page, from
full width of the a program
type-page, as is fre- of Lenten THE DANCES
quently done, the services, ar-
matter would not ranged in
come into one the simple,
page. The arrange- classic style
ment as shown not of typogra-
only economizes phy that he
space but gives and Bruce
symmetry and Rogers ren-
tone, which other- der so well.
wise would not be As will be
had. The i>ortions noticed the
in red are well se- main por-
lected tV>r printing tion of the
in that color. There type-page
is artistic value in is aligned

the shape formed at the left.

by the vertical divi- The man-
ding rule and the ner of using

>^„A.^
EXAMPLE 206
page heading.
E.XAMPI.E "202.
This page has not
capitals,
small
itals,
cap-
lower-
card by Edward W. Stutes the compactness of ca s e and
Spokane. Wa^h.
the preceding one, italic is an
yet esthetically it interesting
is more pleasing. It is an almost perfect specimen of study.
church-program printing. As already mentioned, the hor- While ex-
izontal red lines and the black text letter used for titles amining the
have an ecclesiastical motive. Careful dispositit)n of blank page it is
space has given a pleasing tone to the page, which is also enlighten-
helped by the position of the second stanza of the hymn ing to note EXAMPLE 207
at the f(M)t. The type-faces are harmonious, the use of that A.M. Page from a booklet pr
black text, and P.M. are ByC. R. Beran- Denve, Colo.
•

old style in small

roman and capitiilsand that no space other than furnished by the
italic afford- period is placed between these abbreviations or the de-
ing a pleas- grees D.D., Ph.D., etc.
ing variety. —
Example 204. This is the title-page of a small pro-
B >• inclu- gram which was in booklet form, a page being devoted
ding in the to each event on the program. The title-page is in missal
color the style, with cross rules and uncial initials. The spaced Pahst
initial let- capitals at the foot are not sufficiently strong in tone to
ters and the balance the upper part of the page. Perhaps tlie effect
title "Holy would be better had the missal style of treatment been
Commu- extended to the lower jX)rtion of the i^age.
nion," all —
Example 20,5. This is the second page of a small pro-
parts of the gram used at the laying of the corner-stone of a new
page are church building. It would have been possible to get all
blended the type matter on one page, but crowding into small
and Mated. space is often done at the sacrifice of beauty and this
Example program profits by the liberal margins. The rule lines at
203.— The the head were used to obtain uniformity of page width
printer may and hight. The outline t\pe ornament gives ecclesiastic
be naturally dignity to the i^rogram. The two-line initial at the begin-
curious to ning of each hymn adds style and finish to the typography.
know how a
typogra- The dance program is a far step from the church pro-
pher such gram. The contrast between the subdued and reverent
as D.B.Up- atmosphere of the house of worship and the gaiety and
dike, who is frivolity of thebrilliantl.v lighted ball-room emj)hasizes
known to the necessity of printers using their best jwwers of dis-
specialize crimination in treating the various programs that come
UocoBventional on ecclesi- to their shops.
 THE ART AND PRACTICE OF TYPOGRAPHY
The dance place a dot or
program small orna-
should be ment between
dainty. White words of a let-
seems to be tered design
more accept- for the purpose
able than a col- of benefiting
ored stock on the tone. More
which to print often practi-
the order of cally no space
dancing. The at all is placed
type and ink between words
treatment if in lower-case
should be neat beginning
and delicate. with capital
If a bold type- letters.
face be used it Example
should be 207. —A part
printed in a of an outing
light shade of program, this
ink, such as page carries
gray, pale the style of all

blue, pale the other

green, and the pag EXAMPLE 210
like. It is pos- gards border A balftoned decorative backgrouT
sible for print- and head By Griffitb-Stillings Press. I
ers to produce panel. It illus-
attractive trates the effectiveness and economy of uniform border
EXAMPLE 209 dance pro- treatment on a program. There are very few programs
The decorative border on a banquet program grams with the that would not be benefited by decorative borders in
Design by Edward Everett Winchell, New York
material gen- color. But one border need be set in type, duplicates
erally found in being obtained by electrotyping. If there are to be only
the shop, yet stock folders may save wear of the thought a few hundred programs, two borders may be set in type
machinery and probably be more satisfactory to the cus- and printed on all the sheets, running only two pages on.
tomer. Young people are imitative and may be suspicious If desired, a hand-drawn decorative border could be en-
of a dance program which does not resemble those they graved and afterward duplicated by electrotyping.
have seen before it has got to look like a dance pro-
; —
Example 208. There is nothing conventional in the
gram. " For fifty years or design of this dance program. It is different from most
more dance programs have others. The rule lines extend to the border, and the
consisted of folded cardboard heading "Dances" sets slightly to the right of center,
with tassel and pencil dang- supported underneath by the
ling therefrom. The stock graceful flower ornament.
folder is to be had in a vari- Punctuation is omitted. This
ety of designs printed or em- page is recommended for A*.^»*.«>*^
bossed on the first page, ap- dance cards, when the printer
propriate for many occasions. desires to have the job ex-
However, there are shown
three typographic dance pro-
clusively typographic. ^E^^ f
grams.
—
Example 206. An Indian
In the banquet program
the printer has great oppor-
\ ^^^
border was used around this tunity to make use of his in- « 1
1

dance card, but its strong ventive faculties. No other « 0.„-H.^ J

M«.T-WW.-fU-j^.
lines were softened by print- kind of program allows of
B..1.J SJ~.. -«. IU»^ ,^_
ing in gray and red. White such varied treatment. There 1
stock was used. In the head- is no limit to the shapes, the -;— -•^.T^c.
liri^j instead of the custom- type arrangements and the
EXAMPLE 211
ary periods, dots are centered color treatments that are suit-
}
Page from a booklet-program
By Will Bradley decoratively. Artists often able for banquet programs. 1 0™.,.Jdl, I
An association of leather mer-
chants holds a dinner and
i
the members may find beside
^^5^^W^^. ^'OVj^2_l907y^^_
i^a.^ I
their plates a program bound
in a miniature hide, the sheets
of the program attached by a
leather thong. 1
B \
Bir
Bankers meet and the pro- ff
gram may be in the form of
a check book.
For an athletic association EXAMPLE 213
^^-^g<«^.
an oval-shaped program,
suggesting a football, will
"score."
ANNUAL MEAL &' TALK
CITY EDITORS' LEAGUE
m
a
BLUE POINTS LITTLE NECKS

CONSOMME JULIENNE
BISCUITS

SAUTERNE*
BOILED SALMON
SAUCE HOLLANDAISE

SHERRY-
SWEET BREAD PATE
QUEEN STYLE

WHITE SEAL'
STRING BEANS POMMES AU FAIT
ICE CREAM ASSORTED CAKES

MADEIRA'
ROQUEFORT CHEESE TOASTED CRACKERS
COFFEE
*Tl>c wet ftuH may he had at the bar at regular raUi

EXAMPLE 214

Suggestion for a menu page,

introducing a tit or run
 .

PROGRAMS 95
New s - grams. The
paper pub- arrangement
lishers will of the type
appreciate matter is the
the menu customary
list pre- one. The
sented as a minor dishes
papier- are set in small
mache mat- type, while
rix of the the damp stuff Blue Points on Half Shell q ,'

tjpe form. from the wine Mushroom

Cream of Fresh
Commer- cellar repre-
is
Filet of Beef, Larded •JZ';^ .",

cial travel- sented at the &,uterne ^"?;;tr.,.

ers would left in rubri- Sweetbreads en Casserole
be pleased cated text let-
were their ters.
banquet Example
^
programs 210.—A half- Salade du Saison ^ ^','«i"-Am™', Tij t

s designed in toned decora- Potato Ices Fantasie

Assorted Fancy Cakes and Pasti
imitation of ti V back- Bon-bons-Salted Almonds
a mileage ground in olive Black Cotfee
book. was a feature
A liter- that lent value
ary society to this page,
dinner which is one
would be of a number
appropri- of similarly
ately graced treated pages
By D. B. Updike. Boat
were the in a booklet-
program program. The By Charles Ed-ward Peabody, Toronto, Ont.

printed on parchment and wound around a wooden or classic panel

ivory roll, as books'* were bound in ancient times.
'
design makes a good background for a menu page. The
Pyrography could be blended with typography in pro- idea is applicable in many other ways.
ducing odd effects in banquet programs. One way of —
Example 211. This chapter would be incomplete with-
getting results by this method is to print the menu page out one or two Bradley specimens. Here is an idea in
on a piece of soft wood, say a quarter-of-an-inch thick, menu printing born while he was with the American Type
and then, by means of the pyrographic writing tool, burn Founders Company in 1905. It took the form of a small
a decorative border around it. Type ornaments and bor- booklet 2%
by 4%
inches, eight pages and cover, and
ders could be printed on the wood as a guide for burning each page was devoted to one of the dishes on the menu.
the designs. Below the name of the dish was a chap-book ornament.
Many effective menu forms could also be evolved with Altho the small booklet Jias been little used as a form
the assistance of the bookbinder. Pulp board covered with for menu purposes, is has possibilities for development
an artistic cover paper makes a handsome background for that should not be overlooked by the printer.
mounting the menu page, which should be printed on a —
Example 212. Here is a novel banquet program. Each
harmonizing stock. Italian and Japanese hand-made
papers are particularly suitable for such work and when
the style of
typography is
made to blend
with the stock
MuiT.Es c*rt coo SrS2S~£ the effect is
TO.TVE . L7fi»A»cit.t Z^J^llZ^- rich. Domestic
O.L-ETTE DE cZ^K
''"'*'
D HUIT.ES » r.jl^ j_. „» m 3 n U fa C t U r "

ers, too, make

.LOSE BE SAVAWAH PL.Na.EE, »— —.;—.^ —
^ largC HnC of
coMCDii.Es artistic i)apers
AO.EAU EK CAMEtOLlE A LA .^w._«.w- appHcablc tO
- the purpose.
KUUE OE TEME DE .E»UDE E XAM PLE
TE..A,E« A.^ MA»LA«D -^^ 209.— ThlS
5o.iET A^ IC1.SCH ----.^.w— -— pagc is from a
C»»A.D TtTE .OOCE. MAIS F.IT -'~£ZT'-'— bOOklct'PrO-
sALADECTirroNADE
gram, and is
cLAct DE FAMiAisiE ~,„.,-.
companion to
--
ETnrsKju.s F.urTs cAr« noti rs .rj g:g^ Example 125
inserted in a
preceding
chapter. It

;
sets forth the
EXAMPLE 217 ^^^^ «^ ^^e
Dignified style for menu page decorative bor-
By the De Vinne Press. New York der on pro-
96 THE ART AND PRACTICE OF TYPOGRAPHY

Mtm
Little Necks

Consomine Printaniere
Olives and Radishes

Plank d Fresh Mackerel, Sauce Colbert

Duchesse Potaloes

Filet Mignon of Beef, a la Richelieu

New Bermuda Potaloes

Lettuce Salad

Ice Cream Cake

C ackers Coffee Cheese

Rossbach Water
artistic
CominentaJ Cigars treatment
EXAMPLE 222
simulating Refined entertainment pro| m-page
Example woodcut By D. B. Updike. Bosto.
2 14. (In- decoration
EXAMPLE 219 sert) —Sug- suitable for many
occasions is i)resented by this page. The
sal style adapted to a me {^ested for a four initial letters give the ai)pearance of a decorative
By Will Bradley menu page heading and blend well with the border. It is appropriate
in two col- that capitals should be used thruout the page and that
ors. Banquets are occasions of gaiety and enjoyment, and the type-face should be Old-Style Antique. The florets
humor is appreciated. Displaying choice drinks i)romi- dividing the dishes distribute the color pleasingly. This
nently, and then in a note at the foot calling attention to program having been used by an organization of mechan-
the fact that they may be had at the bar at regular rates, ical engineers, explains the queer wording of the grocery
is a bit of fun that has not been widely perpetrated. list.

Typographically the page is refined yet is sufficiently dec- —

Example 219. Bradley suggests another good arrange-
orative to appeal to a large class of customers. ment in this page. It is simply constructed, jet possesses
—
Example 21.5. A classic menu-page by Updike. Roman interestand style. The original was in black and light
capitals and italic lower-case only, are used. Perhaps this brown inks on buff antique stock.
is the way Aldus would set the page were he alive today. —
Example 220. This page has the merit of being
The page as a mass is symmetrical. unique
—
Example 216. This page is from a program used at a while con-
master printers' banquet, all pages being treated in a taining ele-
style appro- m en t s of
p r i a t e 1
y the ai-tistic.
trcdj feljoUi ©iimtr
humorous. The impor-

ax'enu
The word
"Stock"
tant dishes
are set forth
^^..!™1^^
tops the
Q liicken with Fresh Okra page in-
P'Uet of HaUbut Vot-Pie
stead of •RtliSdW Olives Radishes Ceieby
the usual dishes ap-
&OUP Deep Sea Turtle
/9weet Bread Pate, Queen Style Menu," pearing in
"Make- small type JTISI, Baked HAL.Bt/T^
^
8^,o„c^p.
liarded Beef Teaderloln ; up" heads grouped at
(Parisienne »OMt Fillet of BEEF,LARDED,JlftA.*room
the list of the right. Sauce M.^,j p„„«,.
0ttiffed Tomatoes
officers, and Uncial in-
in this man- itials blend Cntxa Chicken CiiouuETTES, Cream Sauce
ner were with the S«»rt Fkozen Podding
Boiled Philadelphia Squab the guests' Old-style Macaroon Ice Cream
funny- Antique Assoeted Cakes
rozen Pudding,
I- Richelieu
bones agi- type. The j^ Cheese
tated. horizontal
;^ Example
217.— Here
rule and the
large flower
». CorPEE

isa program ornament

for those ac- play neces-
EXAMPLE 220
customed to sary parts in
Unique arrangement of a menu page that has eat in a for- obtaining a
ei gn lan- balance.
 PROGRAMS 97

n>ROgRJ.MMS

QUARTET FOR TWO VIOLINS, VIOLA, ^

VIOLONXELLO IN G-MINOR, opus 27 G

A Vn poco Andante— Allegro mollo ed agitatn

B Romance— Andantino
C Intermezzo- Allegro molto marcalo
D Finale— Lento, Presto al Saltarello

PIANO SOLO
BALLADE, A-FLAT Chopin
MR. HEINRICH GEBHARD
III

VIOLIN SOLO
A ROMANCE, OPUS JO Lalo
B MOTO PERPETUO, OPUS 3+ Ries

PROFESSOR friLLr HESS

IV

QUINTET FOR PIANO, TWO VIOLINS, VIOLA,

AND VIOLONCELLO IN A-MAJOR, opus 81
DvoiAK

EXAMPLE 223
Tbese t from an entertainment progra I by Bruce Rogers, Cambridge. Mass.. ial tor study

—
Example 221. The treatment of the titles at the left towards mediocrit.v. The printer who cannot produce a
side and the symmetrical arran<jement at the foot of this good entertainment program has need to study art prin-
example are hijrhly commendable. The details of the ciples and observe the artistic programs being produced
entire page denote the finished t \ j)o;jrai)her. The com- by others. A few productions of this kind are here shown.
bination of capitals and small capitals is pleasing.
Programs for
entertain-
ments and ex-
Program ercises, while

March
P«nJ l^^JL-"
^
not
the unre-
allowing

strained work-
ings of the
Z^d
Association Orchestra
fancy that
those for ban-
Invocation quets do, are
Re». Edward A. Horton yet proper ve-
hicles for car-
Address
rying artistic
Hon. Franklin G. Fcssenden
A-omi. J^„ of .6, Scj,™, Co-,, ideas. The
Seleaion
program
should be artis-
Association Orchestra
tic. The com-
monplace jjro-
Conferring of Degrees
gram is a dis-
Hon. James R. Dunbar appointment
Pr«<l»: E«=J=g U. School Corpor.d=.
to the intelli-
gent auditor
and an evil
EXAMPLE 225 in that it in-
Program page in lower-case fluences the
By Stetson Press, Boston. Mas public taste
 THE ART AND PRACTICE OF TYPOGRAPHY
in its construc-
tion and its
details should
be studied
closely. Cfjaratters l^eprrtenteb

Example
Souttfi Beaton. Jfitef
j 6e tenbeteb in rtEtinify Ctjutcfj
on Jfciftay
i ing €)e«m6ct tfje eiytKiitlJ, JI.©. &)i)uuiv
programme fo
22 5.— This
page shows
admirable Rahab
m
ffif nebictue (^ii partw
J treatment of a
^Ui((oda ^""'^
i| Cffottti O magnum <X)fettv'mm brief program. ^I'Lt^L"^!^'"'"'*'

mptattotiat The various Amnon of Jericho

J Cdmmae ^ong: "flfo ue i« 6otn Cmmanuer

Lover of Rihab.
sizes of type
§1Riebet. arc.
are well dis- Nathaniah
3 JiQepCert* ^ong. (Offe ^o?«mian Carof)
tributed, and
l£»fotia in fy«f«i«. Jfrom t^c the consistent Zeman
I 6.prif ffcieon,
a?i660 bi papat a)at«ffi use of roman
I Salmon
|^(Bojart
lower-case is
I 3^ntroit onl> l&.f rif efdeon. JFrom t^r IRequiem .° py'w'j'e'^ich"' '''
pleasing. foshuT"
lojae*
|$ac9 Example HOREB
His companion spy,
Oefcctione from ttje CBcietmoe ©tatocio, 2 2().— The
parte an6 Amorah
i ii
type in this
T^ S}(£ ewcttpt« from t?* worhe of fljojatt
page over-
vJL anb :3Bac? wiff 6« venbtteh wit? orc?«6< Asenath
fraf accompaniment. 3in t()e former t$e corni printed the
I
i bi 6a66etto, or 6aeeet^l)orn6, in tf/e fatter t^e decoration YULEIKA
o6ot Vamore, 6ot? inettumcnte now ofmoet 06* which was in
I
eofrtf, 6ut caffeft for in t^c originaf ecoree of
I pale orange
i t?e works, wiff 6e uecb.
and pale
green. The
decoration Mas
approj)riate in
that the pro-
gram was for a EXAMPLE 228

meeting held „ A well arranged page

„ ...
, Dy Stetson Press, Boston, Mass.
EXAMPLE 227 on the racinc
Program in Gothic style Coast.
By Merrymount Press. Boston, Mas —
Example 227. The Gothic style dominates this i)age.
Excepting the two uncial initials, only one size of type
Example 222. —A
program-paffe by Updike.
refined has been used. That fact alone is interesting, as the re-
In the orifjinal the border was printed from a copper in- sult is remarkablj' finished.
taglio plate on smooth-surfaced hand-made paper, the —
Example 228. The list of characters in a dramatic en-
reading- portion being printed clearly and sharply from tertainment is here displayed in an unusual manner. It
type. Updike's work is noted for the clearness of the is so easy for comj^ositors to set copy such as this in the

print. Just enough ink is carried conventional type-leader-tjpe

to prevent the print being called method, but this compositor has
gray. Of course the type must arranged it to conform to the pro-
be clean and unaffected by wear, jjortion of the page.
the ink well ground and the im- —
Example 229. A neat page in
pression firm. Caslon type, additionally effective
Examples 223 and 224. These — Forefathers^ Night because of the contrast of black
two pages by Bruce Rogers should and white. The border was orig-
have interest for every printer Social Hou» inally printed in light blue.
who loves good typography. The KiKOSLEY Hall, fhom 4-30 Besides the kinds of programs
zinc reproductions of these pages, treated in this chapter there is
SUPPE.
also that of the preceding ex- another often met with by the
ample, fail to present the sharp
Fo.D Hall, 5.30
printer —
the program containing
print of the originals. Roman Topic for Discussion:
small advertisements. The theater
lower-case is absent from this program is the most common of
program. Rogers and Updike, Inbtrilantt of the Modern Pilgrim" this class, and in its design there
with Aldus, have demonstrated is little if an J' art. The advertise-
that roman lower-case is not es- Music BV THE Empire ORCH1..RA ments are usually set inside of
sential to tyi>ography. Perhaps shaded panels, composed of heavy
that is why their work has dis- rules at side and foot, an arrange-
tinction —
other printers set most ment that crudely forces the ad-
of their type from the roman vertisement upon the attention.
lower case. There may be value in this, but
On the title-page the features to the refined and artistic eye
of particular interest are the long such effects are repulsive. It is a
s in the word
'
'music, the swash
'
' pity that artistic typography is
italic capitals and the woodcut not prevalent on theater pro-
•
EXAMPLE 229
ornament. Neat treatment of a program grams as they exert large influ-
The program-page is interesting By B. A. Thunberg. Boston, M. ence in forming public taste.
W^ ^^ve displayed on
oar coonters an excep-
tionalH rare and stylisli

line woolen fabrics

of
for Men's Topcoats. Our
buyind agent bas Just
tiirae4 from London
d Paris witb exclusive
^iesigns for tbose wbo
desire tbe lat^t style in
iported fabrics* These
goods are recommended

Kennetb B €0.
 —

^H
ANNOUNCEMENTS
PUBLICITY seems essential to success in every business which proves that in the heart of the most proud and sensi-
and profession. Because of lack of publicit.v success was tive artist there is a feeling tliat he needs publicity
denied to many a genius who went to his grave unap- recognition, if that word is less offensive —
in order that
preciated. The publicinterested in the man who does
is his life work may be successful.
things, but this is obviously confined to the
interest It isfashionable for i)rominent persons to employ press
man who it knows does things. The great men are adver- agents, and goings and comings and doings are told the
tised men. The great deeds of history are those adver- public at every opportunity. In the days before the devel-
tised by poets and historians. Shakespeare made famous opment of newspapers and other typographical mediums
many ancient characters, and the most famous acts of for advertising, the people depended upon the public
the American Revolution are those performed near the crier to make all sorts of announcements. He would at-
homes of poets and writers. We would, not be familiar tract a crowd by sounding blasts with a horn or by ring-
with the rides of Paul Revere and "Phil" Sheridan had ing a bell, and then make known his message.
they not been advertised by poet and printer. The modern representative of the crier is the printed
•
Recently in New York an influential art society recog- announcement. It is not confined to any definite size or
nized the work of a mural painter by awarding him a shape, yet often consists of only one page, printed on
medal. But the artist remarked that the recognition came card or paper stock.
too late in life for him to "use it as a help to live with," The announcement form may be considered the most

AN ANNOUNCEMENT OF THE ment, more especially, church printing,

CURRIER PRESS © NEW YORK music programmes, announcements for pub-
Verett R. Currier and lishers and merchants, catalogues of art
FredVV.Goudy announce colledions and private libraries, and sim-
the establishment of The ilar work, in which quality and character
Currier Press at i 14 East are desired.
enty-eighth street. The
Printers are men of long
experience and training who have made a
study of the history and uses of printing,
and seek to apply to modern requirements
some knowledge of the principles which
made the work of the early masters so pre-
eminently satisfying and enduring. Mr.
GouDY, as a designer of letters and book
decorations, has a wide reputation. Mr.
Currier has been associated with leading
master printers, notably, D. B. Updike of
the Merrymount Press (Boston), and for
the past two years with Bruce Rogers at
the Riverside Press in Cambridge.
With a small but highly efficient equip- ROOM 306 TEL. 466 I MAD. SQ^
:

ment it is hoped to produce printing the I 14 EAST TWENTY-EIGHTH ST.

EXAMPLE 232
md artistic announcement folder, printed in black ink on brown-tinted
 ;

100 THE ART AND PRACTICE OF TYPOGRAPHY

of words and lines, and size and kind of stock.
This class of work allows of no original or dec-
orative treatment. If other forms or treatments
are desired a standard art type-face, such as
the Caslon, should be used. Many compos-
itors err in combining copperplate-engravers'

D
in advance,
gB:
kbuildcrs,
At the first
Monday, F
ption for membership
and exclusive of the
rrrAt present the club numbers
[
ring

was fixed a t $5.00, p

one hundred and ten

of The

mem-
faces with rules and borders, or in other ways
misusing them, for such results are neither
flesh nor fowl," as the saying goes.
There may be those who do not agree with
bers, and it is planned to add to the present quarters a large
this view, clainxing that while engravers' type-
room for writing and lounging, and ultimately to take the
• • " - The Bookbuilders faces are imitations of another process, there
hich w.ll be Kprci are other type-faces which are also imitations
cerned in the practical a)
in their way, notably the Jenson face, which
ding.
room has been well decorated and comfort- is based upon the lettering of Italian manu-
ably furnished, and the club is indebted to two of its members, script books, and Cloister Text, which is based
Mr. Alexander Drake, of The Century Co., and to Mr. Dan
upon the lettering of German manuscript books.
Beard for the loan of many antique utensils and pictures.
I'ififThe popularity and good fellowship of the lunch hour The difference, however, is this: Typography,
grows daily, and the rapidly increasing though carefully selected altho originally an imitation of the work of the
membership bids fair to put the club itself on a very lure
letterer and illuminator now "stands upon its
foundation.
ririTThe committee is anxious to print the club rules and Use of
own bottom'* as an art and craft. Type-faces
members, and therefore asks you very kindly to send in your ap- based upon the old letters are not mistaken for
proval of the arrangementMO far made, and to enclose your sub-
hand-lettering they do not deceive. On the
;
scription (check is preferable) with the form herewith attached,
payable to the treasurer. other hand, the engravers' faces are imitations
Fraternally yours. and are meant to deceive. The printer is flat-
tered one rubs the face of a job printed by
if
The C"
him if it is an intaglio print. Imi-
to ascertain
MARCH SATURDAY NIGHTS F. H. HiteAoe
Chiir tation of engravers' work, however, is gen-
J.
T. Utodliy erally of a kind that allows of no such doubt
it is not good imitative work, neither is it
W.S. B<.«r/5
W. A. Ne/wor; good tyi)ography.
I. H. Offord

;prfntci) at Cl)c 'Boolibuiiactis

^^op being J5umbtr ^cfarntj
ribt fm^ abcniic /Jcto porR
ta iHarcft Nineteen li)iinDteD

EXAMPLE 233
Announcement in Colonial style
By A. F. Mackay, New York JTools :feagt
Himiteti Ctiition Be lujce
personal of the printed mediums of publicity. indje
It presents a direct, individual appeal or invita-
tion, and the recipient, influenced by this fact, Boofilmiltiers; 9[llej>
is likely to give it more careful consideration i^atutDa? tl^t last bap of fH&x^ at 6:t3 sifiarp

than some other form of advertising. Recog-

nition is flattering to all of us, and upon »aj!23!&^ tour tetbed, beet gltln, carfis an&
'» b(ll(arD0 an& bring ^ucmagnffFiiiganD
receipt of an announcement we are apt to feel i bimCnlsftins glaMca, ann micromctets anS
pleased that our patronage or personality is c caltpcTS, ant) rules an!) guagee, aiiD ecalcg
' anO balanceg, aiiO trr anB Determine t^e
thus recognized. ^^, ^J (oolbaluc of rout nc(gl)l)or'B boolibuHDing
calibre. < i » cfbet? JD "B f todl come to
The printer is depended upon by most SS^^JTr^
Wi£<^T T ,^j jgQQ jtgmj, jfjagt fgm of fun, figbtanB
customers to furnish suggestions for the phys- ferorttr anB eberr fool t^lng bf eayg or Doeg tolll be fool? for-,

ical make-up of the announcement, and is

glbttt. >" < < Jfor tftlg one nlgtjt ebcrt square ©13 f todl
babe t^c gubUnic opportunity of ebotofng bfmacif (n bid true
also frequently asked for advice in regard to clown color*. ' < f Cbe early ©
'B f -0)111 gtanB a tbance of
jetting a clown tocBtail but be Will Ijabe to ma6c it bintfeU.
the phraseology. This places a responsibility i,[v: : net
upon him that he cannot well ignore, and he
should be able to respond with proper sug- ^\)t -BooftbuilDcrB reserbe tbc rtgbt to aB.
bance tl)c price of ebery seat after
gestions. Being thus qualified to assist the cus- tbe feast i)as begun.

tomer has many times led to further and

profitable business. The printer possessing
the confidence of his customers has an asset
of great value.
^^
The most common form of announcement is
that printed from roman, gothic, text or scrijit
type-faces in imitation of engraved intaglio
printing. The styles of this form of announce-
ment change slightly with the fashions in
copperplate effects. Printers desiring to do
such work would do well to obtain samples EXAMPLE 234
from one of the leading society stationers and Odd treatment of
follow them closely in arrangement, spacing By T. M. Clela
 mvM\\
mptiim of
JaJrifs for

^ilorini

S^flornm^^^liarfm^

Attractive announcement pafje, lettered by George A. Sims

Courtesy of the Ruskin Press, New Orleans, I^.
 :

ANNOUNCEMENTS 101
Ex.\MPLE 230 (Insert). —
Dark stock presents difficulty to
the printer. Black ink on white stock is an easier problem

LADIES DAY than white ink on black stock, in spite of the claims of
impractical theorists who are enthusiastic for the latter
YOURSELF AND LADIES ARE IN- combination. Yet, artistically considered, the effect of
VITED TO HELP MAKE MERRY black on white is not pleasing. The careful book printer has
AT THE OPENING DINNER OF his paper slightly toned with color. The artistic job printer
CLEAN AERIE NUMBER SIX AND softens his inks to lessen the contrast. On a dark stock
SIXTEEN AT EAGLEHURST ON SUN-
DAY THE TWENTIETH OF AUGUST, contrast between ink and paper is likely to be small too —
NINETEEN HUNDRED AND FIVE. small unless careful attention is given to the selection of
AT ONE OCLOCK IN THE AFTER- inks. The darker the stock the lighter the ink required.
NOON. MUSIC BY KEATING S FULL Light ink, unless absolutely opaque, is affected by dark
ORCHESTRA. SEVENTY-FIVE
CENTS PER PLATE papers, much as if a small portion of dark ink were mixed
with it. When light is not reflected by the paper it must
be by the ink priiated thereon. The exam])le under con-
sideration is printed in colors lighter than the stock. A
type-face with heavy strokes was selected, that sufficient
color would be impressed on the stock. It is well to keep
in mind that types and borders of strong lines should be
used when printing on dark papers. Hairlines appear
weak, if seen at all. The arrangement and design of this
announcement form is adaptable to mailing cards, blot-
ters, folders and like purposes.
Ex.\MPLEs 231 AND 232. —
These are the first and third
pages of an announcement originallj' printed in black ink
on brown-tinted, hand-made paper. The type-face, Caslon,
was sharply impressed into the stock. It may be advi-
sable to state here that all Caslon romans are not alike.
The face usually sold by typefounders has the descenders
shortened, that the letters may conform to the system of
alignment now in general use in America. This shorten-
EXAMPLE 235
ing of descenders, seemingly a trivial matter, affects the
nd aymmetrical arrange
oi in announcement page general appearance of the type-face. Attempts to "im-
prove'" the Caslon face are apt to end disastrously to the
effectiveness of the letter. It has characteristics that are
Of course, it is easier to set announcements in tlie con-
ventional copperplate style than to work out an art-effect
with honest type-faces. The first method does not require
brain exercise, while the second does. If tlie customer
requests a copperplate effect, {rive it to him as closely as
you can; that is good business policy, and is in accord-
ance with the sound advice to "Do your best, no matter
what the circumstances," and reminds one of the old
rhyme
If I were a cobbler, it would be mv pride
The best of all cobblers to be.
If I were a tinker, no tinker beside

Should mend an old kettle like me. Clf vou tntrnd to ittomt this

^ummpF, tuhy not itvmQt to liaur

But, whenever possible, get on higher ground. If you
onr of OUF df roratops rail and stt
must be a tinker, be a good one, but rather be a i)roducer
of new things than a builder of patches and something gou Piaht auiap— Ijpujm bp com-
that is "as good as new." Printers should test their earn- pptpnt to offPF, suggpst and shoui

estness with tasks that develop their art instincts and, 90U nrni tuaps and idpas that
along with proper financial return, bring that satisfaction uiill IntPFPSt and ronoincp pou
that comes from work well done.
that uip haop porrp (arilttp (o; thr

handling ot this rlass o( luork

THE NATIONAL ARTS CLUB

ASKS THE HONOR OF YOUR COMPANY IN THE CALLEI
119 EAST NINETEENTH STREET, NEW YORK CITY
BETWEEN TWO AND SIX IN THE AFTERNOON
FEBRUARY I9TH TO 28tH AND
BETWEEN SEVEN AND TEN IN THE EVENING
THURSDAY AND FRIDAY, FEBRUARY 20TH AND 2 ST AND I
J
JNDAY AND TUESDAY, FEBRUARY 24TH AND 25T
V AN EXHIBITION OF ADVERTISING ART

EXAMPLE 236 EXAMPLE 237

c arrangement based upon the architectural inscription Typography suggesting the thought
plate. By Benjamin Sherbow, Nct*- York reading portion of the annou
 H

102 THE ART AND PRACTICE OF TYPOGRAPHY

essential to its

beauty, and ^m^m m^'^

i"^ ^"^"^ o°^'^
shorn of any
of those char-
acteristics it
'M ^ M. WE%mE1l & CO
loses attract- {•4 CJILL JlTTeKTIOK 'CO 'UH^I'H
iveness pro- S6L6CTIOU^ OF KI'D QL0V6S
^•^^ -^
]>ortionately. ,„ color rfr.c« .nd v.^- b.«.mir„
FO'R W^OJW(55V:. WHICH mCLUDE
This an- 'CHE V^SW^ST IT>6JS /5V:
nounce m e n t njr> (globes
folder of a COLOnrnQ yi3V:T> STITCH lU^Q
quality seldom
attained in
is

a cludinj • d«lic»te cobr for wtning

1-4
«-4
t-4
WITH JK yl<MTL6 Vjni6TY
OFTH6 ^0116 STJ'PL^ STYLES.
printing, de- 1-4
pendin"' as it 1*4
FOU OUT'DOO'R US6 T)U%I^Q
OX^-^ r^^tr:^t-or
••^ ^4 THE WI5\CT6'R S6J SON. yl
does upon de-
tail in tyi)eset-
tinj>- and press-
n MS.

^.^Haccfii
,ng .nd comfort <o .h. weitrcr

%%
CO^M'PL^Te LI0\C6 OF WOOL6K
GLOV£S J1KT> KIT> QLOVeS.
work. Tiie re-
i3/^ .n^r^TlTw LIIACET) WITH FLEECE. WOOL.
production can
l'v:"l,e'„n«.
%%
not ])resent SILK on FWR. JTiE SHOWU^.
tlicse points, ^anbkerctjiefs
X% ATTENTION IS JLSO INVITED
because the tt ^UF>
TO'CHEITICHOICE JND VARIED
finish of the
ti
^2^
••^ •^ i:,r^d-r:t;ir„.t,r„
Arm..,»n Uc. edge., very d.«,.y
%%
t*4 SELECTIONS OF ^EN'S J1NT>
pap ^4
c1earnes of ^•> 1-4
WOMEN'S HOSIE%Y, WHICH
tlie i)rint, the
^4 INCLWDE STYLES OF SOT
the Eobertgong
spacinji'
S>pecial S>ljokDina
t-4 "PLjlIKJIND EMS%OIDETiED
apportionment r-4
of margins, >4 for CMttt
t-4
SILKAND CjISH^ETiE. JLSO.
the tone, all f-4 CHILDREN'S 'PLAIN AND
RISKED SILK HOSIERY.
counted in the
finished result.
Example
^ ^
233 . — Th i s
^^^^%IZ CvV-:_ Cv}2L^iw*^^
circular-an-
nouncement
in its original EXAMPLE 239
ttracters. An idea that could n treatment, yet from an advertising
form was 9% idopted V )fit to many jobs of printing
I

>biectionable because of illegibility

X 12% inches by Will Bradley Page by Will Bradley
in size, the
paper upon which it was printed being gray-green laid The peculiar black and gray tones of the Caslon orna-
handmade. The positions of the groups of type matter and ments blend well with similar characteristics presented in
the sizes of margins are features worthy of study. Other the massed black letter. The page was printed in ver-
points of interest are the treatment of heading and ini-
: milion and black on buff laid, hand-made stock. The
tial, the use of florets beginning each paragraph, and the effectiveness of this style of announcement is due not
committee signatures. The last-named lines are set in alone to the typography and stock, but to the generous
italic lower-case with roman capitals, Aldus style. The size of the sheet used— good paper and plentj- of it. This
border was printed in dull red, close to the edge of the announcement was mailed without envelops, the double
paper. sheet being folded into thirds and the lower end inserted
—
Example 234. This meeting announcement is of the into the upper end.
same series as the preceding example, but, set all in black —
Example 235. While unconventionality controlled the
text letter without border, the effect is quite different. planning of this announcement page, the arrangement is
sufficiently conventional not to antagonize those
customers who prefer to sail near to the shores
of formality. The grouping of the page is such as
to make it conform to the customary size of the
1^' 's folded invitation. The arrangement of the large
a Social anu IBanqutt toill bt Sell) bp tfjc fetopers group is symmetrical, and its tapeVing lines blend
l^otd Stpofcane. with the shape of the illustration.
intfif a^ootisi) leioom.
of t|)c aaiotlti

JfciDap ebcninB. fi^arcS ttoentpmintf). ninttfen Ijun

—
Example 236. From the viewpoints of art and
dignity an announcement card such as this one is
Wxt\i anU 0fben. from 0f£=t6itt? to tcn=tf)ittp o'clock always in good taste. Its style is classic, being
^titt one Dollar anli f iftp cents pet plate : gou ate arranged along the lines of an architectural in-
scription plate. The border is the reliable egg-
coctiiallp inbiteti to join boitf) U0 on tl)e abobe bate
and-dart pattern and the type-face is Caslon.
Capitals are essential to best results in this sort
2, ^'i of design.
—
Example 237. The point about this page that
EXAMPLE 240
pleases most is its appropriateness. It is good
n panel style advertising, as it is good art, to suggest by typo-
ard W. Stutes, Spokane, V graphic treatment the thought expressed in the
 MESSRS. JOSEPHAND ALEXANDER BONZET
ANNOUNCE THE OPENING OF A BOOK SHOP
AT THE CORNER OF THIRD STREET AND
ARLINGTON SQUARE, WHERE BOOKLOVERS
GENERALLY WILL BE WELCOMED )9 A SELECT
YET COMPREHENSIVE LINE OF BOOKS OF
FICTION AND FACT, INCLUDING BIOGRAPHY
HISTORY, TRAVEL, SCIENCE, TECHNIC, ETC.

EXAMPLE 241
Suggested as an announcemeat rorm

OPIsers of Bood Hlrintingare D nvited

to send ajOlrial lEJrder to|3|rampington

^ nalthamatthe^ignoftheMuritan
s ress where [1 ordham Manor J3 oad
crosses !S1 omson B venue in i3|ingston

EXAMPLE 242
Odd treatment ox an announcement
 ANNOUNCEMENTS 103
reading-
matter. In
this in-
roiir inspection of an
Crhibition
of 0omc first Cmtions anS of some
CUoicc i5ooli3 in fmt anD Clniquc 15inBing0
Decorating ANNOUNCEMENT
ColIcctcS With the utmost carr to Company is

rtprcscnt tl)c Digljcst s6iU announoino-

of t^c bc0t that it has
amtrican, CngUs^ anO frtntft new ideas
SinOtT0 in decorat-
r in jr and
offers the
THE EXHIBITION \v II. L BE HELD services of
its staff of
HOT£L ST.fFFO T{,V decorators.
AFTERNOONS
FROM TWO UNTIL SIX O CLOCK
Church
FROM Text is an
WEDNESDAY THE SEVENTH excellent
TO TUESDAY THE THIRTEENTH tj'pe-face
OF MARCH INCLUSIVE
for this par-
ticular an-
n () u n c e -
ment.and
EXAMPLE 843 the border,
Unusual division into two groups, providing for affording
fold. By Calumet Press. New York
decorative

sufficiently light in tone to allow the text letter to stand

out with pn)per strength. An unusual feature of the ar-
rangement is the alignment at the left of the title line
and signature. The large initial I" in the signature is a
factor in the attractiveness of the page. The rule line on
both sides of the border also adds to the finish. A lesson
learned from experience is that most decorative borders
are heli)ed by the addition of a rule line on one or both
sides, depending upon the character of the design. A study in tone values and margins
—
Example 2.S8. The idea suggested in this page, of
using ornaments as eye-attracters, is a go«xl one. While italic capitals furnishmuch of the illegibility. Compos-
the design as a whole is decorative in character, the ad- itors should use this effect discriminately. Few customers
vertising element is not overlooked. The several articles would approve of it as a whole, yet it has features that
of merchandise are prominently displayed, as is also the could well be adapted for some purposes.
name of the store. In the series of type designs of which
this was a part Will Bradley strongly emphasized orna-
—
Example 240. The rule panel treatment is the prin-
cipal attraction on this announcement card. It is the
mentation. There was a reason for his doing this, as he work of one of the few typograi)hers who have made a
was engaged in introducing new typographic decorative success of the panel style in type composition. Rule
material, but printers doing work for the commercial panel work was in vogue several years ago and some
public are engaged in a different vocation. In attempting good work has been done in that style, but most of the
such designs as this comjjositors should decrease the prom- results have been un-
inence of the ornaments and border, and increase that of satisfactory from the
the reading ix)rtion of the jjage. viewpoint of art. It
Ex.\MPLE 239. —
Originality, eccentricity and illegibil- is a mistake to place
j

ity are all present in this announcement form. The swash a rule in a job unless
the rule is really
needed. It is easier
to use rules to get I5ake pltasurt in ejrtentjs

balance and strength ing to ittaster

than to select and
^Ztau^us (Tlub
(BentUnun's ^l^bt -^ arrange type prop-
erly, but the easiest ttje pritJilcgts of tfjeir
way is not the way club rooms tiuring tfjt
"j Ik smoke-talk of t^ season will be
flr*t
^\6 Club"Jfou5e. on Saturday
aX lb*
of the conscientious toeefe tnt>ing
(flETenlnfj. October seven at elg^t o'clock. worker in any field.
\ C^entertainment will consist of vou- The example under
\

I
6«vllle acts of
fromTfeltb's circuit.
unusual merit, selected

O. CKart. S.cr.(orT
consideration isdone
well and does not
belong to the easy
SB
class. It is worthy of
study, attention
being called to the EXAMPLE 246
placing of the cor- Artistic form for bri
ner ornaments. By A. F. Mackay. New York
104 THE ART AND PRACTICE OF TYPOGRAPHY
was carried out in the entire jjage, the black and white
tones contrasting thruout. No gray lines were used even ;

tile monogram at the foot was constructed of strong lines.

In obtaining an effect such as this it is necessary that
the type-face be of medium black tone somewhere be-
tween the gray tone of the Caslon face and the heavy
s the most Exclusive S I LV 6 T^JVJ 7(6
black tone of the John Hancock or Blanchard faces. It
^or WEDDING GIFTS may be well to call attention to the margins inside the
rule border. The artist avoids monotony in margins. In
rp HE few examples of the new'and ex- old books each of the four margins of a page differed in
quisite U\Iartele that the G
oRHAM size. The foot margin was the largest, the others being
Company, Silversmiths, have been smaller in this order: outer side, head, inner .side. In
able to produce, up to the present time for this announcement page the foot margin is larger than
the consideration of discriminat'"* art lovers, the others, and the head presents the smallest amount of
have emphasized anew the value of individ- marginal space. The side margins were made equal be-
uality in all worthy art work. Each piece is
cause, unlike the book page, this page stands alone.
the produft of an artist trained in the GoR-
HAM Company's own school of design,
—
Example 24.5. Harmony of type-face and decoration
is the chief attraction of this announcement card. Some
established four years ago with the express
of the characteristics of Washington Text in tone and
purpose of reviving the best traditions and
restoring the spirit of healthy competition
stroke are also found in the initial letter and border, and
that under**' the beautiful work of the medi-
to this the harmony is due. Placing of the initial letter
asval metal-workers ^ goldsmiths. Jilartele, so low on the page was a bit of daring, yet balance is re-
as its name indicates, cannot be imitated suc- tained, due to the heading.
cessfully by any of the inferior and purely —
Example 24<>. While only a little folder, x 3% 4%
mechanical methods that are too often used inches in size, this job was exceedingly effective. It was
in an attempt to trade upon the ideas of printed in black on white antique stock. Such a form
really creative artists. could well be adapted to many brief announcements.
—
Example 247. This form was set in tyi)e during the
GORHAM MFG. COMPANY Colonial revival that interested good printers about the
Silversmiths J^w TorJ^ year 1900. Caslon type and Colonial decoration give an
individual character to the page. Colonial effects are not
as common as at that time, and this fact is being quietly
digested by the wise typesetter as he recognizes his op-
portunity. While the crowd is imitating all sorts of new
EXAMPLE 247 ideas in typograj)hy he is holding fast to that which is
Colonial treatment of an announcement page good.
By Calumet Press. New York

—
Example 241 (insert). This treatment is suggested for
the announcement of an opening of a book shop, and it
could be adapted to other purposes by changing the dec-
orative device at the head.
Special
—
Example 242 (insert). It will not be denied that this
arrangement is interestingly odd. It is a simple combi-
nation of Hearst initials, Cheltenham lower-case, and brass
rule, yet the result is such as will attract attention. The
announcement Jl.
form shown could be used as a blotter or mailing card.
—
Example 243. This announcement form, like No. 23.5,
J.eatiing
is conventional in size, the paper upon which the original

was printed measuring 5% x 7 inches. The arrangement (Biltt

of the type page is designed to provide for the fold which
horizontally crossed the center of the page. The division
into two groups, each in a different type-face, is unusual, •^^1]^ ^F "ItttU iHasterpittta"

and the manner in which this has been accomplished is

instructive to the student of typography. The use of a
large initial gives distinction to the upper group, and
spacing of the Caslon capitals in the lower group main- ThT re^"ar° pricT'ofThc
tains the distinction there. This page illustrates two
points recognized by good typogTaphers, that the printed
effect of roman capitals is improved by slight increase of
space between letters, and that, on the other hand, the
printed effect of text letters would be impaired by increased
Cfie American ^ntl)lj»
space between letters. There is danger of too great con-
trast of tone in a page, and had this example been exe-
cuted less skilfully, it would have failed in effect.
—
Example 244. This announcement circular affords a
study in tone values, especially in the original size which
was 9 X 12% inches. The type. Old Style Antique, was
l^etiiett) of Kebietos
^utnttr 13 aator ?latf. fu\o gork Citp
M.
twelve-point and six-points of space were inserted between
the lines. The black tone of the type-face and the lib- EXAMPLE 248
eral spacing found relationship in the black tone and Strong, verbose and stylisK
open lines of the initial letter at the head. This harmony By Trow Printing Company, New York
nooc O O 00

So this bids ye come share a flagon and joke ;

In the Tap Room an evening to dwell

And tarry a while by the fire and smoke
Good Sirs, at the Prince George Hotel.

Opening of the Tap Room

Prince George Hotel
at ig East 2ytb Street, New York City
Thursday evening at eight o'clock

December ig, igoj

00 o c 00

Announcement card
Typography by tKe Hill Print Snop
Illustration ty F. G. Cooper
 ANNOUNCEMENTS 105

The FIRST ANNUAL FIRST ANNUAL EXHIBITION

EXHIBITION OF OF ADVERTISING ART
ADVERTISING ART HE Committee on
Km
Publication of the National
Club invites your co-operation in the
To be held in theGalleries of The First Annual Eihibition of Advertising Art,

NATIONAL ARTS CLUB be held in the galleries of the Club, begin-

ning Wednesday, February 19th, and continuing

14 Gramercy Park, New York throughout the month. You are invited to offer for

advertising designs, posters, covers of catalogues,

February 19 to March i, 1908 booklets, folders or pamphlets, covers of magazines,
entire booklets, and any other specimens of art applied

Designs vill b chosen on their

iffectivc ai

No desii

ten as advertising, unless it s

3 comply with the ordinary rul

which is typographically artist

Firs

—
f^XAMPLE !248. Strong, verbose and stylish, this page black and light olive-brown on buff-tinted laid antique
impresses one favorably. Its effectiveness is largely due paper. No embellishment is used, but none is needed,
to the border treatment, the decorative initial also lend- the treatment being sufficiently artistic. The arrange-
ing to the good result. From the viewpoint of legibility ment of the first page is uncommon. The lack of margins
the panel containing the initial should have been larger around the type group and the absence of print on three-
and those at the right and the foot, smaller. Space is fifths of the page would be counted by some printers as
wasted in the last-mentioned jianels that could be used mere eccentricities, yet to others these things spell art.
to advantage in presenting the message in the main panel. Compositors interested in this arrangement should notice
The type-faces are harmonious. The heading having been how the phraseology is made to fit the type lines. The
lettered in close imitation of the black text letter used advertising element has been considered by the designer
for display in other parts of the page, a consistent style along vdth esthetic requirements.
of typography has been maintained. The double line of capitals at the head of the second
—
Examples 249 and 250. These are the first and sec- page was duplicated on the third. The second page shows
ond pages of a large circular announcement, printed in simplicity and legibility that is admirable, the liberal
margins and the three-line initial
being noteworthy features.
Example 251. A blotter was the —
vehicle that carried this announce-
THE. PRINTING PRESS ment, which is in the rugged Colo-
nial style of typography. The tone is
offers its services to all such as love pleasing, as is also the contrast of
beautiful and consistent typography white and black. The ornament
blends in shape and style with the
accompanying typographical treat-
ment.
Example 252. This announce- —
ment-circular is an art product. It
rates high in tone, balance, sj'm-
metry, and other qualities which go
to make an artistic job of printing.
Number 214. Seneca Street, Cleveland The original was in three printings.
The letter T in the initial, and the
palette, were in orange-red. The
background of the initial, the para-
graph marks, and the inside of the
outline letters in the signature grouj)
 .

106 THE ART AND PRACTICE OF TYPOGRAPHY

printers of
the United
States as
" C li a p - HOLIDAY ANNOUNCEMENT
book," and WE INVITEYOUR ATTENTION TO
THE DISPLAY OF
the folder
HOLIDAY NOVELTIES
Good Printing IR RETAIL DEPARTMENT

The refinement of printing is printer who

EjH reriefted in the produd of does this
Britton Prinj'ing Co.
[•; style ex-
EXCEPTIONAL VALUES IN GOODS
i dTlie artistic touch is domi- ceedinfjly RANGING FROM )l TO J2
nant in the harmony of effeft produced. ell.
OLCorreaness in style on ail engraved and
BROWN dr EMERSON
WASHINGTON AND STATE STREETS
printed work is manifest. dEach order
[whether an engraved announcement or a

massixe catalog] recedes the same mtelli-

gent treatment. dlOur man\ port-
folios of samples will help announce-
vou make satisfa<;ior\ ment, ex-
selection. ecuted with
exception-
ally good
taste ul

O
refinement
By Lee Crittenden
A smooth,
white hand-
made paper was used for it and the page was printed
(Ue^^'Gllffi^inid toward the fold and head in dense black ink. The use of
florets before the paragraphs was a happy idea, as thej'
give distinction to the page.
The printer's own advertising affords an admirable op-
portunity for developing ideas in attractive announcement
printing. In the production of his own announcement
forms he is not hampered in his expressions by the re-
quirements of customers. He works with the unrestricted
EXAMPLE 252
page i ates high in tone, balance a nd symmetry
tliat
freedom of a Michelangelo and he is responsible only
By Britt on Printing Company, Cle .eland, O. to Art for the results. While Art is a harder task-master
than any business man, and more difficult to please, yet
were in blue-gray. The remainder of tlie pa<>e was in the pleasure that accompanies the study and practice of
black. White linen-finished paper was used. art-crafts-
—
Example 253. Delia Robbia capitals arranged in the manship is

classic inscription style are here demonstrated to be ap- larger.

propriate for announcement purposes. The ornament at If the *[ f(nvn>uncemtwi f
the foot adds the decorative element and is a factor in printer,
the attract- then, in the O&This little brochure is intended
primarily to announce a change in
production directors at The Ridgeville Press
of his own and also set forth the aims of the
work fails new management.
to obtain O^On September first, nineteen
results that hiuidredsix, Earle Nelson Low and

measure up Clarence T. Linstrum associated

themselves as co-partners and will
to art re-
conduct the business hereafter on
quirements the most progressive principles.
he should
examine a^Our constant efforts will be to
produce a class of work which is
himself and irreproachable in quality, to do so
ascertain economically and in the shortest
why he possible time, and to satisfy the
customers' requirements.
fails. With
the fa c t s a^i?riro*/)ec<— EstabUshed in a very
before him modest way as the Low Brothers,
Printers, the business has increased
he should
almost phenominally in the past six
set about to years and has gained a most enviable
strengthen reputation.
the weak
places, and
make his art
on 8' r a .v structure
EXAMPLE 254 stock. The perfect in EXAMPLE 255

innnouncement in chap-book style style is that every de- led. yet attractive typographi
ssling Brothers, New York known to tail. By Earle N. Low. Evanston. III.
iof ^aint 3ioW» ILutftetan €hiiuh
^ea0ton. In tfte Patisb ^ouse tlje^
^
revening of JFefiruarp Ctoentp*tl)itD
[I13fneteennine.
^

AN EVENING OF MIRTH
THE LONGAGRE MINSTRELS
MCSIG HALL ANNEX
MONDAY, NOVEMBER SIX

RESERVED SEAT— FIFTY GENTS

BENEHT OF HOSPITAL

EXAMPLE 258
Stron({ treatment, the motive of modem origin

College Theatrics
Third Performance
Mrs. Trippings
March 29, 1909

Exchange this ticket at 3oA Office RQ^

 'I

saa

TICKETS
IT is said of printers who make no attempt to learn the fections of his own Jobs that before looked good
limduct.
principles governing art typography, that once or so in a to him, now, viewed m\v liglit, are defective, and
in a
lifetime they produce an artistic job of printing. They finally the old verdict reached, "There is none perfect,
is

become much elated at the phenomenon, not realizing no, not one.'' Wliile to the experienced art-printer ex-
that it was brought on by the unconscious introduction pectations of absolutely perfect results are known to be
into their product of art principles. The experience may futile, he tries tor one hundred per cent just the same.
be likened to that of a child who accidentally touches an A man lacks something in his make-up when he is satis-
electric button, causing the room suddenly' to be illumin- fied to be rated as a twenty-five or fifty per cent printer.
ated. The child knows the light is there, but does not
comprehend how it got there. Tickets, altlio only : linute part of tlie printinsi' office
Now instead of being the cause of an oriental hand- product, afford opporti
shake, a good job of printing ought to be an everyday oc- ment of art printinL;.
currence, and the stirring of the waters should be left for themes and styles and t

the bad job of printing is an ii te •esti lo- and in-

when, unfortunately, it hap- structiv. st adv. The corn-
pens along. positoro •h vout should man
Lack of interest is the know an 1 nde •stand these I

reason for non-development

of many printers in the art
HALF-YEARLY MEET various s ty es, t hat he may
be able o ulap t himself to
side of typography. Be- OF THE BOSTON a n V d e ni. made for md
cause, to many compositors, ARCHITECTS' LEAGUE someth i".,ditt rent.-- Re-
printing is merely a means AT THE ROOMS source tu nc ss is a valuable
of making a living, only MONDAY FEBRUARY SIXTEEN chai icteristic forai liter
enough knowledge is ac- to possess,and close examin-
uired to enable them to BANQUET TICKET ation of the nineteen ticket
hold their jobs," or, in forms, and careful reading
the cases of emplojers, to of what follows, should serve
retain their customers. to develop that quality.
Time spent in the printshop EXAMPLE 256 These forms were designed
is considered drudgery and Clas refined for art and literary purposes by the author especially for
the pleasures of life come this chapter.
after the whistle has blown. There are young printers Example 2.5' —It is fittir I,in commencing a series of
who know comparatively nothing about good typography, type arrangem its, first to i low one based upon a classic
yet are authorities on the rules of pinocle, baseball, or motive. The d students of art, yet may be
other pastimes. And there are older printers, too, who new to printer ent be
could write a book about chicken-raising, yet, do not used for many ets on inscription
know when type-faces harmonize. tablets, and t 111 ancient Rome,
Any man who is not interested in his vocation is to The egg-and-- embellishment in
be pitied. Unless his heart is in his work, a lawyer, architectural c )e-face is historic-
preacher, editor, ad-writer, artist, or printer, will not be allv proper, e^- ) capitals, as origi-
successful. naily then- wa 1)11 ^vhat ^ eapitals, the small
Interest may be developed. If the typographer will u!c n- evolved (luring
devote a portion of the time now si)ent on outside mat- the .Middle Anvs. 'I'lu- letters of modern roinan type-faees
ters to the study of his craft, and especially the art side set very close together, and to get projier results the cap-
of printing, his work will become lighter and the hands itals should be slightly spaced. One-point spaces have
on the clock will chase each other. The same concentra- been used in this example. Wiiite cardboard is preferable
tion of thought now devoted to unimportant side inter- to a colored one, on wiiich to jirint this design.
ests would bring large dividends if invested in the study Example ^2,57 ( Insert).—The historic (iotliie or church
of typography. Efficiency is a guarantee of steady work style furnished the motive for the treatment of this ticket.
and good pay to the employee, and an assurance of steady Both border and type-face possess characteristics pecu-
customers and better prices to the employer. liarly Gothic —
notably the pointed form of the letters
The typographer who prefers freedom from care, and and floret. There is also blend of tone, and similar con-
the blissfulness of ignorance, is a poor member of soci- trast of heavy and light strokes in letter and border.
ety. He should line up among the world's workers Ancient features are consistently carried out in tiie ar-
and accept some of the responsibilities. The first things rangement. The lines are set close to the border and
he observes, should he become a student, are the imper- made full length. Contrast is obtained by the use of
 —

108 THE ART AND PRACTICE OF TYPOGRAPHY

Annual Book Exhibition COURSE OF TEN LECTURES

IN THE HIGH SCHOOL ASSEMBLY ROOM
Carnegie Library I. JULIUS CAESAR VI. WASHINGTON
II. MARK ANTONY VII. JAC KSON
Honesdale II. ALEXANDER VIII. LINCOLN
\ . CHARLEMAGNE I.\. GRANT
V. NAPOLEON X. ROOSEVELT

Open 9 A. M. to 10 p. M. Admit the Bearer TICKETS FOR COURSE « TWO DOLLARS

Suggested for e ticket ached

color and the emphasis in type size of two important the border treatment of color inside surrounding rules
phrases. This style of treatment is appropriate for tickets blends with the type-face. Only two sizes of type are
used by churches or kindred organizations. used and lower-case is consistently adhered to. The
—
Example a.'iS (Insert). The style of this ticket is a shape of the main group gives a pleasing symmetry to
modern conception and originated in the art revival of the arrangement, the floret serving well to complete this
the latter part of the last century. The motive is mascu- result. The effect as a whole is bookish, and may be
line and its features are contrast of tone, massing of let- adapted to various literary and art purposes. White or
tering, and liberal blank space. It will be noticed that buff stock would be suitable, antique finish preferred.
while in this specimen the margin inside of border is —
Example 261. There may be an idea here for course
wide, on the previous speci- tickets in which a number
men (Example 257) there of lectures are listed. The
is practically no space in- form as shown is not com-
side of the border. These plete, the idea including
features are necessary in the attachment at one side
the correct interpretation of Old Fashioned Dance of coupons containing the
the respective styles. The Bushwich Hall names and dates of the lec-
motive of the specimen tures. Only capitals are used
under consideration is par- Evening of October I^ine " and the three main lines are
ticularly applicable to tickets / Gi'vi^ by
Ij
aligned at each end of the
for minstrel performances, a^ames of\imerMa measure. The narrow bor-
smokers, club outings, and der gives a finish to the
other affairs in which men, Grand Marth at 9 o'thck general design, which is
mostly, are interested. well suited for printing in
Example 259 (Insert). black ink on white stock.
The color border on this EXAMPLE 262 It would be a mistake to
specimen suggests a means Daintily appropriate in type-face and illi print this ticket on any but
of varying the treatment of white cardboard. A bright
tickets, the extension of the border into two of the corners colored stock would be entirely unsuited, because of the
adding distinction. Such a design as this is likely to dignified nature of the affair and the class of hearers that
meet approval among college students, as they welcome would attend.
•odd and striking effects. The strong italic lower-case is a —
Example 262. Here we have a ticket of peculiar in-
relief from the many more familiar roman faces used on terest to women and the treatment is daintily appropri-
such tickets. Emphasis of important parts is obtained by ate. Caslon italic is an admirable letter for the purpose,
increasing the type sizes until proper contrast is obtained. as it is graceful and neat. Bold treatment and large type
—
Example 260. The treatment of this example may be have been avoided, the main portion of the cop.v being-
described as modern, based upon the Colonial. The grouped in the center and surrounded by liberal blank
Caslon type-face furnishes a Colonial atmosphere, and space. The outline illustration underprinting the type

MASQUE BALL Organ j^ecital

in Trinity Church, Milford
GIVEN BY THE
By the Organist
PIONEER SOCIAL CLUB
OLD BOROUGH HALL professor jgeton Dilson
FRIDAY, DECEMBER 31, 1909 Assisted by the Choir
MEN'S TICKET— 50 CENTS Wednesday Evening, March 17, 1909
Tickets One Dollar >1-
 —

TICKETS 109

SPEND A HAPPY EVENING WITH THE

U
2
n ENTERTAINMENT O
r
i: IN G. A. R. HALL, BY D

< Camp 233, Sons of Veterans JO

THURSDAY EVENING, JANUARY 16, 1909

CO
K O
Oi TICKETS - TWENTY CENTS z
O w
^ QNV saTanoHi hhoa aAvaa qnv

group gives added interest to the ticket and may have ason a title-page. Uncial initials (as are here shown in
advertising value in the suggestion it presents of the eve- color)may be had of typefounders in slight variations.
ning's pleasure. White card would be proper, and a buff White or buff card admirably supports missal treatment.
or gray-blue stock might also look well. —
Example 265. Inspiration for ticket designs may even
—
Example 263. This ticket presents the geometric, or be drawn from the work of William Morris and the Italian
so-called secession style ; a mild example, tho. Because printers who used
the black-toned decorative border,
straight lines form its motive, some call it the mission altho this style should not be undertaken unless the
style. There are possibilities in it for the typographer proper border is available. The one here adapted carries
looking for fresh ideas with which to vary his work. out the idea fairly well. Old Style Antique set to snugly
Right here it nmy be well fill the panel gives the proper

compositors against results, the capital lines also

being necessary to this style.
becoming enthusiastic over
every new style of type ar-
HORTICULTURAL EXHIBIT Tickets for educational and
rangement that may come AUSPICES ASSOCIATION OF FLORISTS art functions especially lend
to his notice. There are men FEHRENWELL GARDENS themselves to this treatment
who in their endeavors to TO and white card should be
JUNE 12 30, 1909
do something to win fame used.
something astonishing and Example 266. —The mo-
entirely original —
set out on form came
tive for this ticket
unknown seas without rud- from observing that art work-
der or compass. The result ers during the Middle Ages
invariably is shipwreck. frequently engraved inscrip-
ADMIT BEARER tions around the margins or
The printer who starts out
to pnxluce typtigrapliy not borders of plates, slabs,
founded on some proved and EXAMPLE 267 doors, and like objects.
tried base, builds a house in Moder pplication of classic type effec This suggested the adoption
the sands that will come of the idea to carry a few
tumbling down at the first test of endurance. pertinent words on an entertainment ticket. Cardboard of
A type-face of squared shape such as the capitals of almost any color could be used.
lining gothic is best fitted to accompany the squares and —
Example 267. Perhaps this arrangement could be
angular ornaments of the mission or secession style. A described as a modern application of classic type effects.
gray slock on which to print this example would be a The display lines are in Cheltenham, a face that approxi-
wise selection. mates some of the ancient Roman lettering, and the treat-
Ex.\MPLE 264. —
This specimen will be recognized as an ment of the ticket as a whole is chaste. The ornaments,
adaptation of the missal or mass-book style of treatment, surrounded as they are by blank space, emphasize the
mentioned in a previous chapter. It is an accepted eccle- classic simplicity of the ticket. The type group is tapered
siastical arrangement, and proves as pleasing on a ticket to give proper symmetry.

EXHIBIT 0/ PRINTS
THE
prepared an Exhibit
Allentown Public Library have
directors of the
reproductions
of Prints, work of
of the old masters, such as Raphael, Titian, Rubens, THE ORPHEUS ASSOCfATION
Michelangelo, Vandyck, Rembrandt, Murillo, etc.,
ANNUAL CONCERT
exhibit to be open for examination every afternoon from ACADEMY OF MUSIC, BOSTON
DECEMBER 6. 1909
FEBRUARY TEN to MARCH TWO ADMISSION-FIFTY CENTS
/ this Ticket at the Hamilton Street entran
110 THE ART AND PRACTICE OF TYPOGRAPHY

ANNUAL OUTING HALLOWEEN MASK BALL

OF THE SARTONEAN SOCIAL CLUB
DOLAN COMPANY SEVERINGTON HALL
EMPLOYEES NOVEMBER FIVE
NINETEEN
FELDMAN PARK, LONG ISLAND NINE
SATURDAY, JULY 9, 1909

EMPLOYEE'S TICKET NOT TRANSFERABLE

EXAMPLE 270
Robus n outing ticket The

Example 2(58. —This is purely a Colonial effect and are social clubs ofall kinds in every city, and balls are
closely follows the an-angements found on title-])a{res of frequently held for which tickets are needed. An ele-
the seventeenth and eighteenth centuries. Hair-line rules ment of interest such as is given by the cab ornament
well separated by space were common in those days. The would surely be appreciated by such customers.
type here used is Caslon, a letter cut in the eighteenth —
Example 272. Occasionally there comes to the print-
century, and one especially suited to Colonial typography. custonur wanting a ticket which cannot easily be
sho]) a
Antique finished card in white and buff is ai)pr()i)riate. aii\(ine with a press and a few fonts of
dui)lieated b>
Example 2G9.— Dainty, refined effects are deinaiided t\ pe. Instead of referring the customer to a lithographer
by certain customers. This si)eeiinen deitionstrates tin- the jjHnter sliould ascertain if he is not in a position to
effectiveness of such treat- produce such a ticket. The
ment on a ticket. Two sizes style of the one here shown
of type (Pabst), all capitals is suggested for such emer-

and slightly spaced, give the gencies. A type border

proper results. The orna- lU/LLi printed in color, forms the
ments are used as symbolic in merchandise if presented Mondny afternoon background. Over this print
decoration.
February 15, 1909, at the Carpet Department the reading matter, and for
Example 270. — The ty-
and a purchase is made of ten dollars or more
the disjjlay lines use a type-
pography of this ticket is face that happens not to be
distinctly masculine. This of Carpets, Linoleums, Ru^s, Oil possessed by other printers
result has been obtained by Cloths or Tapestries in the same city. In provid-
the use of capitals of a robust ing a border for this ticket
type-face, so distributed in
size as strongly to emphasize
WEiT i lEirif PliY a rule with double lines has
been used, thus blending it
the important phrases. Had with the double lines of
this form been printed in one the type face. White stock
color the two type lines now .rfcitins should be selected for this
in color should have been ticket.
reduced a size. It is well for compositors to keep in mind Example 273. —
The corner decoration is in keeping
that when orange is used in combination with black, the with the subject of this ticket, and the arrangement as a
portion printed in orange will be lighter in tone than that whole is suggested for similar purposes. Anj- color of
in black, unless the difference is provided for by bolder cardboard is suitable.
or larger type-faces. Any color of stock excepting dainty —
Example 274'. The decoration of early French books
tints would do for this ticket. furnished the motive for the typographical treatment of
—
Example 271. This unusual arrangement was dictated this ticket. It is submitted simply to demonstrate that
by the nature of the cab ornament. The shapes of the ideas for arrangement can be picked up in many quarters,
type groups are built about it. Were the cab ornament and as a suggestion that t3'pographers go thru the world
not used, another arrangement would be necessary. There with eyes open.

U
r^
U
r^
Bushwick Photographers Club
SEASON TICKET -1908 •^ :5»'^>C: =i^

HOWARD
BASE BALL CLUB
This ticket is

best photographs
good
if
for one dozen
presented for
the purpose of a siLting before
March 30th, during mornings
Admit
^•„,^.„.^....
W| Menton's Studio, 1164 Myrtle Avenue
LJ

EXAMPLE 274
 EDITH BARRINGTON^i
HERALD AMERICAN WORLD
An entertainer •'An emphatic "The audience
of merit" success" liked her"

The Sweet Songstress of Vaudeville

EXAMPLE 277
Suggested as a tkeatrical letterlieaJ

Brannon Printing Co.

Typographers and Stationers
Talladega, Alabama

Dated at 118 East Street_

EXAMPLE 278
A neat IctterKead odclly balanced
 mw.

y
S3a

LETTERHEADS &' ENVELOPS

THE subject of this chapter probably carries more inter- sequent smaller outlay of cash the quality-printer can
est than some others to the general commercial printer, make a profit, while his neighbor, the quantity-printer
because no small portion of his business is made up of the may have difficulty in preventing a deficit. There are
production of letterheads and envelops for all kinds of shops working overtime on printing of the cheaper class,
people. When one considers that the great volume of obtained by underbidding, that find nothing left over
business correspondence carried on in the world requires after expenses are paid. And there are shops which give
millions upon millions of printed envelops and letter- customers a quality of product the\ cannot get elsewhere,
heads he comprehends the printer's interest. Lithogra- in w^hich there is a profit on e\ cry job and a balance each
phers and copper-plate printers share with type printers month on the sunny side of the ledger.
in producing this mass of work, but it is sufficiently dis- In the printing of stationery, then, and in all other
tributed among the last-named class to cause energetic work, select the wise course and print according to art
competition. The repeat orders'' which accompany sta- standards. LTse good stock, good ink and good type-faces ;

tionery printing add considerably to its desirableness, for in learn to combine these elements into a harmonious whole
them the printer s —and get a proper
busy presses. This price for the work.
com petition has
brought in wake The question How
many
its

anxious hours, EDWARD TERN & OMPANY, >nc shall letterheads be

for it has meant low- PRINTERS treated?" is well
ering of prices and PUBLISHERS a ns w er e d in this
d i s a p J) e a r a n c e of cha])terby the more
profit. Profit, in such
^HlLADELPHl than two dozen mini-
circumstances, may be ature repi'oductions,
likened to the friend every one of which
who interferes in a {)resents an approved
family quarrel. Both st.\ le for a particular
combatants turn on j)urpose. Of course it

him and when they is safer for printers

are finished the friend who have not made a
is, also. EXAMPLE 275 study of art arrange-
Printers should An origin srhead des ments, to adhere to
realize that there are imitation engravers'
two ways of meeting competition and that the most familiar effects, but the compositor able to plan legitimate type
— —
one lowering prices is the wrong way. They should headings has moved higher in the craft and become a
read the lives of the world's successful and respected busi- thinker. Let us study the examples before us and draw
ness men, and they will find that instead of lowering inspiration from them.
prices these men raised the qualitj- of their product. —
Example 275. This letterhead presents an arrange-
Raise the (juality —
that is the only way to successfully ment decidedly unusual. Caslon capitals lend themselves
meet competition, for well to the squared
it lessens the number ihape of the type
of competitors and al- groups. It is import-
lows the printer to re- THE HEINTZEMANN PR£SS. BOSTON ant to know that the
tain self-respect. I8S FRANKLIN STREET, COR. PEARL
.-. PHONE «27 MAIN easy and graceful
PRINTERS OF TEXT BOOKS IN ALL MODERN LANGUAGES
The rule invariably lower-case letters
holds that the printer should be used where
who goes after all the an arrangement is
work in town really free and unshaped,
gets most of the un- and that capitals are
profitable orders ;
best suited to squared
whereas the printer groupings, such as is
who places quality found on this heading
above quantity draws and on the one fol-
to his shop the better lowing. In the ex-
class of printing- ample under consid-
buyer. With less EXAMPLE 276 eration balance is
equipment and con- n squared effect retained by setting
nil]
112 THE ART AND PRACTICE OF TYPOGRAPHY
has plenty of margin at the sides, and the
squared device is centered under the t\ jje
group. This is another instance of shape-har-
mony, the device, group and capital letters all
contributing to this result. Black and orange
inks brown paper.
;

Example 277 (insert).— Theatrical letter-

gr-i 35^ ""-'Pap- heads, those used by the rank and file of
players, should be highly attractive. Such
treatment is demanded by customers and the
printer does wisely who gives what is wanted.
A great deal of this work as produced by
printers is open to criticism from an art view-
point, especially in the use of inharmonious
type-faces and inks. Ideas as to fitting treat-
EXAMPLE 279
ment may be had by study of the billboards.
1imposing design from type n
High-class stars appearing in intellectual plays
3y Melton Printshop, Dallas,
are represented by posters dignified and re-
fined in design and artistic in treatment, and
their stationery no doubt reflects dignity, re-
finement and art. On the other hand the lead-
ing lady of a ciieap burlestiue company thinks
. Buxton Machinery Co. her stationery is not properly treated unless
"Second-Hand"
it is filled with halftones, large type and gaudy

colors. Right here the printer can do mission-

ary work for the cause of good printing. He
can give her striking effects and yet keej)
within the bounds of art. The example shown
is suggested as a step in this direction.

—
Example 278 (Insert). Here is a letter-
head that pleases because it combines the
dignity of plain gothic type effects with a
touch of the decorative. The ornament is such
EXAMPLE 280 as to join the heading into a definite arrange-
ment. Gothic is seldom pleasing as a type-
,.Wo. face, but this heading is an exception. In

the first line full measure. The odd positions

Funeral Dir
of the work-mark and the squared type group
add to the attractiveness of the heading and
give it originality. Many compositors would
Illlll W. D.GlLE Jurniture Coffiio md C

Musical Instruments
mistakenly have placed the type group in the
Jewelry
center and flanked it on each side by a work-
Stoves and
mark. Center arrangements are advisable in fli:
Ranges
most cases, but if away-from-center effects
give good results they should be used. This Crarv, N.D.I I

letterhead was printed in gray and orange

inks on white stock.
—
Example 276. Altho this is a lettered de-
Organ.

sign, similar results can be obtained with

type, which should be Old Style Antique or
an equivalent. With the type-lines set close
together and the words moderately spaced an
even dark tone is produced. The letterhead :ral line of goods

the original, black and orange inks were used

on white paper.
—
lorcester ^aleioixlau H lub
Example 279. A strong decorative treat-
ment was accorded this letterhead. There was
only a small amount of copy, but the compos-
itor planned an imposing design. A notched
initial lends itself to the scheme. The list
of officers is oddly placed. Such elaborate
effects are only appropriate for certain busi-
nesses, such as this one and any having to do
with printing, decorating and like art-crafts.
Dark blue and brown-tint inks; brown stock.
—
Example 280. The treatment of this let-
terhead is peculiarly suitable to a machinery
business, and any attempt at art effects would
be wrongly directed. Machinery has never
had the sympathy of the art world, which
 ;

LETTERHEADS fe? ENVELOPS 113

holds that niethanical methods efface the in-
dividual, and individuality it considers as fun-
damental. When Morris printed at the Kelm-
scott Press everything possible was done by
hand. The pjiper was made in that way, the
^^^aiM^crfii ^ptru0n0t
type was set from the case, decorations en- ?;;^.v«^;^iAVi;;o^Ko;x^^^?oj„n^^'^^-^;^:;,*^^^fSSi?
graved on wood, and the impressions of the
pages pulled on a hand press. This j^rejudice
in favor of hand work makes a place in the a!«n«9r««» m».
art galleries for the manuscript book and the
early printed volume, and excludes the book
produced by means of machinery. There is
reason for this prejudice when '
conmiercial-
ists" tell us that many things that violate art
principles are now necessary because of the
EXAMPLE 283
limitations of mechanics. They would make Letterhead for a theater
an automaton of the art-craftsman and sacri- By Lennis Brannon. Talladega, Ala.
fice art to cog wheels. The job printer, tho,
must recognize the existence of machinery,
not so much in his own business as in others,
in the sense that printed stationery for a
manufacturer of machinery, such as the Bux-
ton Company, should be in a severe, business-
like style. The letterhead now being con-
sidered is remarkably well treated, the type-
face, an engraver's gothic, being an important
factor in getting proper results. Dark blue ink
light blue paper.
—
Example 281. A most difficult piece of
type composition is presented by this letter-
head, which is for a store-keeper dealing, in
furniture, jewelry, music, and coffins. As fur-
niture seems the imix)rtant line of goods, that
word is given pn)minence immediately after
the merchant's name, followed however by
the titles of the other lines. These lines are
lines in the center at the head. While such
treatment is neat enough, it lacks individual-
ity. The Caledonian Club letterhead presents
a way of getting individuality into such jobs.
Che louisiana ^tate Bental ^ofiety Lower-case of Washington Text has been com-
bined with suitable square decorative initials,
underprinted with color. In the reproduction
this heading is shown slightly larger in pro-
portion than it should be. Dark brown and
gray-blue inks; yellow -brown stock.
—
Example 283. This heading is well suited
to the purpose for which it is intended (the
writing paper of a theater), and it further car-
ries outthe .style considered in Example 277.
The strengtli of type-face and rule is nicely
contrasted and the spacing and margins care-
EXAMPLE 285 fully adjusted. Black and vermilion inks;
advertised brown paper.
f^xAMPLK 284. — Letterheads with large lists
enumerated at the left side, references to post-mortem of officers give more or less trouble to compositors, and
matters being isolated and grouped in the upper right make it difficult to obtain symmetrical arrangements,
comer. The heading is all in Caslon lower-case, with the Here is such a heading, set entirely in Caslon, with
exception of two lines, these being treated
in caj)itals, small capitals and italic to in-
troduce variety and give necessary prom-
inence. The florets add the decorative ele-
ment. This heading also demonstrates how
it is possible to place a great amount of copy-

without the use of rules. Black and blue-

gray inks; white paper.
—
Example 282. While the previous ex-
ample presents the problem of much copy,
this one opens up the contrary proposition
of little copy. With only the name of a
club and that of a city to be taken care of,
it is customary to set them in two small
114 THE ART AND PRACTICE OF TYPOGRAPHY
individuality is injected by slightly spaoinif
the letters and confining- color to the three
small initials. Gothic (sans-serif) looks well
lewll6e treated in this manner. As will be seen,
plenty of blank space is necessary for right
effects in this treatment. Black and vermilion
inks gray paper. Example v306 shows the
;

envelop which carried this letter sheet.

PaynesvHIe, Minn
—
Example 287. Here an owner of a sum-
mer cottage uses stationery to tell of its at-
tractions, and the type arrangement carries
out the purpose in an interesting manner.
The heading is unconventional and unique in
this respect. Violet and orange inks light ;

blue paper.
—
Example 288. Real estate dealers demand
striking effects on stationery, in order that
their letters, envelops and business cards may
be recognized on sight. This letterhead had
a border in aluminum, and the type portion
was printed in blue and red. The arrange-
ment is worthy of study, as it demonstrates
NEELY & YOUNG that unique effects are possible within the
bounds of sanity.
—
Example 289. The inscription panel style
is here adapted to letterhead purposes with
good results. The linotype egg-and-dart border
surrounds full length lines of Scotch Roman
capitals. Printed in dark blue ink on light
blue paper, this heading pleased because of
its refinement.
EXAMPLE
Unique treatment for
288
real estate dealers' letterhead —
Example 290. The classic motive of this
By Edward W. Stutes, Spokane. Wash. heading should appeal to all lovers of good

roman, italic and text properly blended. Tlie

text letter gives the title distinction, and cap-
italsand small capitals lend importance to the
names. Careful distribution of white space is
necessary on such a heading in order that the
right tone shall be obtained. Black ink white ;

paper.
Example 28.5. —This heading is also a diffi-

cult one. Aside from the purpose of corres-

pondence, this letterhead serves to advertise
a coming meeting of the society. The names
of officei's are grouped on each side, directly
under the title and aligned with it at the
ends. The center group is arranged in such
manner as to connect with the title. Dark
blue and blue tint blue paper.
;
EXAMPLE 289
—
Example 286. There is a dignified, yet nscription panel style adapted t
novel attractiveness about this heading that is By Leon I. Leader. Brattlebor , Vt.
unusual. The light cross rules give shape, and
typography. Its style is something like that
of Example 276, tho the type lines extend
farther toward the edge of the paper, allow-
ing less margin. The letter used, being of
HILE5 & COGG5HALL PRINTERS •
the ancient Roman kind, is jjeculiarly appro-
CATALOGUES. BOOKLETS. OFFICE STATIONERY AND BLANK BOOKS priate for such an arrangement. Two lines of
LEGAL BLANKS AND DOCKETS 205 ST. CLAIR AVENUE, N.E., CLEVELAND type similiarly treated were at the foot of this
letter sheet. Gray-brown and orange inks;
buff paper.
Example 291 (insert). — The attractiveness
of a hand-lettered design is here approxi-
mated in the combined prints of the solid and
outline type-faces known as Foster and Webb.
This is an admirable letterhead for a printing
concern. These type-faces make possible two-
color letterheads for many purposes. White
EXAMPLE 290 ink under black as was used looked particu-
This heading has a classic larly well on blue paper.
—
i

By Leon I. Leader EXAMPLE 292. The designer of this letter-

 .. L. SL/'TCn, SUPERiNTIHOSNT

31 2 MBEmtY STMEET ( ^5 IPOCT^^HMEEFSSl, Mo Y,

EXAMPLE 291
A type design tkat approximates
a lettered beading

t3l)e American Crinter

25 Citp l^all place

EXAMPLE 303
Simple, yet strong treatment
tor an envelop
 LETTERHEADS ^ ENVELOPS 115
head planned to get something different,'"
and succeeded. He did it, too, with the good
old Caslon type-face. This letter has. proved ThelVY ?RESS-Seaff/es Printers
its worth in commercial job work and there
seems to be no limit to its usefulness. Where-
ever it appears there is added quality and
style. By spacing the letters in this heading,
a peculiar tone has been obtained, which
gives the letterhead much of its character.
The position of the lamp ornament is odd.
Black and orange inks on white paper.
E.XAMPLE 293. —
The artist and printer have
combined their talents in this letterhead with
pleasing results. The decoration predomi-
nates, but it has a business significance which
may be more valuable than so much type. EXAMPLE 292
••Something different,"" by means of the Caslon type-fac
Decoration and illustration on a letterhead
By Harry A. Anger, Seattle. "Wash.
must be discriminatingly manipulated or the
effect will be inharmonious. A letterhead
differs greatly from a booklet cover or circu-
lar in the freedom allowed for decorative treat-
ment. The band crossing the Edison heading
was printed in a warm gray, the illustration
and type lines in black on white stock.
—
Example 294. This raa.v be designated a
"twin" letterhead, inasmuch as two separate
\hmMmm
display groups compose it. The double ar-
rangement could be adapted to other head-
ings that present a similar j)roblem to the
compositor. Caslon capitals look well for sucli
square effects. Compositors should observe
how the Y at the end of the main line has
been extended into the margin to retain the

side pieces were printed and embossed in

w HI OTow rr HEADQ .TI.S J J > SUIUVAN B IIDINO SE TTLF TE EP NE IND. ins gray. The type
lines were in black, the first
letter of each word in vermilion. Yellow-

—
INDEPENDENCE PARTY
THOMAS L. HISGEN ftfj

T ~
JOHN TEMPLE GRAVES
brown stock was used. The type-faces best
suited to effects of this kind are those based
upon ancient roman models, such as Chelten-
ham and Pabst. The envelop companion to
this letterhead is shown as Example 305.
—
Example 297. The crossed line panel is
here adapted to letterhead purposes with some
success. The decorative border is a suitable
one for such arrangements and affords relief
from the plain line brass rule. Black and
light olive inks white paper.
;

—
Example 298. In this specimen is ex-
EXAMPLE 294 emplified the attractiveness of Caslon lower-
A Caslon capitals
••tTvin'" letterhead in case, by a typographer who believes thoroly
By Harry A. Anger, Seattle, "Wash. in simple type effects and gets them by means
of Caslon lower-case. There are those who
group alignment. Black ink ; white paper.
—
Example 295. Perhaps an entire use of l

would have been more consist-

italic capitals
ent, yet the one line of roman capitals does
not detract from the pleasure the neatness of
£. L. HlLDRETH & CoMPANr
this heading affords the admirer of good print-
ing. The distribution of color is uncommon,
Books ^ Catalogues
especially in the originals, which were in sev- BRATTLEUORO. VT
eral combinations —
black and vermilion on
buff" paper, gray and pale blue on white
paper, dark yellow-brown and orange on
white paper. The italic short -and ($5f) adds
a touch of decoration to the heading. Typog-
raphers will find that these italic short-ands
look well in display lines, substituted for the
spelled-out "and." The roman short -and (&)
is severe in character and is not as pleasing. EXAMPLE 295
—
Example 296. This is a combination type
and artist's design. The decorative band and By Leon I. Leader, Brattleboro. Vt.
116 THE ART AND PRACTICE OF TYPOGRAPHY
the eye in separating the name of the office
from that of the officer. Black and vermilion
inks; v^hite stock.
—
Example 299. This letterhead is in the
robust Colonial style that calls for strong type
effects informally arranged. It is a style which
few typographers can interpret successfully.
The treatment must have a strong dash of
individuality, yet a step too far may make it
ridiculous. Caslon type-faces and a strong
Colonial text letter are the best suited, and
hand-made papers, or those approximating
hand finishes, are essential. Black -brown and
vermilion inks on a salmon -gray antique paper
was the combination on this example.
—
Example 300.- This is a designed heading
and is shown for the purpose of presenting a
tAo,r.» .Nu MtN s r.sE SHUKS A sr.c.Ai,, 1
1 sample of the so-called secession art. In art
1 1 circles there is much discussion by Gemians

Cbe iSell ^l)oe Company on secession styles and by Frenchmen on

their art nouveau. Both phrases are used in
Louia I«tn6rrg. Wanagcc i
1

designating new schools of art treatment, in

1
1
which the traditions of the classic masters are
'" "-""' "' r...,.,os. ,.. rwo ...OS
set aside and modern ideas made the founda-
j

tion. The secession style applied to commer-

cial designing and to typography seems to
call for a multitude of square blocks and sev-
ered lines, the idea being to use as many
blocks and lines as the design will stand.
EXAMPLE 297 Some weird effects are produced, not unlike
ssed line panel successfully adapted to letterhead purposes dislocated checker boards and God-bless-
By Adams-Brander Company. Kalamazoo, Mich. our-home" motto backs, but occasionally a
design is evolved that is rather interesting.
claim for this letter that it is the most beauti-
ful ever made, and the fact that it is being
widely used after an existence of more than
one hundred and seventy-five years makes Hill Publishing Company
the claim reasonable. Besides the fact that
this heading is all in lower-case there is added
peculiarity in the absence of punctuation.
This last innovation must be practiced cau-
tot Pcirl Strct
tiously by job printers who have a varied Nc« York
clientele, as most customers are formalists
and fear to have their printing different from
Smith's or Jones'. Buyers of printing in
America have become accustomed to seeing
a display line without punctuation points at
the end, and few will demand them, jet it
is a step farther to omit punctuation from be-

tween words. In one instance in this heading

extra space has been added where a comma
would ordinarily be placed, and in another By Hal Marchbanks. New York
italic is used for a portion of the line to assist
This letterhead is of the last mentioned class.
: It was printed in brown-gray, gray -green and

j
gold on white paper. The secession style is
HAT FOLLOWS WAS WRIT BY worthy of study, as are any new or old ideas
in typography, for the typographer who ad-
vances is he who keeps up to date and allows
AT J/0 BRYANT STREET IN BUFFALO no cobwebs or other evidences of inaction to
find dwelling place in his brain-pan.
AND FOR: ExAMPLi!, 301. —
This is a reproduction of a
letterhead printed from an incised copper-
plate. The reason for showing it is to present
to the type printer an example of neatness
and dignity in letterhead designing by an-
other process. Copperplate-engraved station-
ery appeals to many because of this quality of
neatness, and in view of this fact more than
EXAMPLE 299 a passing glance should be accorded the speci-
Letterhead in robust Coloni men. It was printed in gloss black and red
By Hal Marchbanki inks on white paper.
 LETTERHEADS &" ENVELOPS 117
What is the use and purpose of the en-
velop? A careless answer to this would be, to
cover and seal the letter during its transmis-
sion thru the mails. This is its chief purpose,
but not the only one. Post office officials re-
quest that the name and address of the sender
of a letter be i)laced in the upper leil cor-
ner of the envelop in order that undelivered
mail may be returned. In acceding to this
request the business man has taken advan-
tage of the publicity the envelop affords and
utilized it in various ways to the advantage of
his business. It is poor taste to cover the en-
tire face of the envelop with advertising mat-
ter. Publicity advant^ige may be gained by I

more subtle methods. Every business house,

afler careful consideration, should adopt some
distinctive treatment of its stationery and hold
to it. It not only gives an appearance of per- The Cordav & Gross Company
Printers. Engravers. Designers
manency to the house using it, and serves as
Catalog Makers, Photographers
a testimony of its thoroness, but recipients
Cleveland .Ohio
will at once recognize letters from this source
among much other mail. Oliver, the plow- ,

maker, realizes it is to his advantage to have

people know and talk about him and his |

plows, and the National Biscuit Company

would not spend thousands of dollars annually
to familiarize the public with Uneeda biscuit
if there was no value in this publicity. Ac-
knowledging, then, that it is profitable to use
distinctive stationery, the next requisite is Nea
that the envelop should be made of the same
color and quality of stock as the letterhead. Of course, customer the importance of using a good quality of paper
it may be cheaper to use an eight-cent paper on the en- thruout, but at this point, doubly impress upon him that
the printing must not be slighted. The government
prints thousands of names and addresses on envelops for
merchants who think they are saving money by that
Proofs //-^w The Willett Press method. Some printers also turn out envelops in the ma-
chine-slug style of the government's products, and the
Number Five West Twcnrietfi -Street, New York City
result is the mail of one business house looks uninter-
estingl.v similar to that of many others. The few envelop
corners reproduced in this chapter oflTer suggestion of
distinctive treatment that is jjossible on such work. In
each case the envelop had a counterpart in style of typog-
raphy in the letterhead that accompanied it.
Example .SOa is an envelop used solely for the forward-
ing of proofs from the printer to the customer. It has
EXAMPLE 302
A good specimen o{ printer's proof envelop
been found advisable by |)rintshops to have a special en-
Buff stock was used velop for this purpose, which is usually treated in accord-
ance with the style of other stationery used by the firm.
velop than to use the twenty -cent paper the letterhead —
Example 303 (Insert). This envelop corner is closely
is printed on, but does it pay to thrust upon those who related to the letterhead used by the same publication.
receive your correspondence the fact that you are com- These three lines, in the same type-face one size larger,
pelled to closely economize? Printers, impress upon jour appear as the center group on the letterhead.

EXAMPLE 304 EXAMPLE 305

machinery envelop (See irelop -whicli accompanied the let
By W. A. Woodis. Worcester. M is shown as example 296
118 THE ART AND PRACTICE OF TYPOGRAPHY

The. s example 286

—
Example 304. A mate to the letterhead shown as trade-mark when adapted to stationery purposes should
Example 280, this envelop corner is also appropriate for be made to harmonize with the type-face that is to ac-
the business it represents. The line "After five days re- company it. Or it ma.v be easier to blend a type-face with
turn to" is really unnecessary and is now seldom used. The the trade-mark. This has been done here and in Ex-
name and address of the sender in the corner of the en- amples 303 and 309.
velop is sufficient to insure the return of first-class mail —
Example 308. A pleasing and simple treatment in
if not delivered for any reason. It is necessary tho, on Caslon text. Such an arrangement can be set in type in
other than first-class mail which the sender may desire a few minutes.
to have returned, to add the words "if not delivered —
Example 309. Type-face and device blend in this en-
notify . .and return postage will be provided.""
. velop and the squared arrangement of the type lines adds
—
Example 305. The treatment of this envelop is the to the harmony.
same, on a reduced scale, as the letterhead (Example 29(5), —
Example 310. There is an interesting medieval note

%\)t (General ^fjotojprapljtng Companp

1215 TBtoaOtoap

EXAMPLE 309
Caslon t Harmony of device and type
By Ray Greenleaf, New York
and suggests the plan of actually duplicating the letter-
head form on the envelop. struck in the treatment of this envelop. It gives an
—
Example 306. The relation between the style of this atmosphere of distinctiveness that has real value to the
envelop and Example 286 further emphasizes the value business house using it. Orange and black inks gray;

of similarity in the several pieces of stationery used by the stock.

same company or fiiTn. —
Example 311. There is an odd tone obtained by the
—
Example 307. Another specimen in spaced gothic. spaced border and Caslon capitals. This treatment is good
The circle-and-initial device in style and treatment har- for some businesses, particularly the one for which this
s perfectly with the type-face. A device used as a was used, but would be inappropriate for others.
 ^t.3f(lt)n l6ratJ)et0 iQamters.Betorators
(Ernrst 6t. 3|o;)n
JFtfli. «t. 3Iol?n

^atDtuooD iFini$t)in0
^^

9^tcf)tgan I

Ct)e account of

EXAMPLE 314
A decorative style tLat is peculiarly

appropriate to the business

HIXON&TINSMAN
DEALERS SCRANTON COAL
IN SUPERIOR
Poiiilvely No Book Attounti Opentd

jj ^xtg'
|'

-'"T y"« ^
'

Sold to

''

I
Broadway, New Jersey,_ 19 ]

EXAMPLE 315
An excellent Dilmead in the panel style
By Herbert R. Smitk,
WasLington, N. J.
 " : —

r^ iy,-.g=fc^^^ vv-is. — -L.^-7-

BILLHEADS &' STATEMENTS

AN assertion was recently made by the head of a large be in close touch with the composing-room, so that no
commercial printery to the effect that the importance of job will go to the press-room unless it is a creditable rep-
the composing-room has been overrated and that in the resentative of the shop's standard of typography. If it i
production of a job it should really have less to do with not made right at the time of setting, nothing that may
the office than any other department. This modern com- be done for it in the press-room or bindery will compen-
mercial sense of proportion which belittles typography sate for its defects.
and sets above it the processes of presswork and binding
is wrong. There is a story told of a visitor to an art gal- However much we may deride the slavish following by
lery. The guide was pointing out the paintings of the old some people of the changes that occur in the thing we call
masters, and, directing attention to a certain picture, said : style, or fashion,it behooves us to give the subject some

This, ladies, is the masterpiece of the great Raphael.'' consideration or we may be spoken of in the past tense.
"Oh!" exclaimed Take the arrange-
one of the party, ment of a billhead as
"isn't it a pretty an example in point.
Boston, Mass.,-
frame. A change has come
Now it is

able either to be-

unprofit-
M about, due to altered
methods of trans-
little
mate
or to overesti-
a n y of the
elements that go to
To Smith & Jones, Dr.
DEALERS IN
acting business.
Two old forms of
billhead arrange-
make a jjerfect job Lumber, Sash, Blinds, Doors a > Mouldings ment are shown
of printing. The Tenms: Cash 125 Main Street
Example 312.
message is the im- This form shows an
portant thing, arrangement com-
whether it be a monly in use a
newspaper adver- decade or two ago.
tisement or book, EXAMPLE 312 The date line (usu-
and anything which n of billhead. The ally in script) was in
enhances the value and "Dr. irly obsolet the upper right cor-
of the final result is ner, and under it at
important. A momentous period in the production of a the left was a dotted line beginning with a large script
printed job is at the beginning, when the type is set. At 3/. Immediately following came the firm name (gen-
this point the influences are either for a good or for a bad erally rather large) flanked on the left by the word
finish. An ill-proportioned, inharmonious title-page is as "To," and on the right by the abbreviation of debtor.
'
objectionable bound in hand-tooled morocco as it is bound Dr. So the aj)preiitice was taught, and he would then
'

in paper; even more so, because of the contrast. In the be further instructed to place the words Dealers in"
case of billheads and statements, the subjects of this chap- (or its equivalent) in a small line, centered then to dis- ;

ter, the typography play the words in-

is highly important. dicating the line of
A business house ^° allowances mad e after tc goods carried. In a
may for years use Philadelphia, .
small line at the
the type arrange- lower right corner
ment of a billhead
just as it was printed M was the street ad-
dress, and aligned
at the first order,
and printers who
come after must suf-
Bo«?A«<>/ A. H.BROWN
WHOLESALE DEALER IN
opposite were the
mystic words
Terms Cash. '
' The
fer for the original words "To" and
sin. Here is a strong
Groceries, Provisions and Produce "Dr." are now sel-
reason, then, why Comer Market and Willow Streets dom used.
everj' job should be Example 313.
given careful atten- This shows another
tion at the time it is form which substi-
started thru the EXAMPLE 313 tuted the words
printshop. To do form of billhead. The "M" o "Bought of" for
this the office should phrase "Bought of is now i To" and Dr."
120 THE ART AND PRACTICE OF TYPOGRAPHY
The older printers will remember the logo-
types in various fancy designs of the phrase
STANDARD ELECTRICAL NOVELTY COMPANY
"Bought of that the ty])efounders fur-
nished in those da>s —
which were set against
type lines of "double great jjrimer ca])s."
Now 'Bought of" lias been supplanted on
billheads by "Sold to," which directs atten-
tion to the fact that Jolin Smith has sold
goods to Thomas Brown, rather than that
Thomas Brown has bought goods of John
—
Smith a distinction without a difference,
one might say, yet there is interest in no-
ting the change.
The reason for the "M" being discarded
EXAMPLE 316
in recent years on billheads is that many
lommmon use of gotliic type, symmetrically arranged. The business houses are now corporations, which
phrase "Sold to" is now found on most billheads
makes the words Mr." and Messrs." no
longer suitable as forms of address.
—
Example 314 (insert). The tendency of
the day is to individualize the style of treat-
Glmpire ;Qrinting Qomi-nY ment on billheads, conforming it to that of
the letterhead and other stationery of the
0pokane's Jlfeading Oommercial printers same customer. The example under consid-
TE.LE.PHONE MAIN 4167 I J
eration shows a type arrangement that in its
decorative style is peculiarly appropriate to
the business for which it is used. An uncon-
ventional effect such as this, is of course more
difficult than the conventional kind, yet the
exercise caused by it develops the brain and
yields more satisfaction to the printer.
—
Example 315 (insert). A coal dealer's
billhead is not generally credited with in-
spiration for unusual results in typography,
yet here a very creditable job has been pi-o-
duced from copy that would ordinarily be
treated in a commonj^lace manner. Under-
EXAMPLE 317
Treatment that has individual interest printing of the word "coal" is a clever idea.
By Edward W. Stutes, Spokane, Wash. Panel treatment is not always successful on a
billhead, altho it looks well in this instance.
—
Example 31G. Tlie compositor had a
great number of words to place on this head-
ing and a difficult task to arrange them sym-
CLOUGH & PARKER metrically, yet he evolved a result that is
INSURANCE OF EVERY DESCRIPTION strong and satisfying. Gothic block letter
used in just this way is uncommon. The
Manchester, n. h.. groups have been carefully shaped.
—
Example 317. The arrangement of this
and other billheads in this chai)ter present
the recentl.v developed custom of i)lacing
the company's name at the toj) of the sheet
and the customer's name and the date lower
down on the heading. The position of the
word invoice" is odd. This word is dis-
placing the words "bill'' and "billhead" in
commercial usage. The example also exhibits
the plan of printing the entire bill or invoice
instead of printing on paper previously ruled.
The Chas. G. Harrison printing Company Stocl^ headings are not as extensively used
as in former years.
Which Does Regular and Irregular Stunts in Books and Printed Things
—
Example 318. The special form billhead
GREENSBORO. North Carolina is shown in this example. Such treatment
at tfteir g)ftop No. 703*South Davie St. in
of the lower or ruled part of the sheet has
been adopted by manj' business houses sell-
ing special lines of merchandise. The type
used on this specimen is apjjropriate accom-
n TERMS CASH ON PRESENTATION OF BILL ::: ::: «11 NO DISCOUNT ALLOWED panying ruling so confessedly commercial.
Example 319. —
The quaint Colonial style
is here adapted to billhead purposes. Treat-
ment so unconventional should be confined
to a printer's own stationery or used onlj'
EXAMPLE 319 for customers desiring it. The reason that
The quaint Colonial style adapted to a lillhead compositors have so many good jobs rejected
 Albert E. Pike William H. Bai

The A. E. Pike Company

Practical Tailors

Ladies' and Gentlemen's Banigan Building

Garments Made and Cared For Providence, R. I.

EXAMPLE 320
Xne use or the type-writer is causing cnanges
in tlie construction oi billlieads
By H. Ernest Stafford. Providence. R. I.

HINDKKS : STAIKJNKKS LITHOGRAPHERS :: == DE8 1 (i N E R S := =: EMBOSSERS

Both Telephones Ni mbf.r 193

THE JOS. BETZ PRINTING COMPANY

High-Grade Catalog, Commercial & Process

PRINTERS
Dated at One Hundred and Twelve W. Fourth Streei
Sold to I

I
East Liverpool, Ohio

EXAMPLE 321
The letterhead arrangement ii

popular for billheads

 BILLHEADS ^ STATEMENTS 121
is that the jobs are not treated appropri-
atel.v.
self,
An arrangement may be good in
yet be unfit for some purposes.
it-
THE [K]ENDALL PRINTING HOUSE
Example 320 (insert). —This is an inter-
esting representative of the non-stock- ruled
heading, and it also illustrates the changes
the typewriter has worked in billhead print-
ing. When bills were written in by hand,
script type and dotted rule pi-evailed, but
Avith the coming of the typewriter, script
THOMAS KENDALL
and horizontal guide lines are gradually dis-
appearing from the face of billheads. The ex-
ample under consideration also demonstrates
the effectiveness of Caslon lower-case for bill-
head purposes. The rule border and the panel EXAMPLE 322

for the insertion of customer's name and ad- rangement in Scotch Roman capitals

dress gives distinction to the job.

—
Example .'?"21 (Insert). A simply treated
modern form of billhead is here exhibited.
A Caslon capital and small capital scheme, Hcciinung pon fiermann Bruckgr
it offers a suggestion for effective billhead
Budi= unb Kunftbruckcrei Frigbcnau=Bgrlin
treatment. The present-day tendency to ar-
Sdimargenborferftra^e 13 •
Fernfprether: Timt Friebenau He 151
range billheads in much the same manner as
letterheads may also be noticed. By omitting fur_
here the words Sold to" and the ruling, a
good letterhead would remain. Other forms
in this chapter afford similar possibilities.
—
Example 322. Scotch Roman capitals look
well as used on this billhead. The arrange-
ment uncommon.
is
—
Example 323. This billhead is reproduced
for the interest a German specimen will have
to the American typographer. It was origin-
ally printed in brown and gray inks. Ger-
man printing is generally strong and rugged
and at the same time consistent and har-
monious in combinations of type and decor- The Merton Dentist Supply Co.
ation. Everything in Dentistry
—
Example 324. A simple arrangement in Main Street, Tampa
Old Style Antique is here shown to illus-
trate the prevailing use on billheads of the
order numbers of the purchases. Most busi-
ness houses now use an order or requisition
form in purchasing goods and for convenience
and accuracy in appro\ing bills demand that
the order number shall appear on the bill or

—
Example 325. For a business such as this
one, the treatment given is appropriate and
pleasing. Caslon capitals and italic are en-
tirely suitable, and the rule border is a
strong factor in its effectiveness. No guide
rules are used.
—
Example 326. Monthly statement forms, JOHN E. BAKER & COMPANY-^;2/)or/^rj
supplementing as they do the billhead, are Rare of Old Engravings
treated similarly, excepting that it is cus-
Valuable Books, Prints
tomary to have the word "Statement" ap-
1124 IFalnut Street, Philadelphia
pear somewhere upon it. Monthly balancing
of accounts is a part of business procedure
and customers expect statements of their ac-
counts with the coming of the first of each
month. The type treatment of the statement
should be similar to that of the billhead and
letterhead used by the same business house.
This example carries the peculiar treatment
accorded all of this firm's stationery.
Example 327.— Clever arrangement of a
printer's statement is here shown, as well
as the sometimes printed words Balance"
and "As per invoice" in the lower part. example 325
—
Example 328. This form is appropriate
for any business. The line Statement of
122 THE ART AND PRACTICE OF TYPOGRAPHY

^\'^::z:. Wentworth & Company

Brokers
394 WASHINGTON STREET
The Pirsch Press BETHLEHEM, PA.
PRINTERS
Statement of your account ..

EXAMPLE 328
that is appropriat

^t.Joljn protters! JJamtfr0 . 2Decoratot0

CDfbopcan Paper ^^anB:fr0

'^

EXAMPLE 326
^tatf nunt, account of

Treatment of a statement, peculiar to all

of this printshops stationery

your account" is suggested as a clear and business-like

method of advising the customer just what the form
means.
—
Example 329. This statement form is treated in the
style of the billheadshown as Example 314 (Insert) and
demonstrates the effectiveness and value of related treat-
ment of business stationery.
—
Example 330. The treatment of this statement is
unique. It is seldom that a printer who departs so far
from the conventional produces results so pleasing. Of EXAMPLE 329
Statement form to accompany billhead
course this particular style should not be used promis-
sl-own as Example 314
cuously.
In addition to billheads and statements there is the
Credit Memo." a form used when goods are returned "Credit Memo. '" on it. The credit form should be unlike
or exchanged by customers. Some houses use their bill- the billhead, as when they are alike confusion is apt to
head form for the purpose, simplj^ inserting the words result.

R EGULAR

iDhelVY
MONTHLY STATE M ENT
PRESS ©=;r..\7.r^'- ---"
©?ROo"?Js^vW„=OUr„f,l «
==^^
EXAMPLE 327 EXAMPLE 330
is well to have a statement labeled as such, a: Jnconventional treatment that ii
By Harry A. Anger. Seattle, Was By Harry A. Anger, Seattle,
 H* CAMDEN t^^lf
PRICING COMPANY
301 Gashiii({ Street
Detroit

EXAMPLE 333
lod decorative, yet simply c:

By Will Bradley

CAiAiottn .Sffiiailts Ma«

Wadsworth £5* Hughes

Commercial, Artists, Photo
Engravers and Printers

I ^o Nassau Street, New York

JrUpfior, J:fjg R.tkn.nf

EXAMPLE 334
iccllent arrangement of the Caalon type-face.
By tU Hill Print Shop. New York

WM . H . NO R R i S & SON
INSURANCE
2 4 EXCHANQC PLACIl, A rf •
27 KILBY STREET
BOSTON

EXAMPLE 33S
A well treated card in gothic
hy tK< Sehool of Printing. North End Unioi
 BUSINESS CARDS ^ BLOTTERS
POLITE society requires that a visitor shall be announced ing. Good stock, a dense black ink and perfect types, are
by a card bearing his or her name, and the courtesies of means to this end. Pleasing results have been obtained
business call for this same formality. The busy man in when printing light-face gothics or shaded text letters,
his office is placed at a disadvantage if he has not under- by using green -black ink on white plate-finished card.
stood a visitor's name and has no idea of his business. A With these few words on imitation engravers' work we
card that clearly tells both name and business prevents will pass on to purely typographic treatment in business
embarrassment and misunderstanding and enables the card printing.
men immediately to proceed with the matter that had —
Example 331. There are a few customs in the arrange-
occasioned the call. ment of business cards which are followed on most print-
The card makes it unnecessary for the caller to explain ing of this kind. The customer's name (company or firm)
who he is. Without the 3 treated as being of the
printed information he greatest importance and
would need to introduce The Phone Number usually occupies the point
himself thus: I am James of balance, a trifle above
Johnson. I am president the center of the card.
of the Johnson Manufac- The words indicating the
turing Company. We business are second in
manufacture machinery CUSTOMER'S Name strength and position, fol-
lowed by the street and
for the making of paints.
Our office is at 320 Broad- His Business city address. The name
way. Our telephone num- of the representative usu-
ber is 4653 Worth.""
The Street and the ally occupies the lower
Rather ridiculous, isn"t it? City Address left corner, and the tele-
But with all this neatly phone number, when
printed or engraved on a Name of Representative used, may be placed at
card, embarrassment is the head or in some other
avoided. EXAMPLE 331 available space, in small
The physical construc- Showing customary arrangement and proportions type. This distribution of
tion of a business card is of type lines on business cards proportions is also followed
important. A large city to some extent on uncon-
wholesale house cannot afford to circulate the cheap-look- ventional arrangements, as will be seen by referring to
ing, inharmonious cards that some owners of small shops other reproductions in this chapter
on a side street are pleased to use. Printers are forced to —
Example 332. Novelty in business card construction
print cards in imitation of intaglio work to satisfy cus- is found in this specimen. As actually used the miniature

tomers who do not consider cover was inserted in a slit

that a truly typographic in the card and pasted
design looks like a busi- fast. The arrangement of
ness card. There is no the type lines is interest-
use denying that copper- ing in that it closely fol-
plate engravers set the lows that of an addressed
style for much of the busi- envelop. Such placing of
ness card printing. Those lines is practiced by many
printshops doing this imi- compositors.
tation work should have —
Example 333. From
samples of the best card among the numerous busi-
work done by engravers, F K E 1) . H L A* N C A S T E B ness cards designed by
so that their imitations Will Bradley this was se-
may be as accurate as pos- lected for its strength,
sible, so far as concerns decorativeness and sim-
style, face and arrange- New York Ci plicity of construction. It
ment. There is little pleas- will please the eye of any-
ure in being an imitator one who delights in strong
unless you are a good one, lines contrasted with
and even here is oppor- blank space. The two or-
tunity to gain a reputation EXAMPLE 332 naments add a decorative
for clever imitation print- Novelty in business card value that would be missed
1123]
 r

124 THE ART AND PRACTICE OF TYPOGRAPHY

BOOKLETS — CATALOGS— AD VERTISI NO LITERATURE
LEE CRITTENDEN. REPRESENTING
L.
AMERICAN TYPE FOUNDERS COMPANY
ROSE AND DUANE STREETS. NEW YORK

Charles Edward Peabody

Aa
Temple Building
Toronto

With THE HUNTtR-ROSE COMPANY, LIMITED

EXAMPLE 336 EXAMPLE 337

A card treated'along classic lines The Colonial is here suggested
By Lee Crittenden, New York By Charles Edward Peabody, Toronto, Ont

if they were not used. Were the two lower type lines in —
Example 336. The designer of this card worked along
capitals the card would score higher in consistency, but classic lines in constructing it and succeeded in produc-
would lose some of its individuality. If the rule border ing an interesting effect. Three lines in the same size of
were narrower the tone would be more even, yet it would type and of equal length as here treated is uncommon in
suffer from loss of a distinguishing character. business card typography. The ornament supplies the
—
Example 334. This is one of those excellent arrange- necessary weight to balance the card, and affords a means
ments of the Caslon type-face that is met with too infre- of supplying a touch of color.
quently. The card proper is all in lower-case, but where —
Example 337. This card is an interesting contrast to the
rules occur capitals and preceding one in arrange-
small capitals are used. This ^3HBIIH|B
ment, and especially in the
in recognition of the law of
typography that lower-case
I
difference of shape and in
the type -faces used. The
display should not be en- Auguste '»'^'''
Giraldi, design under consideration
cumbered with rule lines. has lines in capitals, italic
Lower-case was evolved No. 139 FIFTH AVENUE, NEW YORKand roman lower-case all ;

from the ancient Roman let- of the Caslon face. It was

BETWEEN TWENTIETH &• TWENTY -FIRST STREETS
ters we now call capitals originally printed on buff
by the scribes who culti- antique card, which har-
vated an easier stroke to TELEPHONE NUMBER 945 i8th STREET monized with the Colonial
facilitate writing. Hence suggestivenessof the typog-
the straight lines of rules raphy. The words are dis-
are inconsistent and inhar- EXAMPLE 338 played with special regard
monious used with lower- >rd-edge to completely setting forth
case. On the other hand, each phrase in a line.
capitals being more erect and angular, are helped rather —
Example 338. The card-edge border treatment gives
than impaired by rule lines. to this business card a unique distinctiveness. The size,
—
Example 335. A business card in gothic as well treated too, is uncommon. A stickler for consistency would claim
as this one is scarce. The type is slightly spaced, which that the words "Auguste Giraldi" should be in capitals
removes it from the commonplace, and the lines are and small capitals.
arranged symmetrically. The business is given the most —
Example 339. Here is a card notable for its careful
emphasis, altho the length of the firm name retains for adherence to the laws of shape-harmony. The type mat-
it almost equal prominence. The original of this example ter is gathered into two squared groups, which are pro-
was printed in brown-olive on buff card and was altogether portioned to blend with the work -mark in forming a sym-
out of the ordinary. metrical design. Only capitals are used, and as before

J. F. TAPLEY COMPANY,
BOOK MANUFACTURERS, Sworatiop Artiat a«b ipaigttf
33-35-37 BLEECKER ST. AsBOcmtrft toilh

NEW YORK . . 8"i"s?R°.Sc^.

26 (EhMlnut *trprt
PRINTING DEPARTMENT
UNDER THE MANAGEMENT (Ont.

OF WILLI AM H WQOD.
-

EXAMPLE 339 EXAMPLE 340

reful adherence to the laws of shape-harmony The horizoi tal lines are well employed
3 grouping By the Gaze tte Press, Niagara Falls, N.Y.
 BUSINESS CARDS ^ BLOTTERS 125

Tbr Amf ,lca„ Pr,„«r

A\\ F. ELiJSON 1

DODSON PRINTERS SVPPLV Ofwald Viiblifhing Company

CCtMr.K.
Printers \

Vublifhers ^ookfellers

Twinty-five Cily Hall fUtt '

R.fr,/.n, dby]ohn

EXAMPLE:342
mentioned, thej- lend themselves better to squared effects A dignified card with a his.
than do lower-ease letters. An arrangement such as this By Walter B. Gi Ne.
;. York
is difficult, as the success of the finished result depends

upon so many details. T.vpe and shape-harmon.v, tone, Example 343. — Few businesses will allow of treatment
balance, s.vmmetry all — just like this, yet for printshops, art stores, and the like,
those art elements must be care-
fully worked into the arrangement. such effects if well done are permissible. A light brown
—
Example 340. Horizontal lines crossing the face of a card stock was used on this job, printed upon with black
card are rarely successful, because they generally separate and buff inks. When bold-faced type and ornaments are
connecting phrases, but in this instance the lines are a employed, as here, good results may be obtained with com-
necessary part of the design binations of subdued colors
and divide the type matter and tints, lessening the I

at a suitable place. Were contrast.

the type groups centered Example 344. Caslon —
in each panel the effect italic is a good letter for

would not be as pleasing as Ki\)cri)taD.^.i. business cards, especiallj-

it is with them close to the for those of a jewelry house.
cross lines, giving as they Being next of kin to script
do a one-group appearance. or handwriting, it has closer
Example 3il. In this — personal interest than the
card a neat design has been staid and dignified romans.
cleverly planned with an It is not better than roman

engravers' roman type-face. for all business card pur-

(gr printing ^l^op DcboteD to t^e proDuftion poses, but for some jobs it
The roller illustration and
the rule border do much
^iV of ^ifi^ clasijsi Boofelctjs anD ^tationet?i?
affords opportunity to vary
in lifting the card out of the treatment and strike a
the commonplace. EXAMPLE 343
different note.
—
Example 3A:2. This card Bold, artistic treatment of a printer's card Example 345. The style —
would better please the By Henry D. Taft. Riverhead, N. Y. of this card is uncommon,
average person cap-
if italic both iin the compact ar-
itals were substituted for the r [owever, there was rangement of the display lines and in the border treat-
1 historical motive for treating it in this manner. When ment. The inset corners suggest the contour of the type
Aldus Manutius introduced the slanting style of type we group. Altho there are occasions when it may be used to
know as italic, only lower-case letters were cast, and advantage, not every compositor can design this style of
Roman capitals were used with them. The arrangement of card satisfactorily.
this card is worthy of study, as it would serve excellently as —
Example 346. This card is a variant of the one shown
a model for business cards requiring dignified typography. as Example 336, but a trifle more classic in its entirety.

F.
Fine

M.
WaKb Repairing and
Adiushng

Schouweiler
¥ Printing
Empire
Company
"^
Watchmaker & Commercial Printers
Jeweler
419 Sprague Ave
Diamo Spokane
Clot
erJare i^ Cu, Glass Red fV.ng. Mmn.
sLc j^
EXAMPLE 344 example 345

lie is agood letter for the card of a jewelry house

By D. Guatafson, Red Wing. Minn. By Edward W^. s'tutes. Spokane, Was
126 THE ART AND PRACTICE OF TYPOGRAPHY
1

LEE CRITTENDEN DESIGNER AND ARRANGER

:;

OF PRINTED MATTER " ONE FIFTY-SIX

FIFTH AVENUE " NEW YORK TELEPHONE ::
CAFE "^ ''^^"'
GRAMERCY ONE SEVEN EIGHT TWO

T
EXAMPLE 346 EXAMPLE 347

An arrangement tKat vi'ill be appreciated by cultivated people A halftor as the md of a bus

By Lee Crittenden, New York
city would be pleased by a special photograph of his
The device in the lower part is an improvement over the store made into a plate and adapted in this manner.
peacock ornament in the other card. These arrangements The plate must be made a trifle larger than the card is to
will be esteemed by cultivated people with appreciation be, so that when trimmed the background of the picture
of the artistic, yet the tastes of most customers of the will extend clear to the edge of the card.
commercial printer are such that it would be a mistake to —
Example 348. Type may with good effect be arranged
treat their cards in just this manner. In fact it is impos- in the unconventional and dashing style of handletter-
sible to select one particular treatment that is the best ing, as was done in this specimen. Uncial initials add to
for all purposes. Each of the decorative effect fur-
cards shown in this nished by the text letter
chapter is good for one used for the display lines
purpose some are good for
; on the card. The square
several i)urposes, but not ini])rint device lends value
one is the best for all pur-
poses.
—
OstoalD'^ESS to the general effect, which
is compact and bold.
Example 349.— The fact
Example 347. Novelty
is

even
sometimes demanded,

printing,
business card
in
and no better
""^Qrinttng is
that the business of the
company using this card
the manufacture of
way willbe found to please
25Cttpl^aU}^lace cliurch organs, governed
such customers than in the type treatment. Both
adopting some appropriate type-face and crossed-rule
halftone cut as was here border have historical sig-
done. The high lights of nificance, connected with
the sky and the street sur- the Christian church.
face in the picture afford
ISrpreuentel) bp
Example 350. As let- —
an excellent background tered and engraved de-
for overprinting with type. signs are much used on
If the type were printed EXAMPLE 348 business cards, it was
in the same ink as the Type a mgement in the dashing style of handlettering deemed advisable to show
cut, which could be some a few such specimens in
artistic two-tone, the result would be even better than this connection. The one under consideration was par-
shown here. In this instance the picture is especially ticularly handsome in the orig; The seal" was
appropriate to the name of the cafe but halftone views; printed in gold, orange and black, embossed, nd the
of a general nature, such as landscape pictures, are adapt- lettering on the other part of the card was in green-gray.
able to many purposes. The business man in the smaller White stock was used.
—
Example 351. This specimen is unique in business
card treatment. From either a drawing or clear type print
the engraver makes a zinc plate, called positive" or

m, aa.iMmballCompanp
Cbicago, Sllinots

-Keprettnted by LEO HEERWAGEN

EXAMPLE 350
A lettered and e s particularly handsome
 Distinctive
Printing
— printing that will
attract attention and put
the customer's advertising
in a class by itself— printing
that contains originality in
conception and the highest
degree of excellence in
—
execution this quality of
originality and individuality
characterizes all the printed
work of the

Commercial
Printing Co.
Printers and Publishers
340 Stacy Street
Burlington, N.J.
Both Phones

EXAMPLE 333
Blotter, rearranged irom an mtricat«
rule design, by request

T F you really want good printing-something that will

^ appeal to the tastes of the critics, call at Cljt^rint
^bop of ileerS 8i JFrep, Producers of the Higher
Grades of Printing^ 15 North Warren Street, Trenton,
New Jersey

EXAMPLE 354
Toe Colonial or cnapoook style admiraUy
adapted to blotter purposes.
By Beers 6? Frey. Trenton. N. J.
 —

BUSINESS CARDS ^ BLOTTERS 127

Business cards
are left with cus-
tomers as remind- We make effective designs
ers, and blotters for advertising. We plan
write — design — engrave
are sent for the
same purpose,
but with the — print — bind — take all
added quality of the responsibility for your
usefulness. The finished job of printing,and
treatment of a do it right.
blotter should be
as well thought
HillPublishing Company's
out as that of a Print Shop «- M.„»»^«, M..««
business card. In CZJ 505 Pearl Street, New York CD
a sense the blot-
ter represents the
business house
Unique e«. plate sending it, and
while it may show
"reverse." It is best, tho, in ordering such work to spec- less restraint and
ify that the letters are to appear white on a black back- dignity than the
ground. This card was printed in dark jellow-brown business card,
on white stock, and the plate was so made ready as to coarseness should
emboss the white parts of the design. be avoided in the
Ex.\MPLE 352. —
Here is another specimen of a card handling of both
printed from engraved plates. The magnet was printed type and illustra-
tion. As blotter
stock comes usu-
ally in 19 X 24-
inch sheets, a size
cuttingtwelve out
(9% X 4 inches)
is generally used.

Example 353.
— This blotter is
rearranged from
an intricate rule
design at the re- EXAMPLE 355
cjuest of a printer A
well treated blotter

^^^^v- DESHiNING
who had
in getting a
effect.
difficulty
proper
By Hill Print Shop. New York

shows simplicity and strength, telling its story

It
in plain, straightforwardtypography. The words "Dis-
tinctive Printing"and Commercial Printing Co. " are
given most prominence because they present the sub-
stance of the message.
in red and silver; the remainder in three shades of green. —
Example 354. The Colonial or chapbook style has
The entire design was embossed. The result was excep- here been admirably adapted to blotter purposes. There
tionally attractive. is that pleasing gray tone that accompanies all true Colo-

The typographer would do well, in business card com- nial type-work, and a clever combination of roman,
position as in other classes of printing to confine his efforts italic and text letter in the manner of this style of print-
chiefly to legitimate type effects. There is a large field ing. This specimen goes to prove that an all-type printed
for study and improvement in typographic arrangement. blotter has possibilities unknown to the average com-
Time spent in attempting close
imitations of artists and en-
'

gravers' work is time lost. Such

work should be studied, as good HE ultimate result of shielding men
ideas can be gathered from it, from the effc&s of folly is to fill the
but to imitate with the sole pur- world with fools —Herbert Spencer
pose of passing off type work
for something else is not only
wrong but foolish. In these
days the engraver and jmnter I

must work together in produc-

ing printed matter. Each has HORACE CARR
his special work to do and each
should do it well.
CLEVELAND

Blotters have a place in mod-

em business, which, while not
as important as that of business
cards, is fairly well established.
 — '

128 THE ART AND PRACTICE OF TYPOGRAPHY

typographer when he can
§g§§§§§g§g§ggg§g§§g§§g§§ggggsgsg§g§g|gggi§§§§g§§gg§§§gggg§gg§g§gg^g^ ^^ ^^ ignore a room full of new
type-faces and cases of or-
naments and borders and
St to remind you simply select one small
d thatTomHallyhi
decorative initial and Cas-
lon type-face for a blot-
ter, as was here done. It
has been said that two
important factors in good
typography are the ma-
terial that is used and the
material that is not used.
Example 357.— The
cordial personality of the
advertiser was in this in-
EXAMPLE 357 stance an asset and the
.8 justified ii thisc many merry letters re-
ceived by him following
the mailing of the blotter justifies its unconventional
word-treatment. The typography alone is such as to make
fe i:;;;:4;|!i:;>:!>!:>::;;:^

^ TT-^
' — :
— '" '-RBif .
' :.y ;.!- !•:;.::
an agreeable impression upon the recipient. Both the
writing of an advertisement (or blotter) and the typo-
graphical treatment are important. Neither should be
:",,'NO <.-jr IS ^is GOOD as CO HI -^D' be uuKKs
it i

"^i.i:'

.K(_)UGH KIDKR sprint;.?

neglected.

i :'_ u'ptiolstered uitli,

i-ij'!:-
—
Example 358. In the original the background of this
blotter was printed in several shades of light green from

m>mm<M^MM>vmmm- EXAMPLE 358

a combination of small solid type squares, and did not
stand out as prominently as in this reproduction. The
advertising phrase was set in Caslon and placed in the
Tint background formed of type squares center panel in the style of motto cards.
By O. R. Thompson, Jackson, Mich, —
Example 359. This blotter was used in the writing-

positor and buyer of printing. purely typo- A

graphic design is often as pleasing as one il-
lustrated.
Example 355. —
The designer of this blotter
has treated it as some of the best modern ad-

vertising is treated —
he has used an illustra-
tion to attract attention and has selected a
plain, legible type-face to carry the terse,
business-like word story. The border in color,
extending fully to the edge of the blotter,
counts in its effectiveness.
Example 356. —A
clear-cut, dignified and
tasteful treatment for a blotter is shown by
this specimen. If a blotter is to have a chance
of being selected for the personal desk of the EXAMPLE 359
business man, it must have something to rec- Blotter used in the writing-room of a convention hall
ommend it. No man of good taste would feel
ashamed to have this blotter seen on his desk. The secret room of a convention hall and, as will be noticed, a cal-
of the attractiveness of the blotter lies in the admirable endar containing only the days of the convention was
quality of "restraint." It is a proof of good taste in the used. Simplicity and appropriateness governed the typo-
^__^ graphical treatment.
Example 360. Tone- —

^
!

harmony is the chief char-

acteristic of this blotter.
It to get good
is difficult
^
I
'O know a "good tKing" results whena monthly
calendar used, but this
is
IS to DC only nalr wise.
/t\ttobex jj:^^»'^^X90 8. specimen is exceptional.
To know^ it ana use it to ad l^*-
\P //
-.-
jTBrn

'-i-
Km.
"^
DM,
-c-
Cl» in.

2
*..

3
The balance, too, is excel-
vantage is true wisdom — in \/; 4 5 6 7
12 13 14
I
8 9
10
15 16 17
lent and the border
made from repetitions of
the words "The London
Dusiness. 18 19 20 21 22 23 24
«W??
—Piccolo ^2 25 26 27 28 29 30 31
Printery" was cleverly
executed. In the original
a buff-tint background
covering all but the cal-
example 360
endar section, added
e-harmony is the chief characteristic of this something to the general
By S. H. White, Rock Hill, S. C. result.
 OLD HOME
WEEK AT

BOSTON
AUGUST
15—21
SPECIAL REDUCED RATES
ON ALL RAILROADS
A HEARTY WELCOME WILL
BE GIVEN NATIVE BOSTON-
lANS LIVING ELSEWHERE

BE fHERE
^L^^s^^s^^ia^^^^a^
 —

H.E g]

y
s^^^^izsz^ 23 g^

POSTERS
POSTER a specialty in the large cities where
printing is it is advisable for the printer to make his wood-type
plants are equipped for the economical and effective pro- equipment complete. Man.v of the wood letters are made
duction of such work. However, consideration of the sub- in various widths, so that a snugly filled line is possible
ject in this chapter will be confined to the interest it may with any copy. It is well, tho, for the sake of legibility
have for the general commercial printer, he who is called to avoid very condensed letters.
upon one hour to print a business card and at another to The paper poster, such as is pasted on bill-boards and
produce a window-card, car-card or other form of poster walls, will be first considered. Among poster printers a
printing. sheet 29 x 39 inches is taken as a unit and is known as a
To treat such work satisfactorily the printer should "one-sheet." "Four-sheet," "twelve-sheet," etc., are
have a wood-type equipment that need not be extensive terms designating the number of units or "one-sheets"
i,uv «ell selected. There should be a blend of styles in in the whole display. The commercial printer's "sheet
type-faces from the smallest size of metal type to the poster is generally the full 25 x 38 -inch paper, a "half-
largest wood letter. sheet" being 1
The wood-type mak- inches and a' quarter-
ers duplicate most of sheet " 12% X 19
the artistic job faces, inches.
so that harmony in 1 Example 361 (In-
this respect need be sert). —Strong treat-

no idledream. There ment is associated

is a mistaken idea with the paper poster.
prevalent among The poster is an ad-
°"^^^'^'i6" vertisement, but un-
printers that a poster
type equipment is IVlr, companions in
like its

something ajiart from the newspapers and

that of the job or com- magazines, is not
mercial department. always read at close
eighteen range. It is well,
The
twenty-four
body
p o
letters used
i n t
on
or

Richard therefore, to get cer-

tain strength into it,
especially at those
posters should be a
face such as Old Style points which contain
Antique, which may the essence of the
message
also serve for general
job work.
Printers, when buy-
Mansfield in
phrase
it

this instance
"Old
carries

Home
the

ing type equipments,

Week" and the word
should know that "Boston." It is pos-
sible also to inject
strength is an import-
into poster printing
ant element in large
those essentials of
poster printing. Bold
good typography
letters give satisfac-
tory results, especially
when all capitals are
Old harmony, balance and
tone. The example
used. Lower-case let-
under consideration is
ters in large sizes can
an excellent exempli-
fication of these art
be dispensed with,
altho
there
occasionally
opportunity
is
Heidelberg elements. There is
harmony of type-face
for effective treatment
because onlj- one
series and only capi-
withthem. A few well
tals have been used.
selected capital fonts
should meet the needs
The type-face and
border are sufficiently
of most commercial
similar in character to
printers, but where
EXAMPLE harmony be-
establish
much of this kind of 362

printing is to be had n theatrical printing. The original a large three-sheet poster tween them. The bal-
130 THE ART AND PRACTICE OF TYPOGRAPHY
old-style lettering. That of the poster
shown is based upon the Caslon model. It
is possible for the printer to get similar
effects with type and rule, but of course it
is impossible to get the individuality that

^
is associated with this artist's lettering.
This poster was 19 x 29 inches in size and

Q was used at an electrical show.

—

^^
Example 364. The Colonial style of
type arrangement is here adapted to win-
dow-card purposes. The window-card has
the same advertising reason for its exist-
ence as the paper poster, and is printed
on cardboard to enable it to stand upright.
The most common sizes of window-cards
are quarter-sheets (l 1x14 inches) and half-
sheets (l4 X 22 inches), the unit of which
is the standard sheet of cardboard (22 x 28

inches). The treatment of this card is such

that the word "Pinafore" and the decora-
tion stand out most prominently, taking
LWERY- feature of for granted that a person interested by the
sight of this word will come close to the
JLj this entire show card and read it. Such an arrangement
should not be attempted unless the copy
is representative of is suitable. Forcing unsuitable copy into
the possibiUties and Colonial arrangements results in illegibility
and dissatisfaction.
advantages of the Example 365 It should be an easy mat-

Edison Service 'c^ ^ ter to produce attractive window-cards or

paper hangers in this style. Selections from
the many artistic and odd cover papers ob-
tainable, supported by harmonizing color
combinations, makes possible any number
of attractive effects. Only one size of type

EdisonCompany should be used and the border should be

one that reflects the character of the type-

55 Duane Streer^ face.

more
Plain rules for border purposes are
successful in obtaining haraiony than
is decoration. As most letters contain
two widths of line, a rule border matching
the wider line, or both lines, gives proper
results.
—
Example 366. This in the original was
a hanger of gray stock, 13 x 20 inches,
printed in olive and orange inks. The style
of typography could be designated as Co-

ance is good because of the larger lines occur-

ring at the head and is also helped by the

fact that sufficient lines extend the full meas-
ure. An even tone is fairly well maintained.
The type-face (Winchell) and the border (an
art nouveau design) are both obtainable in
sizes large enough to duplicate this poster full-
sheet size.
—
Example 362. This is a reduced presenta-
tion of a three-sheet poster which attracted
the attention of the writer a few years ago
GRAND REVIVAL OF GILBERT &
because of its simplicity. For such effects as SULLIVAN'S NAUTICAL OPERA
this, which carry but little copy, lower-case
letters are appropriate. It is seldom, however,
that the commercial printer is provided with
so few words for his posters, and that is why
capital fonts are recommended. Lower-case
display, to look well, requires plenty of sur-
PINAFORE
SING SING ACADEMY OF MUSIC
rounding blank space, while capitals accom- DECEMBER THE TWENTY-SIXTH
modate themselves to close quarters.
—
Example 363. Frederick G. Cooper, the
NINETEEN HUNDRED FOUR
New York artist responsible for this design,
has arranged many clever posters for theatrical
houses. He is particularly successful with quaint
 POSTERS 131
lonial. The tone and character of the dec-
orative border make it an acceptable mate
for the Caslon type-face. An objection
likely to be raised against the practicability
of using Caslon Text and Missal Initials on
a large hanger of this kind can be swept
aside by the statement that a print of any
type-face the printer may have can be en-
QQotiernQrinting
larged by zinc etching to fit a large hanger
such as this one.
—
Example 367. Window-cards are ex-
tensively employed for announcing base-
balland foot-ball games. The arrangement
shown was designed for a series of college The following is an outline of a course
games, it being necessary to change only which will be given this Fall, one night a
two lines of type with each order for cards. week, at the West Side Y. M. C. A.:
This method enabled the printer to study
out a good arrangement and to retain it
for the season. The color of the ink or
that of the card was changed for every
game to give a new appearance each time.

Cards as used in cars are another form

of printed publicity which the typographer
is called upon to produce. These cards are
usually llxiil inches. While many of the
cards of this kind are attractively arranged,
most of them ct)uld be improved upon. This
is especially true of the typogi-aphic de-

signs. Obsolete farm-poster wood type is

not favorable to good results, but when ar-
ranged carelessly and printed as poorly,
the effect is anything but attractive. While

See the
Merry
Minstrels
at the
the right type

Crescent faces are es-

Theater
sential to per-
fect work,
compositors
should not get
FOOTBALL
the notion that

every
fa i r 1 y

work
good
is not

possible with
PRINCETON
3 o'clock P. M. VS. Admission 50c I

im perfect I I I

evening equipment.
has been re-
marked Any
It

LAFAYETTE
Now
:

printer can do
good work
with proper
SATURDAY, NOV. 20
material."
This is not
really true. It EXAMPLE
EXAMPLE 365 367

A aimple typograpKic treatment that offers possi-

may be easier Window-card designed for a series of games. Only t'

for attractive posters or window-cards

bilities to do good lines are changed with each game
132 THE ART AND PRACTICE OF TYPOGRAPHY
work with proper material, but to produce
Class A printing with imperfect equipment is
not impossible. The writer has seen excellent
WE FURNISH LIBRARIES work done with type-faces which were con-
sidered by some to be out of date, printed on
presses thirty years old. He does not recom-
YE 0LDE JBJOOK [S HOP mend, however, attempting to do good print-
ing by setting the type out of the "hell-box"
and printing on scrap iron. New type, stand-
FRANKLIN SQUARE ard faces and the best presses on the market
will be used by the wise printer. It is fool-
FICTION— BIOGRAPHY— HISTORY ish to handicap the workmen, if profit is de-
sired on the work.
—
Example 368. Tlie chief essential in car-
card advertising is legibility. The type must
EXAMPLE 368 be large enough to be easily read by persons
A style that is legible and appropriate, shoi riding in the car. The treatment should be
can be made as needed interesting enough to attract and hold the
attention. The "Book Shop" card measures
up to these requirements. The treatment is
appropriate, too. Initial letters such as here
DONT WORRY—THIS CAR STOPS used are easily made by paneling the letters
with brass or wood rule. Thus are decorative
AT THE touches supplied by the ingenuity of the com-
positor. The successful printer, like the suc-

BOSTON STORE cessful man in all walks of life, must make

constant use of the faculties Nature has given
him.
MAIN AND WEST STREETS Example .'309. — Department store advertis-
ing is common in trolley cars, and many

WOOLEN GOODS SALE NOW ON I)rinters are called upon to produce cards for
that purpose. Here is a style of treatment, re-
ciuiringno special material and easily adapted
to other cards carrying a similar amount of
EXAMPLE 369
copy. Capitals are more suitable than lower-
IS this does not overt;
case for a panel arrangement such as this.
average printshop
—
Example 370. Unique among insurance
advertising are the car-cards of which this is
a specimen. Instead of the common method
BEFORE you get married have a policy of merely stating name and business this ad-
vertiser uses the conversational style and pre-
of Life Insurance issued to present to sents arguments and gives reasons why insur-
your bride.Could you find a more suitable ance of various kinds should be taken out.
Tlie message on each card was begun with
present, and one which she would appreci- an initial letter.
ate more ? Write at once to —
Example 371. Another style of treatment
within scope of the typographic printer's lim-

WARREN T. DIEFENDORF itations is liere presented. The circles can be

made by an electrotyper, or if one is not con-
1015 Fulton Street, Brooklyn venient, the printer can make them of press-
board, celluloid, wood or other suitable ma-
terial. Progressive newspapers are users of
EXAMPLE 370
car-card advertising and this suggestion may
be of value to some of them when producing
such cards in their job departments.
Example 372 (Insert). —The possibilities
of type for poster purposes are here force-
fully exemplified. The arrangement of the
Barton's Largest and Best Newspaper type lines is clever, and the distribution of
color carefully thought out. Printers gener-
I

^^ The Barton ^ ally will find this poster an interesting study.

^^ Daily Courier F It willbe noticed that the contrasting colors in

every case are separated. The introduction of
a different color in the letter "c" in "Over-
coats" is unusual but effective. It supplies a
Buy it of the newsboys or have it sent necessary spot of color at that point. The
poster as here shown is exact size of the orig-
to your residence— but be sure and get it inal, excepting the length of the paper, which
has been trimmed at the foot to get it in this
book.
EXAMPLE 371 —
Example 373. This card is excellent in
asily duplicated by the ingenious printer every way. The advertising point has been
JACOB REED'S
SONS NEXT
EXHIBIT -W AT
Nassau Show Room
PRINCETON
Friday, November
Thirteenth 'W 1908
Overcoats
Furnishings
^ SUITS
EXAMPLE in
Tk« poanbilitiM el type lor poster purpoMf u>« kere exempUlieJ
By TKoBMB Priatuf Compaay, PLImUIpLu, Pa.
 POSTERS 133
cleverly worked out by the artist who
designed the card. The attention-
compelling phrase, "Old enough to
take lessons,'* is associated with the
child's portrait, being connected by Id enough to take lessons.
the color in the wreath and the initial Dorvt ruirv tKc car and toucK of tKc
letter. A picture of the piano is un- cKild by tke use of a bad piano. Get an
obtrusively yet prominently placed, instrument of genuine musical quality-an
as is the name of the article. Cards of
the qualitj- of this example aretoorare.
—
Example 374. Sunday-school ex-
cursions furnish copy for many win-
ESTEY
dow-cards. The printer may appreci-
ate this suggestion for an arrangement
PIANO
of such a job. It is sufficiently uncon-
ventional to attract attention, at the
same time pro\'iding a simple way of ar- EXAMPLE 373
ranging the matter that usually comes A car-card t at is excellent in every way. The art and advertising elements
in with such orders. The arrangement are blended perfectly
has merit from an advertising point of
view, the information being given concisely and legibly. attractive enough to tempt the recipient to place it on
—
Example 375. This is a simply treated type design the wall of his office. The attention of visitors will be called
that would also look well applied to other window-cards. to it, and the advertiser will hear from some of them.
Lower-case treatment for the purpose seems
to be the right one. Simplicity appears to be a
lost art with many compositors when setting
or designing a window-card. They either build
architectural designs and produce fantastic
July Annual Excursion
effects with rules and ornaments or else hur-
riedly jam together homely type-faces in un-
sjTnmetrical discord. At this writing there is 18 t. ark's
being introduced in circulation a new design
for Uncle Sam's "pennies" which is remark- Sunday School
able for its simplicity. Printers would profit
by a close study of the new and old designs.
to
Simplicity of design in printing is no less to
be desired than simplicity of design in any-
thing else. In the window-card under con-
'eluscong
sideration the two strengths of line found in
the border are duplicated in the type-face. Fare
3 on-the-Hudson
—
Example 376. The "Secession" style of
by Steel Boat Line
border and ornament blends well with mono-
tone type-faces without serifs, such as the
50c Leave Pier at 9 A. M.
type commonh" known as gothic. As the
wood-type equipment of most printshops verj*
likely includes gothic faces, the style of EXAMPLE 374
treatment shown by this specimen may be
produced successfully. A border such as this
is easih' procured, or can be made by the
printer if he desires. The good results ob-
tained here will be lost by printers attempt-
ing the style if other type-faces are used in
conjunction with the gothic. Harmony is its Ne\v Year's Reception
chief point of excellence take away harmony
;

and but a commonplace poster will remain. and Mask Carnival

—
Example 377. A small and new member
of the poster family is the motto-card. It is
enjoying extensive popularity and is the means
of circulating good advice and bits of philoso-
The Lesten
phy tersely and often humorously put. These
sayings are generally displayed attractively
Social Club
inside a border. There is great opportunity
for printers of these cards to make use of
artistic ability in type decoration. The speci-
Arion Assembly
men shown is daintily treated.
Saturday Evening, January 1 st
—
Example 378. The motto-card is also ex-
tensively employed for advertising puri^oses,
the one used here having enjoyed some popu-
larity in thisway. The advertising is usually
confined to a small line at the foot, sometimes EXAMPLE 375

connec-ted in thought with the sentiment of Q that would also

the motto. The object is to have the card

 134 THE ART AND PRACTICE OF TYPOGRAPHY

Q o

BASE BALL ^ man's! fteart

musit be in
MARCH FIELD
ftisi

gfeiU anb a man's;

Sioul in \)ii

SPRINGTON craftsimansifjip

VERSUS
MELROSE d "^

SATURDAY esthetics he
product is useless.
becomes impractical and his

AUGUST A well-balanced mind is as valuable an

asset to the printer as to any other person.

6 He should cultivate poise, especially in the

treatment of his printed matter. If a cus-
tomer learns to respect and depend upon
4 P. M. the judgment of the printer, that printer
will be able after a while to go to sleep at
night without having his thoughts fastened
upon his competitor around the corner. I
wish I could find a printer who would re-
lieve me of the details of my printing
ADMISSION FIFTY CENTS orders," recently remarked an advertising
manager of a large concern, which remark
should cause sharp thinking by the man in
the printshop. The employee who needs to
be told how to do his work gets the mini-
EXAMPLE 376 mum wage. The printing office proprietor
A border such as this blends with the gothic type-face. Thii who must be instructed by the customer in
duplicated in the average printshop every detail of the work gets similar reward.

It may be well before closino- this chapter to

say a few words about decoration on posters.
The primary purpose of the poster is to carry
a message to announce to the public some
;

event of special or general interest. It has a

^^^(
use similar to the herald or bell-man of other
days. The homely "sale bill" of the rural
districts presents in a direct and forceful You should be
manner the story it has to tell, but it may be
likened to the rough-hewn bench of primitive
ve-ry careful, you know,
times. The other extreme is the over-deco- you might get interested
rated poster, filled to the edges with beautiful
in your work, and let your
lines and forms, among which the message is
lost, and with it utility. This kind of poster pipe go out.
may be classed with the parlor chair of curves [Jc s McNeill Whistler
and color, sans strength and usefulness.
There is a happy middle-ground upon which
the printer will be wise to take position. There Get your shoes at Duncanson & Company's
he will recognize that art and utility blended
give the best practical results in poster print-
ing and in other work. Recognition merely
of the utility element in printing will cause :

his product to become commonplace and with-

out interest, while if he dwells alone with The motto-card ii
 store Closes Evenings 5.30 ; Saturdays 12.30

: Qwudk ja^ cfJiknUui^

I
More Than a Quarter of a Million Dollars' Worth of Fine Fur-
You 20% to 50% on Your Purchases
niture, at Prices That Save
EMPHATICALLY the most notable and conspicuous August Furniture Sale in Greater York. New
Trainloads of F urniture from the Bes t Man
ufac turing Cen ter s in the Unit ed States at t he Lowest
Pric es in the City. The business done durins the past week has exceeded all previous biff ssles recordt by thousands ordellars.
came from everywhere for furnitiire. Tlie sale enters upon its second week to-morrow with every line thoroushly reinforced, and just
« pletc and intereiting as the hour -when it bcRai'. Tliose intendin;: to furnish a home or an apartment complete miy arrange >

' '
Department of Accounts for Distributed I'aymcnts. Purchases held GO days if desired.

Mission Extra! Golden Oak Buffets Extra!

Brass Bedsteads
Rockers $9.50
3.50
$.1.50 KocUers
ues ; Monday
X.^1.90 :t.'.^:*3.95
Oak Dining Golden Oak
Tables Buffets
$16.01) val. $10.50 $Jo.no val. $12.50
$18 00 vnl. $12.50
SW.OO
$ei.oo vol. $16.50
val. $14.50 $3000 val. $19,75
$31.00 Tal. $19.75 $Si.00 val. $22.50
SW.OO val. $25.00
Exactly as illustrated; »3S.5() val. $27.50
Sti.txi val. $27.50 $49.00 val. $29.50
large and comfortable Vam ral. $24.75
Jt9.00 val. $34.50
rocker of solid oak, Dining
finished in Early Enjj-
Tables
lish Style; spring seat
;olden oi Genuine Leather Couches
covered with chase ef«
f£^paTtcod""pri'ntconst''ruA'lon.''B^^^^
S?r:;iue^5.50 $10.50
5-Piece Parlor Suites Slip Seat Dining Chairs 3-Piece Parlor Suites
About 3 carloads, rpccivcd direct from the Furniture Thrse suites were med for eiliibition samples and
Kinds that are sold r tfful.rly at
they cannot be duplicated. Savings of +0'o.
$5.00. In several desi :ns. Made
of qua •tered
with 2 enuine
sawed oak i

Carved claw
^:Z^!:. $22.50
nd covered $36.50 S. ."!'.':

I^;«.^'^: $38.00 ll:ir.s. ':!":; $79.50 feet, These

leather-
regular $5 i;.!,;:..'.''.^: $27.50
|
'^:.^- $47.50
»3-""j
II.^ies.';''" $45.00 1 ll'L .':!":; $84.oo chairs
\^»^!l $29.75 lutt'eT.!:!"." $69.50

AUGUST
To-Morrow,
Begins
SALE OF
Most
LINENS
and Will Be the Important Ever <

Announced by Simpson Crav/ford Company. ^^

10,000 All Linen Table Cloths, 10.000 dozen Napkins, 15,000 yards of Table Damask.
50,000 Towels of various kinds. 12,000 Bed Spreads, 60,000 Bed Sheets, 50,000 Pillow
Cases, thousands of pieces of Decorative Linens and 100,000 yards of White Goods.
The Prices Are the Lowest in the History of the Linen Business *

$1.75 Hemstitched Linen Table Cloths $2.00 Bleached All Linen Table Cloths
Of good T.ality German linen; S-* size; for square or $ » l.civv table cloths; grass bleached; tvro jard, square; « -| fX Q
Ml:
1.00 ndsome new deMgns. with elaborated borders; f£.OJ ral-
^J[,^y
Fancy Linens at Half Sheets and Pillow Cases
Scalloped an d Hem- 1 Centre Pieces, embroidered nnd Pillow Cases, size 45x36; "I iTjc Bleached All Linen 1
stitched Huck Towels
Extra fine (|uali ies in large
|
scmlloped round; 50c values O^C Pillow Cases, hemstitched.
Table Damask |

.\n cxtr.i hc-a\ y quality, guar-

size, 23x4 les. Some Centre Pieces and Sham»; also
hemstitched —
olh rs scalloped Scarfs; embroidcied and r.*:.«.::?:-'.".": 125^= .-lutecd pure linen; full 70

with emhro idery edges; 50c. Sheets. Pcpperill. seamless; CLCLq.

inches ^^idc. A 75c. quality

values (no mail or- 25c German Cluny Centre Pieces.

size 79x90; 79c values, at . . nJXj that vill lau
";,a"5o=
Shams and Scarfs; 75c JCQc Sheets, homespun. seamless,
full size. 81x90, 79e values,
KQc
tltJ
Mcar pofectlj

i^ -SIMPSON CRAWFORD CO.. SIXTH AVENUE'S FINEST STORE.-

EXAMPLE 379
A well-treated department-store advertisement
of a kind to interest tKe general puUic
 — .

HE

THE TYPOGRAPHY OF ADVERTISEMENTS

THIS chapter will deal with the subject of advertising from generation. It was a simple proposition that confronted the
the typographic printer's viewpoint and no attempt will compositor when most advertisements consisted merely of
be made to cover the field of advertisement writing. While the plain announcement of name, business and address.
the treatment of modern advertisements is influenced to The only problem then was whether the firm name or the
a great extent by advertising managers, printers are title of the business should be the larger. Now the com-
somewhat responsible for both the good and the bad positor, when called upon to set an advertisement, must
typography presented by advertisements in the news- be able to think more deeply or he will fail.
papers and magazines. Different styles of typographic treatment are necessary
Advertising managers favor the printer who is able to carry the message to various audiences. An adver-
to interpret their ideas and mold them into good typo- tisement exploiting a five-thousand-dollar automobile, to
graphic effects. Instead of taking a fiendish delight in be effective must be written and designed on different
carrying out instructions to the dot, the compositor hand- lines than one announcing a special sale of shirts for
ling advertisements should hold to the spirit rather than to fifty-nine cents. It is plainly evident that careless, in-
the letter. There is weed of a more thoro understanding and harmonious type treatment on the automobile advertise-
co-operation between advertisement writers and printers. ment would render void any efforts of the advertisement
It should be agreed that the writer, but it is not so well
compositor is pri\nleged to realized that there is danger
substitute a larger or smaller in another direction. The
size of type if the instruc- story is told of an advertise-

tions happen not to be ac- ment writer, who, after ex-

curate. Advertisement writ- periencing extraordinary
ers with no experience at success in preparing the
the case should not reck- publicity matter of an ex-
lessly ask for forty -eight tremely high-class house,
point when thirty -six point took up the management of
is needed, nor call for a the advertising of a mail-
twelve -point letter for solid order business, and failed.
reading portions when He prepared advertise-
enough copy is furnished to ments for the mail-order
compel the use of an eight- bargain-hunting public in
point type. the same style he had used
The desired type-face for the more conservative
should be mentioned by class of buyers. Quality is
name. There are so many
The woman who does her own work more of a consideration
ought to have the very best of everything
names of type-faces that with the general public
to do it with.
the layout man and adver- than it was at one time,
Take this matter of dish washing, for
tisement writer cannot be yet there are many buyers
example— the best soap for that purpose
too careful in this respect. with good taste, limited in
is Ivory.
He may call for old-style their expenditures, who are
It costs more than ordinary laundry
and get any of two dozen soaps do. It is worth more. frightened away from too-
faces. If he has, say, Old Ordinary laundry soaps make the hands elegant sales-rooms by the
Style Antique in mind it red and coarse and hard a source of — fear of high prices. An ad-
should be so written on the never-ending humilation. vertisement need not violate
layout, with a second choice Ivory Soap adds to their beauty; keeps the principles of art and
should the supply of that them sweet and soft and dainty. dignity to gain the sympa-
letter be exhausted or For that reason, it is true economy to thy of this class of buyer,
the printshop not have the —
use it even if it does cost two or three yet it should have the ele-
face. Caslon Bold is a good cents a week more. ment of human interest. It
There no "free" alkali in Ivory Soap That i> whjf
substitute for Old Style i» it
is important, then, for the
Antique, as Caslon is of Ivory Soap . 99*5ioo Per Cent Pure printer as well as the ad-
Cheltenham, and Ben. vertisement writer to study
Franklin of Post. \^ his audience.
A remarkable change has Example 379 (insert).
come over the advertising EXAMPLE 380
Here is an admirably
pages of magazines and Blending typography -with illi treated department-store
newspapers during the last ark by the McDonald Printing Co. advertisement, one to secure
136 THE ART AND PRACTICE OF TYPOGRAPHY
smaller towns, to provide a distinct series of type for each

n
large advertiser. For instance, in a paper before the
writer one advertisement is displayed in Century Bold,
The best lamp-
anotherin John Hancock, and another in Foster. By this
chimney is made of method the announcements of an advertiser as they ap-
Macbeth's Pearl Glass, pear day after day are clothed in familiar features that
just as the proper show identify them at once to the interested reader. In con-
^^^^3^*^\ window is made of trast to the style of the Simpson Crawford advertise-

^^
fti,^^

plate glass. ment is that of the Wanamaker Store (Example 397), of

which more will be said further on.
^^^, to fit any kind —
Example 380. In present-day advertising the printer is
not as frequently called upon tooriginatedesigns as to blend
iflZr«*'i!^!lH of lamp, of any
typography with an illustration already made. Usually there
size. They give per-
is a mortise in which is to be inserted suitable type lines.
combustion, burn

1^9
fect
This does not leave much to the printer, but all his in-
the smoke, stay clean. genuity and good taste are required to so perform his
^uSk'WSM. and do not crack. My l)ortion of the work that a harmonious whole may result.
mKL^^^I name IS on every genu- This Ivory Soap advertisement is an example of intelli-
fM I^^^^H ine Macbeth chimney. gent co-operation on the part of the printer. Old Style
Antique blends well in tone with the illustration. White

HSSSBI
W^ Macbeth, pn.sburgh
space is liberally distributed in both panels. Altogether
the effect is pleasing.
—
Example 381. This advertisement presents another
example of typograjjhy harmoniously blended with illus-
"^ tration. By this, as by the previous si^ecimen, it will be
seen that the illustration displaces the customary dis-
EXAMPLE 381
play line, and that the only suggestion of display is
In which the illustration displaces the c
found at the foot of the advertisement, and then only
at the head of reading n slightly accentuated. The Macbeth company has always
made good use of the Caslon type-face, similar type treat-
the attention of ment having been used before illustration was adopted in
the general public its advertising. Compositors will notice that the words
and interest it. have been so arranged as to conform to the contour of
The prices are em- the lamp-shade. A less careful printer would have made
phasized b}' large the five short lines even at the left. In an advertisement
figures, which arranged in the conversational style, it has been found
treatment is popu- effective to set a portion of the matter in a large, easily
lar with the aver-
age store of this
kind, as it

to the sales those

brings
HoAV Our Ad -Writers Earn
persons who are
seeking bargains Up to $1,000 Per Week
(and most of us
have that failing).
Small boys are lugging off
our wash suits in great spirits
The names of the
articles are dis-
these days, because the stock
isunusually complete for this played in connec-
season of generally broken tion with their
.stocks.
selling prices, in a
Not to speak of some price manner easily
revisions which bring the seen at a glance,
whole wash line of Russian the rule panels
sailor suits down to three further helping to
a quick compre-
hension of the fea- t result-get-
b""""' >''''>?• P™'<

tures of the sale. ""HTmust ITowLn

ni^lToZl
As for bigger bb}^ suits- This advertisement
woolen Norfolk and double is well treated from
breasted suits in fancy mix-
a typographical
tures.
viewpoint. Ex-
The revisions there range
cepting the two
all the way up to $8.00 on a What Good Copy Means
large headings,
suit.
and $10.50 now.
which are hand-
$6.50, $8. SO
lettered, only one
Rogers Peet & Company, style of display
Three Broadway Stores letter has been
at at at
used. It is custom-
Warren St. 13th st 34th st.
ary on city dailies
and on pro-
also
EXAMPLE 382 gressive news-
Simple type treatment, without display j) a p e r s in the By Lord &• Thomas, Chicago, ]
 THE TYPOGRAPHY OF ADVERTISEMENTS 137
Example 383. t^
—T h i s speci-
GreenKut
men is interest- For special sdllng on Saf-'
ing in showing- and urday, a number of men's
how an adver- dress waistcoats, in white

tisement is G)inpaiily pique or gray fabtic, $2.25

treated by a
Men's The grade Is that usually
firm of writers
Dress priced by the best haber-
which claims to Waistcoats dashers at $3.50 and
pay one mem- $4.50.
ber of its staff a
thousand dollars
a week. Some Shirts The Custom Shirt Depart-

Made to ment makes an

of the state- Initial offer
Measure of three shirts to measure
ments inthis
advertisement for ... . 7.50
will surprise These will be made to a
printer readers guaranteed fit in a choice
EXAMPLE 384 of this chapter, from over 200 patterns
n style in which typography and phot
and others as of imported fabrics. In-
mbined' t get attractive results
well: "Good cluding the Gro. Romans
copy is simply printed percale-troche and
read size of type and the remainder in a much smaller size
good salesman- Anderson's colored and
of the same series, as was here done.
has
—
Example 382. The unique style of the advertising of
ship.
to do with
little
It white
gee,
madrases.
plaited or
In negli-

stiff
Rogers Peat & Co. is an evolution of many years' work
by this company's publicity department. The outline
phrasing little — bosoms ; coat models ; cuffs

to do with dis- attached. Or, at the same

illustrations carry a touch of caricature, and the typo-
play." "it is price, white dress shirts
graphical treatment is simple, without display.
not literary with bosom and cuffs of

—
work this ad- finest Irish linen. Send for
vertisement booklet of samples.

writing. A man
need not know
Men's Men's white dress Gloves;
grammar. We Gloves 1 Clasp Prix seam, cape;
care not how he
1 pearl button, pique.
spells." "And glace; and 1 pearl button
he must be a
over seam sewn . $1.50
plodder." The
work of this
firm may often Sixth Avenue, Eighteenth to Nineteenth Street,

be distinguished New York

(For..rl, occupied b, B. Allm.n & Co )

by the under-
scored bold-face
lines heading EXAMPLE 385

otherwise plain-
The Food Thats ly paragraphed
ma1 1 e r. Each
word is underscored separately. No border surrounds the
Shot From Guns advertisements.
Ex.\MPLE 384. —
The promoters of Pearline were the first,
ig with a dish of
to the writer's knowledge, extensively to use in this way
a combined typographic and photographic design. The
Show them these grains, with the unbroken, puffed type portion of this advertisement is distinctive because
to eight times their natural size.
of the clever manipulation of the Cheltenham type-face.
Serve them this crisp and delicious food — four times as
In a design of this kind the photo-engraver has an im-
porous as bread. It will melt in the mouth.

Your folks will say, "Why, this is great Let us have it portant part, altho the typographer must do his share
every morning." with intelligent comprehension of the main idea.
—
Example 385. This shows a section of a department
Exploded by Steam store advertisement unusual in its artistic treatment. But
one type-face (Tabard) was used and an abundance of
This is the way we make it: blank space was distributed thruout the design. For some
The whole wheat or rice kernels are put into steel guns. reason this treatment has been abandoned and the com-
Then those guns are revolved, for sixty minutes, in a heat of
»0 degrees.
pany's advertising is now commonplace so far as concerns
That heat turn's the moisture in the grain to steam, and its typography. Perhaps the patrons of the store did not
the pressure becomes terrific. a])prove of the original artistic presentation of this com-
Then the guns are fired. Instantly every starch granule
pany's offerings; anyway it is to be regretted that tlu-
15 blasted into a myriad particles. Thus the kernel of grain is

expanded eight times. Yet remains unbroken — shaped style was not continued.
it

ExAMi'LK 386. —
This advertisement of the Quaker Oats
comjiany was prepared by the same staff of writers re-
EXAMPLE 386
sponsible for Example 383. There is the same general
Showing the style of underscoring words style in the tyi)e treatment —
underscored headings, par-
By Lord y Thomas. Chicago, 111. agraphs in small body type, and no border. This is of
 —

138 THE ART AND PRACTICE OF TYPOGRAPHY

in illustrationand in words, the purpose of the advertise-
ment. The artist was furnished with pictures of roller-
< casting machines and told to conventionalize them, a

KENMORE
Kenmorc Covers
rough sketch of the entire advertisement being given
him. This style of treatment is partly silhouette, all
„„ru.JX'r'rs..,

ThI«w"p.i«C.,
COVERS 1^
A printing paper that adds '"^~^'
perspective and detail having been omitted. The type
portion shows Old Style Antique and Caslon in combina-
tion. Usually it is advisable to set the signature to an
to the quahty and ad\ ertising ^^^^ advertisement in a small size of type a trifle larger or
,,w."L?Jt„,c.,
value of any booklet or catalog for which bolder than that used for the body, but here the name
it is used. It is possible to buy more ex- of the company was intentionally made large, enabling it
pensive papers and cheaper papers, but to be read with the heading.
iSrEl
„JXZf„....
another paper cannot be had that in both
quality and price so thoroly meets the
—
Example 389. This advertisement is reproduced not
p.„',cr
for its beauty, but to show the use of the arrow as an
everyday requirements of printers as does
indicator. At this writing, many of the men responsible
KENMORE Covers. It is a standard
for the designing of advertisements are arrow -mad. The
Uu,WlX'.'c, cover paper, one that may profitably be
advertising pages of magazines and trade papers resemble
kept in stock for immediate use in many
ways. It will not become shelfworn, as
an Indian battlefield. The old-fashioned fist in its day
/s D^r^C its

*''".". and pleasing colors make it

artistic finish
was never more popular than the arrow is today. Serving
s p c.
LTcr!,'"' and law-brief
suitable for catalog, booklet an excellent purpose when properly used, the idea has
""""mI'L'mu"™" covers, folders, envelop slips, programs been ill-treated at the hands of its friends. Its use in
"'''°

"oolr"^" and many other jobs of printing. Send to

C.tp,».°P.J.,C.,
nearest agent (see list opposite) for sample

""";£S""°'" book and order a supply of KENMORE

COVERS. You will surely be pleased with it.

!j^:
""£5."°

CAREW MANUFACTURING CO.

SOUTH HADLEY FALLS, MASS.
B.„i=.GIlli„»C.
«

m
In which attractive
EXAMPLE 387
typography was possible
Making printers' rollers
in spite of a long list of agents
is no trifling business
the growing class of advertisements which go into detail, It may seem a simple matter to make printers' rollers but it is
giving careful descriptions of the article and presenting rea- not so simple to —
make them right as the Maigne Company
sons why it should be purchased. In this style of adver- makes them. Four hundred years ago Aldus printeci books so
tisement the printer deserves credit for the appropriate well that all modern efforts fail to equal his work. And Stradi-
manner in which he treats the writer's message. vari made violins so perfect that violin makers ever since -have
—
Example 387. There was presented to the designer despaired of duplicating them. Which makes plain that every
of this advertisement the problem of including a long list bit of work a man does should be done as well as he can pos-

of agents and yet retain for the advertisement proper the sibly do it. This the Maigne Company does when it makes print-
space to give it sufficient prominence. This has been ers' rollers — and the product of its roller factory is unexcelled.
solved by the panel at the left side. The border, trade- Printers should not underrate the importance of good rollers. It

mark, and name of the article advertised blend in tone, has been truthfully said, "A good press, a good pressman, good ink
while the remain- and good rollers are a quintet of quality that produces good
ing type matter printing. The O. J. Maigne Company makes that kind of rollers.

shows a pleasing
gray. display
All O, J. Maigne Company
in the larger panel 358-360 Pearl St., New York
is in capitals. In-
serting the trade-
mark in the space
left by the shorter
Strength in typography and illustration
word of the head-
ing makes the
effect unusual. The this particular advertisement not good —the appearance
is

original size of this is too serpent-like.

advertisement was Example 390 (insert). — Printers of programs and other
0%x 10 inches. forms containing small advertisements will be interested
Example 388. in the treatment of this page, from the Edison Monthly.
The chief element Set in Caslon lower-case, without punctuation, and as far
in this advertise- as possible in but three sizes of type, the effect is unique
ment is strength, and decidedly pleasing viewed as a whole. The artist's
especially notice- work on the heading and borders has much to do with
able in the original its attractiveness. The type work is by the Willett Press.

The page was

size. —
Example 391. The writer has for a long time admired
designed to pre- the typographic advertisements of the Aeolian company.
sent at a glance, While various printers have been doing the work, the
 ADVEKTISING S E C T I O N^
^f^E L E CTKI CAL,;. :C OXTKA.CTO I^jjK

'^:y J^j^^klw^

Harry Alexander Commercial Construction Co

Telephone 6090 38th St Telephone 4822 Madison Sq

20 West 3-lth St New York 114 East 28th St New York

T F Attix Electric Co L K Comstock & Co

Telephone 1108 Prospect Telephone 7726 Cortlandt

283 Flatbush Ave Brooklyn 114 Liberty St New York

Blackall & Baldv\'in Co Conduit Wiring Co

Telephone 7920 Cortlandt Telejjhone 3318 Madison Sq

30 Cortlandt St New York 14 West 29th St New York

Brown & McClure Wm F Duffy k Co

Telephone 4428 Gramcrcy Telephone 3461 Cortlandt

35 West 21st St New York 96 Warren St New York

Joseph Burkart Edwards Electric Constr Co

Telephone 392 Madison Sq Telephone 385 38th St

1123 Broadway New York 39 East 42d St New York

A J Buschman Co C L Eidlitz & Co

Telephone 5144 38th St Telephone 1148 Madison Sq

72 West 38th St New York 1168 Broadway New York

Cleveland & Ryan Electric Construction

releplujne 4677 C'ortlandt

& Supply Co
Telephone 219 Cortlandt

23 Dey St New York 237 Broadway New York

EXAMPLE 390
In wlnck uniformity of type treatment
makes for a pleasing result
 THE TYPOGRAPHY OF ADVERTISEMENTS 139

^^abSKS^^bSKMKMK^iiS^^gp)

How Elbert Hubbard

Became A Pianolist

g THE AEOLIAN CO. til

tef^^^saMaM^iribi^afe:^^hi^M^bt^

One of a

advertising department of this company must have a man EXAMPLE 392

with excellent perception of the possibilities of type found- Artistic results from non-typographic
ers' material, for the results in almost every case are sur- By B. L. Dunn and T. A. Sindelar, New York
prising. As in the advertisement reproduced, the display
types show relation in tone or character with the border ter was placed in the design, not by mortising the base,
used. Printers should be encouraged bv this example to but by insertion after electrotyping. The type was set to
increased faith in the possibilities of their craft along the proper shape by means of an oiled proof of the design.
advertising lines. The stam- When several sizes of adver-
pede of advertisers to artists' tisements are to be made of
and engravers' work may end the same design, the type is
and printers should be pre-
pared. The School of set full size and a clear proof
pasted in position upon the
Example 392. While not— drawing.
a matter of typographic inter- Hard Knocks —
Example 394. This shows
est, this advertisement is re- a clever effort to give uniform-
produced because of its highly ity to the appearance of small
treatment. The Oneida
artistic advertisements in advertising
Community's advertising man- programs and souvenirs. Such
ager, B. L.Dunn, and its art- jobs of printing should be de-
ist, T. A. Sindelar, are both signed so that a uniform style
to be congratulated upon the of typography can be followed
handsome, appropriate effect thruout. The advertising sec-
obtained. Printers will not tion of a program cannot hope
only be pleased by close study to be more than a mere direc-
of this advertisement, but will tory of business friends, and
be likely to receive adaptable consequently requires differ-
suggestions. ent treatment from advertise-
—
Example 393. Here is an ments in a newspaper or mag-
advertisement that represents azine. Buyers of space may
a style much used in maga- require cuts to be used or ask
zine advertising, in the pro- for certain type effects, but so
duction of which artist, en- far as possible uniformity
graver and typographer are should be maintained. Not
jointly employed. The title only each advertisement but
"The School of Hard Knocks" the entire advertising section
finds reflection in the illustra- should be set in the same
tions, and the black line en- series of type. It is possible,
EXAMPLE 393
closing the type gives shape A style much used in magazine advertising by varying the sizes of type,
to the whole. The type mat- By the Hall-Taylor Co.. Milwaukee. Wis. and arranging different group-
 A

140 THE ART AND PRACTICE OF TYPOGRAPHY

—
Example 397. The refined, dignified and artistic
style of the Wanamaker Store newspaper advertise-
ments is in striking contrast to those of most other de-
partment stores. William R. Hotchkin, advertising
manager of Wanamaker 's New York store, does not
shout prices at his readers, neither does he do a lot of
Tne Hydraulic Press other things common to present-day advertisement writ-
Brick Company ers, yet these advertisements (filling space said to cost
half a million dollars yearly) keep two immense stores
filled with buyers. Old Style Antique is the type-face
e.'^2'.:z'^'z^
used, and it seems to be just the letter for the purpose.
—
Example 398. In the old days every court had its
jester, and this display of advertisements would not
D.M,n.r a„d Miinuhctur.r 4
be complete without its funny one. This example
High GraJe Plastic Work,
Ornamental Ceilings. Columns and Mouldings shows that the advertisement writer, as well as the
a Specialty printer, has his play days.

PORTER WHITE
/COLLIER'S edited
The Basis of
is. fo|

thoughtful peopU. .•
Itf
Collier's letter-prea and its illuttrationt

»re planned for men ind women

with the education to appreciate

md the means to buy the best,

la success in establishing

Brown-K.etcKam itsel/ in the homes of well-to-do

Americans can be judged by
Iron Works
its

subscription income of two and

a half million dollars annually

($2,500,000) — a million . more

than its nearest competitor.

Experienced advertisers have

EXAMPLE 394
An effort to give uniformity to a page found that the higher a sub-

of program advertisements scriber's regard for his favorite

publication the more responsive

wanted. is he to everything advertised

ings, to get variety if it is It is not necessary
to use discordant type-faces to accomplish this result.
Example 39.5. — This
advertisement appearing in the
magazines during Will Bradley's regime as art editor of
Collier's, the unusual type arrangement should no doubt
be credited to him. While some would consider the blank
at the left a waste of space it adds much to the value of
the advertisement as
an attracter. The mo- E. C. PATTERSON
tive of the type and
decorative treatment
is Colonial, altho the

arrangement is mod- EXAMPLE 395

Blank space and vertical lines :
ern.
Example .S96. —
decorative motive in
pleasing h a r on y m —
Example 399. This is one of a series of effective ad-
with the purposes of vertisements in which the photographer and typographer
this advertisement is have blended their abilities. There is harmony between
its prominent feature. the style of the type used and the two lettered lines at
The re ]) roductio n the foot. The Washburn-Crosby company plans its own
shows but one sec- advertisements and the finished effect is prepared in Minne-
tion, other items hav- apolis under its direct supervision. The printing plates
ing been similarlj' are probably made by first photogi-aphing the picture and
treated. This adver- blank background in the usual way then photographing ;

tisement exemplifies the type matter in reverse as is done for line plates. By
the principle of ap- means of the sun or artificial light, both halftone and line
propriateness in type effects are printed on a polished copper plate. Thus it is
treatment. A strong possible to present the letters pure white without, as
display in bold-face some suppose, cutting away the screen. The reproduction
type would have ad- herewith, however, contains the screen. At this writing
EXAMPLE 396
A decorative motive and pleasing
versely affected the Cook announces his discovery of the Pole, which suggests
harmony. By Calkins Holden & advertisement's sell- the appropriateness of this advertisement could it have
(Section of advertisement) ing power. been used in the magazines at the present moment.
 THE TYPOGRAPHY OF ADVERTISEMENTS 141
—
Example 400. An advertiser with only a small space
in newspaper or magazine is forced to study out the best
manner of making use of it. A rule border is counted of
value in throwing such an advertisement into prominence,
but at the same time it lessens the conspicuousness of the
main display. To overcome this, some typographic genius
has arranged to have the display lines start outside the
border and gradually creep inside thru an opening in the

More Than 7500 Pieces of Furniture

Sold in Eight Days of This Sale

EXAMPLE 399
Combination of typography and photography
An interesting process

ment. It may not be just to condemn the printer, as he

probably worked under instructions from the advertising
department, but someone had a defective idea about type
display. It has been scientifically ascei-tained that the
eye cannot
grasp more
than t w o
words at a
time, which This gives
demonstrates
By William R. Hotchkin. New York the useless-
emphasis to the
n e s s of at-
u:>per left comer. In order that the efforts to give em- tempting to leading
phasis to these display lines may not be nullified, no large emphasiz e and also allows the advertisement

display should be attempted inside the rule border. A gray- and re-em- to be enclosed in a rule border.
This style is very effective for ad-
printing body pha s i z e as
vertisements that must ^o into a
etter should was here
small space, allowing for little dis-
be used. done. A play, and that confined to the intro-
Example more sensible duction and the signature at the
^ec^u.re 'V 40 .—To1 treatment is
foot of the advertisement. A bold-
one looking shown in the face type should be used for the
for neatness reset ex- heading and signature and the body
and simplic- ample. set in a lighter faced tj'pe such as
ity in adver- Example here shown. No capital lines should
i. Ol i' O' » £- ^ ^ tising typog- 402.— Only be used as lower-case is more legi-
ble, especiaUy in a small space. An
raphy, the a few words
i3 2^|<>/-0^^ 0,5^7 page adver- are given
advertisement of any kind should
be considered not only alone but as
tisements of prominence it will appear on a page with others.

^^%ii^-^i^^..n
<e *°s pu« 'sa
the Pruden- in this re-ar-

Yfi^.
Insur-
tial
ance Com-
rangement of
the previous
Smith & Jones Co.
78 Main Street, Topeka
p a n y , ap- example.
pearing in The long line
the m a g a- of confusing
zines,are a figures is
disappoint- avoided, and
 -

142 THE ART AND PRACTICE OF TYPOGRAPHY

Over
Over 306 Millions
$306,000,000. of Dollars
New Life Insurance New Life Insurance
Written and Paid for In 19081
—
written and paid for in 1908 the most
remarkable year in the history of
The Most Remarkable Year
In the History of

The Prudential
The Prudential This magnificent record
appreciation oi the
is due to public
New "Low Cost" Ordi-
This Magnificent Record is Due to
nary Policy, the New Industrial Policy, the
Public Appreciation of the NEW
"Low-Cost"
New Monthly Income Policy —
all meeting
Ordinary Policy,the New Industrial Policy and
the New JHonthly Income Policy— All Meeting the demandfor guaranteed life insurance and
the Demand for it shows popular approval of the adminis-
also
tration, strength, liberality and fair dealing
Guaranteed Life Insurance
of the Company.
It also shows Popular Approval
of the Administration, Strength,
Lil>erallty and Fair Dealing of the
Company.

Tbe Pradential Lunraiice Comptnr of Anuria

e emphasized Order ntbe

instead of chaos, in the advertisement as a whole there structions and fail If the design-
to get the desired results.
is order and dignity. ing is accomplished first and the copy written afterward,
—
Examples 40.S, 404 and 405. The coupon, which is the writer should fit the copy to the design. It is not
understood first to have been used by the Wanamaker uncommon for printers to get layouts and copy which
stores, frequently to be seen in magazine advertisements.
is practically have no relation to each other. Perhaps too
The three forms shown are representative. The square much copy has been written for one panel and not enough
form is sometimes used, but more often one finds the tri- for another. In the one case the matter may be crowded
angular coupon, either with the tjpe set horizontally or in eight-point and in the other twelve-point may only
diagonally, as shown. The coupon not only acts as an in- half fill the space. It is impossible with such conditions
centive for immediate ordering, but also assists in keeping for the printer to get even tone, a necessity in good
record of the returns from advertising. Key numbers such typography. It were better that the copy should be writ-
as "Dept. 45" in the Prudential advertisement, are also ten first and then placed and apportioned symmetrically
sometimes used by advertisers to identify inquiries with and harmoniously.
the magazine carrying the advertisement. The printer with correct ideas of typography, especially
if he be connected with a newspaper plant in a small
A typographic advertisement is more effective if the city or town, should study the word-construction of ad-
arrangement is also sketched out by the advertisement- vertisements and practice writing them for the local ad-
writer. The writer however, should have some knowledge vertisers. He would not only gain valuable knowledge
of type-faces and sizes, else he will blunder in his in- of an important field of labor, but would be better able
satisfactorily to ar-
range the t y p o
graphic treatment
FREE INFORM ATION COUPON
/ of advertisements
when called upon
'irrSiSr .l"^?'^;r^tt'x.'-^" to do so by other
writers. It would
surely seem to be
to the advantage
of the printer to
learn something
== ='=l about advertise-
ment writing.
Few persons are
weighted with un-
EXAMPLE 403 EXAMPLE 404
necessary knowl-
edge.
 ABCDEFG
HIJKLMN
OPORSTU
VWXYZ&
abcdef ghi
jklmnopqr
stuvwxyz
1234567890
EXAMPLE 408

Type alpkabet tased upon tte type-face

designei} by ^V^illiam Caslon
 '

TYPE-FACES
A FEW years ago at a gathering of printers in New York Type-faces may be divided into four classes Roman, :

City, the writer led a discussion on Tjpe-Faces" and Italic,Text, and Block (incorrectly called "gothic, "and
was surprised by the interest shown in the subject. It correctly sans-serif").
demonstrated that there are those in the craft who have The Roman Alphabet. —^The Roman alphabet (as ex-
an intelligent appreciation of the importance of type-faces, plained in the first chapter of this book) was evolved from
and want to learn more about the Phoenician and Greek al-
them. For such printers this phabets, and originally con-
chapter is \*Titten.
Type-faces should be se-
lected not alone for beauty
or legibility, but also for gen-
ABCDEF sisted of capital letters only.
The small or lower-case let-
ters are
capitals.
corruptions of the
The first successful
eral usefulness. If a font of
type remains dust -covered
and unused in the case, there
is something wrong either
GHIICLM Roman type -face was de-
signed by Nicholas Jenson
at Venice, Italy, in 1471,
and it has since served as a
with the type-face or with
the printer; which, should be
determined. If the fault be NOPQR.S model for many productions
of type founders.
The Roman capital alpha-
bet of Sebastian Serlio, an

TVWXYZ
with the type-face it should
be resold to the founder and Italian engraver of the six-
a usable face purchased. If teenth century (see Example
the type-face be a good one, 406), is interesting as dem-
suitable for frequent use, and L onstrating the treatment of
the printer does not know it, EXAMPLE 406
Roman letters at the time of
he had better devote some of Roman letters a the Italian Renaissance.
time to a study of the subject. the Italian Renaissai Some of the beauty of the
There are hundreds of lettering however, in
is lost,

printers unable to produce good the reduction. This example and

typographic work because their the one following it are from
type equipments were not wisely Frank Chouteau Brown's 'Let-
selected, or were chosen font by ters and Lettering."
font during a long period of time. The Roman letter, as may be
There was a day when the printer
gloried in the
possession of a
c6aractm^tmjA observed, is composed of thick
and thin lines. This feature,
hundred different type-faces, and which now to more or less extent
pitied the early typographers who seems essential to the beauty of
had but one or two. But now that type-faces, is thought to be due

the pendulum of fashion has again

swung to simplicity, pride of
possession lies in large fonts of a
3 ^(buisxv'stim&. to the manner in which the early
scribes held their reed pens. The
pen was held "almost directly
few legible, artistic faces. upright and at right angles to
In this chapter no attempt has the writing surface, so that a
been made to exhaustively review down stroke fi-om left to right

the many excellent type-faces to and slanted an angle of about

at
be seen in founders' specimen would bring the
forty-five degrees
books, neither is reference made nib across the broad surface, re-
to the specially-cut letters of sulting in the widest line possible
private presses. Rather the prob- to the pen. On the other hand,
lems of commercial job printers a stroke drawn at right angles to
have been kept in mind. The this, the pen being still held up-
uses of type -faces are more fully right, would be made with the
explained in the chapters on
"Harmony and Appropriate-
ness," Tone and Contrast"
'iiPkm:^ thin edge of the nib,
result in the narrowest possible
line. " The result is that, with
and would

and "Proportion, Balance and minor exceptions, horizontal lines

Spacing.
'
are thin and vertical lines thick.
 144 THE ART AND PRACTICE OF TYPOGRAPHY

Caslon
ABCDEFGHIJKLMN
Scotch
ABCDEFGHIJKLMN
Caslon
OP0RSTUVWXYZ&
Scotch
Roman
O PQRST U V WX YZ k
Diagonal lines running down from left to right are also Italy, to printers means merely a slanting form of roman,
thick. yet we are told that Aldus fashioned his italic after the
While this distribution of thick and thin lines may have handwriting of Petrarch, an Italian poet. As italic is
been accidental, as stated, any deviation from it leads to
grotesqueness. Example 411, a letter known as Italian
and made by the old MacKellar foundry, demonstrates
what happens when the above scheme of thick and thin
lines
The
isreversed.
serif, or crossed stem, of the Roman letter
RO^BR PA71TB
EXAMPLE 411
may have been originally suggested to the let- Reversing the accepted distribution of thick
terer or stone-cutter by the horizontal guide ind thin lines leads t< grotesqueness
*'" """'
lines used to mark the length of the letters.
Eight point Italic and Small Capitals. —While to evolved from handwriting, it is closely related to script,
Jenson credit is given of first using the two terms being used interchangeably to some ex-
Ten point an actual Roman type-face, sim- tent. The printer, as a rule, knows script as slanting let-
ilar honor is awarded to Aldus ters joined
Twelve point Manutius for introducing to each
Fourteen point
small capitals and italic. other.
(See chapter on While the
The Spread of possibiHties
Eighteen point Typography.") ili
Italic, so have not
Twenty point named in
honor
been
realized
fully
by The old Caslon figu.
printers,
Twenty-four point the hand-letterer can get the most out of it. The beauti-
ful alphabet by Bruce Rogers (Example 407) demonstrates
the decorative value of italic. While flourishes to the
Thirty point extent shown are not obtainable in type, there are
special characters, known as "swash" letters,
furnished with certain italic faces (see Ex-

Thirty-six point ample 416).

When italic used by Aldus,
was first

he had no slanting capitals, but in-

stead made use of small roman

Forty--two point capitals, a peculiar

tion even
combina-
now sometimes
practiced by typogra-
phers when design-
ing printing in

Fifty--four point the Venetian

style.
Claude
Gar-

Seventy-two EX AMPLE 409

pt.
:s of the Caslon type-face
 TYPE-FACES 145

abcdefghijklmnopqrs --

a b c d e f g h i j k 1 ni n o p q r s tssi

tuvwxyz 234567890 I h"

t u \^ w X y z 1 2 3 4 5 6 7 8 9 £S2

1, contrasted

unond, aFrench type founder, made the capitals full revival did not, however, extend generally to commercial
hight, inclined them, and filled the blank spaces with printshops. An American type foundry in 1858 made a
the little flourishes which now identify "swash" letters. letter based upon the original Caslon face, and it found
The ampersand (&), known its way into
to printers as the short -and," some shops.
is preferred by artists and art It was used, A B D G MN P R T
printers in the form shown as
Example
ver>-
41o-b.
seldom furnished in roman
This stjle is
according
to the cus-
toms of the
^ s T> g M •N P R T
fonts, but generally accompan- da\", in con- EXAMPLE 416
EXAMPLE 415 The line show ash"
rwo styles of tl decorative qualities
ies italic. Its junction let

ampersand makesubstitute
it a desirable with other
for the
in certain word "and" faces of different designs. The writer remembers a two-
jobs of printing, determined by the compositor's good which was part of the equip-
line pica size of this letter
jadgment. ment of the which he learned his trade. Some
office in
—
The Caslon T^te-Face. In 1734 William Caslon, an years afterward, when he had the old fancy faces as-
English type founder of extraordinary talent, issued a sembled together in a neat pile of old metal, this font of
specimen Caslon was saved from the
sheet con- "hell-box" and retained in
taining the the case.

Hdp Hdp Hpd roman tjpe-

face that in
With the revival of the old
styles of typography, which
a slightly began about 1890, the Cas-
EXAMPLE 417
modif ie d lon type-face again assumed
Stowing the difference in length of descenders
form we an important place in the
and ascenders in two Caslon faces know as typographic world, and now
and one Ckeltenkam Caslon Old it is found in the specimen

Style. (Ex- books of everv' American EXAMPLE 418

ample 408.) For legibility, beauty and versatility it has type foundry. Some of the cial letters make ad
no equal today. The Caslon type foundry had ceased to letters, however, have been able initials
when in 1843, at the request of Whitting-
cast this face modified, and to accommo-
ham and Pickering, the original punches were hunted up date the types to the lining system, the descenders have
and In the chapter on "Typography in the
fonts cast. been shortened (Example 417). An interesting feature
Nineteenth Century" is shown the title-page of a book in of the old face, the uneven figures, is being sacrificed to
which the revived Caslon type-face was first used. This present-day requirements, and "modem" figures of full

^ B CDEFGHIJK A BCDEFGHIJK
L M N P Q T< S T U L M XO P Q R S T U
V W X Y Z &f V WX YZ^
a b c d e f g h i j k I m n a hcdefghijklm n
P ^ r s t u V IV X y z p q r s t u V ix: X y z
12345678QO 1234567890
i
146 THE ART AND PRACTICE OF TYPOGRAPHY
size of the type-face substituted half text, to be had (Example
(see Example 414). The Caslon Roman Type-Face 418), based upon the early uncial
The Caslon alphabet is shown letters, which are more legible
in large size (Example 408) to than the German capitals.
afford opportunity for detailed "Block" Letters. The let- —
study of the peculiarities of this ter known as block" from
type-face. It is the Caslon Old
The Caslon Roman Type-Face plain, square appearance, and
its

Style as cut by the Inland Type The Caslon Italic also misnamed gothic" by the
Foundry. Some printers prefer type founders, still occupies as
the face with long descenders, prominent a place in type-speci-
known as No. 471 and made to men books as it did thirty years
order by the American Type ago. Its general shape is that of
Founders Company. The printer The Caslon Roman Type-Face the roman letter, but it has no
will not go wrong, however, if he serifs or cross strokes, and is com-
The Caslon Italic
orders his Caslon of any of the posed of only one width of line
type foundries. A Bold-Face Letter (Example 425). It is crude and
The Caslon type-face, gradu- primitive and appeals to those
ated from six to seventy-two who have a liking for the plain
is shown in Example 409.
point, and homely. The new secession
The short descenders of the art of straight lines and square
lower-case g, j, p, q, y enable The Caslon Roman Type-Face blocks offers opportunity for its
larger faces to go on the several harmonious employment. The
bodies than is possible with type
The Caslon Italic
gothic or block letter is tabooed
of long descenders. This will be A Letter of Medium Strength in many printshops and some
understood when it is explained magazine publishers will not al-
that the letter with the short A Bold- Face Letter low it to be used in advertising
descender (Example 417-A)is on pages.
a twenty-four point body and the
one with the long descender (Ex- What type-faces should com-
ample 417-b) is on a thirty point prise the equipment of a small-
body.
The Caslon Roman Type-Face sized commercial printshop? This
Text Letters. It is well — The Caslon Italic is an important question, and the

known that the first printers answer bears greatly upon the
fashioned their type -faces after A
Letter of Medium Strength success of a printer starting in
the lettering of manuscript books, business or renewing the com-
and that at the time of the inven- Its Italic posing-room equipment. It is ex-
tremely difficult, tho, to give a sat-
tion of typography the style of
lettering was that later known as
A Bold-Face Letter isfactory answer to the question.
Gothic, Black-Letter, Text and A Condensed Bold-Face Letter The situation is similar to that
Old English Gothic from its
; which confronted President Eliot
pointed formation and its prefer- a
CcEt better of Harvard when he was asked to
ence by Gothic peoples Black- ; select a list of books that would
Letter from the blackness of its Equipment E afford a liberal education. In his
appearance on the printed page ; EXAMPLE 419 selection he omitted so many
Text from its use for the body or The begim id gro'wtli of the type equipment popular favorites that his choice
text matter of books, and Old ot a commei
:ommercial printshop was immediately challenged. In
English from its use by Wynken selecting any list of type-faces
de Worde and other early printers of England. Text let- sufficient for theaverage printshop, many good type-faces
ters are still used in Germany for books and newspapers, are sure to remain unmentioned. However, the selection
the Fractur being a standard type-face for this purpose, should not be so much a matter of personal preference
but later designs indicate a gradual return to Roman char- as one of type-faces which will look well, wear well, and
acters, from allow of con-
which "text" stant use. An
letters were idle type-face
Scotch Roman evolved. is of no more
French Old Style
As text let- value than an
Its Italic ters do not pos- idle employee. French Old Style Italic

sess the legi- The printer

Caslon Bold bility of roman who spends Crawford
they should be twenty-five
used sparingly dollars for a Its Italic
Its Italic
in commercial font of type
John Hancock printing. Text
capitals are
which un-
lies
u s e d in the
Blanchard
particularly il- case, would do
John Hancock Condensed legible, hence better to pur- Condensed Blanchard
should never chase some
Church ^ext be used alone other kind of Cell x:t%x
n e . ornament for
There are cap- his composing- EXAMPLE 421
itals, half room. He Any of these type-faces could
roman and would at least
 -

TYPE-FACES 147
get the use in the old
Caslon Old Style of the case. days, and
Type cab- Morris and Cheltenham Oldstyle
Its Italic inets and Bradley,
floorspace rece ntly, Cheltenham Wide
New Caslon costmoney. were lim-
The first ited in their Cheltenham Italic

Its Italic test of a supply of

type-face type -faces, Cheltenham Bold
Condensed Caslon should be y e t it is
for legibil- only the Its Italic

Heavy Caslon ity. When truth to

a customer state that Bold ELxtended
brings copy most print-
Ca0lon Celt t o t h e ers enjoy- Bold Condensed
printer, to ing a wealth
be set in of type ma- Its Italic
type and ter"ial are
printed, he 'farfrom Extra Condensed
expects to have the matter so treated as to be easily equa lin g
read. To accomplish this the printer should have suit- the typo-
able type-faces. graphic
While the legible presentation of a message is of primary work of
consideration, it is not all of the printer's problem. these men. EXAMPLE 423

There is an art side. Type-faces should have certain A printer remarkable Cheltenham family. Besi(
mbers, there is the Cheltenham Inline
beauty of design which does not necessarily mean
; who within
"fancy" strokes or other embellishment. a short time
There is a type-face that measures up to these require- twice won first prize in national typographical competi-
ments, in legibility, simplicity, beauty, and general tions accomplished it with the Caslon type-face and a
adaptability, and it is the Caslon. The fact that this few old ornaments.
clever interpretation of the Roman letter was first cast Attempting to answer the question. What type -faces
more than one hundred and seventy-five years ago and is should comprise the equipment of a small-sized commer-
today enthusiastically endorsed by the best typographers cial printshop?" the suggestions shown as Example 419
is high rec- are submitted for consideration. Beginning with an equip-
ommenda- ment of one type-face, with which it would be possible
An Engravers' ROMAN tion.
the
But
thing
to do business, other faces to be added one by one as the
requirements of the business may justify, are suggested.
that most in- The quantities recommended should, of course, be propor-
AN ENGRAVERS' GOTHIC terests the tionately more for larger shops.

An Sngraurra* arxt commercial —

Equipment A. The first type-face that a printer
printer is should purchase is the Caslon roman, known in type-
its useful- founders' parlance as "Caslon Old Style." Altho a large
Cln (S)nata\"ct.\ Q^ctint ness in all varietj' of work could be done with only the eight, ten,
kinds of twelve, eighteen, twenty-four and thii-ty-six point sizes,
EXAMPLE 424 printing. the entire series should be purchased, if possible. There
A type-face equipment for imitating the woi Among the should be a liberal quantity of the sizes above mentioned,
of copperplate engravers and lithographers examples of at least a twenty-five pound font of each. As job type is
typography now sold at pound rates it is unprofitable to purchase
shown in this book will be found a great many set only mere job fonts of a type-face as useful as the Caslon, ex-
in Caslon. They include title-pages and text matter of cepting in the very large sizes and perhaps six point.
books, booklets and catalogs, programs, announcements, Small capitals should be included in all fonts from six to
tickets, invitations, circulars, envelops, blotters, letter- at least twelve point.
heads, billheads, statements, business cards, posters and —
Equipment B. To the Caslon roman is added the
advertisements. With this evidence of the versatility of Caslon italic, which face not only gives variety when
the Caslon type-face, the printer need not lament inade- used with its roman mate, but looks well used alone.
quate type equipment should he have only that face in his (See several jobs in italic reproduced in this book.) The
shop. A equipment
man be- of the italic
comes a need not be
better so extensive A B C D E F G H
printer if as that of
Mixta Cppografic J K L M N O P
Hlpfjatict
he has only the roman. 1

One or two
Q R S T U V W
a few faces
QXiitn -Gppografic HIpftaljet a n d i s job fonts of

X Y Z & —
forced by all sizes
UliJeD Oppogtafic Blpf)abet his limita- from forty 2 1
tions to de- eight point
fl)ixed "Oypografic Alphabet down
velop their
possibili- twelve
to
3 4 5 6 7 8 9
EXAMPLE 426
ties. Aldus, point;
Variety in appearance is obtained by Gutenberg weight
changing the capitals andCaxton, fonts of ten
148 THE ART AND PRACTICE OF TYPOGRAPHY
and eight point, and a job font of six point, would likely

HOWEVER FANCY MAY PAINT TO OUR take care of

economy is
all demands in this direction.
necessary, the eight, ten, twelve, eighteen
If stricter
imaginations the importance of the Divine Art, in
what glowing colors must the picture afterwards appear, and twenty-four point sizes may be sufficient.
when we have explored the records of time, and traced in —
Equipment C. A bold-face letter will be found use-
ful, especially in the smaller sizes, for certain work re-
quiring strong emphasis, but it is a mistake to use it
Fifteeenth Century (Barnhart Bros. & Spindler)
promiscuously and generally in job printing. Bold-face
letters should be treated as special types and used only

M
lot as
EN OF THE WORLD KNOW
very well tkat
tkey go along, ana that
it is best to J)ay scot
a man
ana
often fays
as necessity arises, otherwise the printed work will as-
sume a commonplace appearance. One or two job fonts
would be sufficient for most purposes, but if special re-
quirements demand a fuller supply, weight fonts should
dear for a small frugality. Tne borrower runs be purchased. The type-face shown is Winchell, designed
by Edward Everett Winchell for the Inland Type
Foundry.
Puritan (Hansen)
—
Equipment D. There are times when a letter a trifle
stronger than the Caslon would give more ideal results,
as when a dark paper or light ink is used. For this pur-
HUMAN LABOR, THROUGH ALL pose there should be added a type-face of medium strength,
its forms, from the sharpening of a such as Old Style Antique. This letter has no definite
stake to the construction of a city or an history. During the popularity of type-faces known as
antiques (see Example 43?) some founder combined the
epic, is one immense illustration of the
characteristics of the antique with those of some "old-
style" face, from which resulted Old Style Antique.
Viking (Hansen)
For some reason the serifs, made square in the larger
sizes, are rounded in the smaller sizes. The square serifs

QRNAMENT MAY IN GENERAL give a result more picturesque. This letter is cast by
most type foundries, but under various names. The one
^^ terms be defined as that wlilcli Is add- shown is made by the Keystone Type Foundry. Weight
fonts of six, eight, ten, twelve and fourteen point (and
ed to objects of utility for the purpose of also of eighteen and twenty-four point if posters are at-
rendering tbem agreeable to the eye. It is tempted) and job fonts of larger sizes are recommended.
—
Equipment E. Further enlarging the type equip-
ment, an italic is added for the Old Style Antique, a
condensed form for the bold-face letter, and a text-face.
The italic is for use in combination with Old Style An-
tique and job fonts of six, eight, ten and twelve point
BEAUTIFUL DESIGNS would suffice for most requirements. Of the condensed
bold-face letter, job fonts from eight to thirty -six point will
that seemed to transform occasionally prove useful. The letter shown is the Ameri-
can Type Founders Co. 's Bewick Roman, altho Condensed
the otherwise gloomy scenes Winchell may be procured. An appropriate text face will
into magnificent gardens, and serve a useful purpose in embellishing a piece of printing
otherwise treated in Caslon roman. The letter shown is
Caslon Text, made by the Inland Type Foundry, and is
patterned after the original face as cut by the Caslon
foundry. It is fairly legible and is a good companion of
Caslon roman and italic, which three faces make possible
HANDSOME PRIZES RECENTLY many effective and artistic arrangements based upon the
work of early printers. The Caslon text is approximated
* * awarded to tKe amateur athletes in text faces made by most of the type foundries, under
different titles. In Cloister Black, a recutting of the
who participated in the events which Caslon text, the letters set closer, and hence present a
blacker tone when grouped in words. While the closer
were held during the gigantic carnival setting of the letters gives a more handsome effect to
modern printing, the slightly spaced Caslon text agrees
Tabard (American) better with the peculiar gray tone of the Caslon foundry's
roman types and florets. Job fonts of the text letter up
to thirty-six point may be sufficient.
It should not be understood from the type-faces com-
KINDNESS AND GOOD prising Equipment E, that they should all be used to-
gether in one piece of printing. While the faces as a
cheer are the two great whole are fairly harmonious, careful judgment is neces-
sary in combining them. Study of the examples shown in
qualities that make life worth this book will bring an understanding of the best manner

while; it gives to mankind a of using these type-faces.

The selection of faces contained in Example 419 is
merely representative, and useful as a basis in determin-
Clearface Bold (American) ing proper type equipment. Example 420 presents an
EXAMPLE 427 excellent alternative. Scotch Roman is substituted for
Artistic and interesting faces suitable for special purposes Caslon roman. The Scotch face, like Old Style Antique,
 TYPE-FACES 149
seems to be formed of the good qualities of two standard
letter-forms, in this instance old-style" and modern" HOWEVER FANCY MAY PAINT TO
roman, and with printers who know is the only rival of our imaginations the importance of the
the Caslon face. Just what difference there is in the two Divine Art, in what glowing colors must the
faces may be determined by comparison. (Example 410.) picture afterwards appear, when we have six-
There is more resemblance in the capitals than in the
lower-case. There seems to be a wider difference in the Caslon Old Roman (Barnhart Bros. & Spindler
italic than in the roman. (Examples 412-413.) The ver-
satility of Scotch Roman almost as extensive as that of
is

Caslon roman, and for work of formal character the Scotch

HZ.who IS A TRUE. OPTIMIST
letter is even better. This is Scotch Roman. It is not sees what is wrong now,
made by all foundries. As a substitute for Old Style An-
tique, there are Caslon faces with strengthened lines, the and "makes a kick" to the end that
one shown being Caslon Bold as made by the Keystone
it may be righted soon as possible
Type Foundry. John Hancock and its condensed com-
panion could replace Winchell and Bewick Roman, while
John Alden (Keystone)
the legible Church Text will be found an admirable sub-
stitute for Caslon Text.
In Example 421 there is another alternative selection
of type equipment. French Old Style, a roman letter
probably based upon a type-face used by the Elzevirs, is
MODERN BUSINESS
methods introduced
substituted for Caslon. While not as beautiful a letter it
is almost as versatile. It was gaining some popularity in
America a quarter of a century ago, but the Caslon face
motor car industry
into the
was revived about that time and diverted attention from meet with instant approval
French Old Style. It diff'ers from the Caslon in the in-
creased size of the lower-case letters and in minor ways. Strathmore Oldstyle (American)
For the letter of medium strength" called for in the
equipment, a type of the characteristics of French Old
Style but of heavier lines is found in Crawford, as made
by the Hansen Type Foundry McFarland, as made by
;
MUMEROUS AIRSHIPS NOW
the Inland Type Foundry, and to some extent in Merion- ^ ^ seen floating gracefully over
type, as made by the American Type Founders Com-
pany. For the bold-face letters, Blanchard and Blanch- the housetops impart a touch of
ard Condensed may prove acceptable to manv. This is a
rugged, free-hand type-face very popular several years thrilling interest to the watchers
ago, suggested by a series of hand-lettered headings
which appeared in the Saturday Evening Post. Similar Camelot (American)
faces may be had of all the type foundries. For the text
letter it may be well to consider the "Troy" type of
William Morris, named Tell Text by Barnhart Brothers IT1HE OL,DE3T PRINTING
& Spindler, and Satanick by the American Type Found-
ersCompany.
* office in existence ^wsls
Other substitutions in the equipment scheme could be established in 14190, about
made to suit individual preference, keeping in mind the
fact that all type-faces are to do their share of work. t^^o years before the Ne\r
It is possible to select an equipment along the lines
considered without departing from the Caslon model. Rogers (Inland)

The Inland Type Foundry makes a Caslon family (Ex-

ample 422) that deserves careful consideration.
The extension of the harmony idea to include related
series of type-faces known as families opens a question
EXERCISE TENDS TO
as to how far the matter of harmony in type-faces should develop the brain as well
be carried. Some years ago commercial typography was
treated to obtain extreme variety. Ornamented and plain as the body, but should never
lines of type were combined, as were old-style and mod-
ern faces. Compositors are now taught the necessity of be indulged in to excess, as a
harmony in type-faces. This harmony is most surely ob-
tained by buying type in series and using only one series Delia Robbia (Am
on a job.

BUILDING A HOME
The idea is carried further by the rule that the display
of a page should be exclusively in capitals, or in lower-case
(properly capitalized). But suppose the entire equipment
of a printshop were confined to one type family would ; amia the pleasant groves
'

not the appearance of that shop's product become mon-

otonous? There are two answers to this question, depend- ana quaint scenes or Soutnern
ing upon the shop and the printers in it.
In many printing offices the danger is not in sameness
Cahfornia is no^\^ consiaered
but in variety. If all their type-cases were emptied in the
"hell-box," and then filled with members of some type
family, there would be a fifty per cent improvement in
the appearance of the product.
150 THE ART AND PRACTICE OF TYPOGRAPHY
The type require-
Mixed Typografic Alphabet equipment ment, and Mixed Typografic Alphabet
suggested one such
Mixed Typografic Alphabet in Example as shown IMixed Typografic Alphabet
419 is har- (Heavy
Copper-
EXAMPLE 429 yet contains plate EXAMPLE 435
Century Expanded anc
faces for lawyers .d
: excellent type-
legal blanks
enough Gothic, A. "Old-style" type-faces
variety to T. F. Co.)
satisfactor- would give good service. Some use could be found for an
ily produce most commercial printing. To get the best engravers' text letter. The one shown is Engravers' Old
results with it the printer must have an appreciation of English, made by the American Type Founders Com-
appropriateness in the use of the type-faces. With no pany. Script for commercial purposes has gone out of
other faces but those of one type family he is more likely style, due
to get harmony without thinking much about it. perhaps to
Automatic the wide Mixed Typografic Alphabet
harmony is use of the
possible typewriter.
Mixed Typografic Alphabet with that One of the Mixed Typografic Alphabet
remarkable largetype
Mixed Typografic Alphabet type crea- foundries Mixed Typografic Alphabet
tion, the does not
EXAMPLE 430 "Chelten- s h o w a ^
e is between Caslon Bold
a general resemblance ham Fam- script face "Modera" type-faces
(upper line) and De Vinne (lower line) ily" (Ex- in its speci-
ample 42S), men book. It is doubtful if printers ever made a profit
developed by the American Type Founders Company. from their investments in script type. It costs more than
Cheltenham Oldstyle, from which the dozen other Chel- other type, gets out of style quickly and renders only a
tenhams are descended, was born in the brains of Bert- fraction of proper service to the commercial printer. Yet
ram G. Goodhue, a clever letterer, and Ingalls Kimball, there are people who want invitations printed in imitation
of the Cheltenham Press, New York. One new member of copperplate engravers' work and some one must print
after an- them. The script type shown, a handsome one, is Wed-
other has ding Plate, made bj' Barnhart Brothers & Spindler. There
been added are many stylish imitation engravers' faces made by most
Mixed Typografic Alpliabet totheChel- type foundries, and printers should refer to their speci-
t e n h a m men books when making selection.
Mixed Typografic Alphabet family, the Example 426 demonstrates the variety that may be in-
latest fa c e troduced into a job of printing merely by changing the
EXAMPLE 431 being the capital letters. The first line shows Cloister Black, and
McFarland (lower line) and several otber type-faces Inline, and the second, Flemish Black, which excepting the capitals
are based upon French Old Style (upper line) H may be is the same letter as the first. It may be mentioned here

that even that the capitals accompanying Cheltenham Wide are the
while this is being written a new member has been born. same as those of Cheltenham Oldstyle (Example 423).
The third line shows the uncial letters known as Caxton
An auxiliary type equipment of imitation engravers' Initials acting as capitals for Caslon Text, and the fourth,
letters may be necessary in commercial printshops. The Missal Initials with the same letter. The last line con-
wise printer tains Caxton Initials combined with lower-case of Old
will en- Style Antique.
deavor to The type-faces so far considered may be classed as the
Mixed Typografic Alphabet do the bulk necessaries" of the printshop they are sometimes called
;

of his work the "bread and butter" faces. Yet, like persons in other
Mixed Typografic Alphabet with strict- callings, the printer must have luxuries" when he can
ly typo- afford them. Any of the interesting type-faces shown in
EXAMPLE 432 graphic Examples 427-428 may prove a luxury used in a special
The once-popular Jensen type-face c( faces and way, and some of them may even be ranked as necessaries
pared with Old Style Antique only try to employed generally. Camelot is a decidedly appropriate
imitate letter for dance cards and other purjjoses requiring dainty
other processes when requested by customers willing to treatment for feminine eyes. Delia Robbia is just the let-
pay for the use of special type-faces. (Example 424.) ter for classic effects in typography. Grasset, Caslon Old
Probably the first requisite in such special equipment is Roman, John Alden and Rogers are excellent program let-
an engravers' roman, which should take care of ninety per ters. Strathmore Oldstyle is a decidedly artistic face of
cent of the calls for imitation engravers' work. The let- wide adaptability. Avil, Puritan, Tabard, Pabst and Viking
ter shown are good letters for announcements and similar work. Fif-
is L thoi teenth Century is appropriate for rugged Colonial effects.
Roman, Clearface Bold will impart individuality to special work,
a}UEeb ^ripogrofic 2l(p()abet made by and it possesses sufficient legibility for general use.
the Inland For formal work, such as lawyers' briefs and legal
Znifcb CYPografic 2llpl|abct Type Foun- blanks, there is no better type-face than Century Ex-
d r y An. panded and its italic (Example 429). This letter is the
EXAMPLE 433 engravers' joint creation of T. L. De Vinne and L. B. Benton and
Tw^o standard German type-fac gothic may is the first among dignified type-faces.
Fractur and Schw^abacher be the next De Vinne, a handsome roman letter which made its
 TYPE-FACES 151

Catalog of iOoolens
A color appears darker if enelosed by a black lin

Quill and Quill Outline (Keystone)

Foster and Webb (Inland i

Bard and Bard Open (Bamhart Bros. & Spindler)

EXAMPLE 434

Type-races for color printing

 :

152 THE ART AND PRACTICE OF TYPOGRAPHY

Mixed Typografic Alphabet

Law Italic

Mixed Typograpc Alphabet

Law Italic

Mixed Typografic Alphabet

Clarendon (Antique)

bold-face
Mixed Typografic Alphabet Ca slon,
French Clarendon their gen-
eral resem-
Mixed Typografic Alphabet blance has
Runic (Antique) Condensed been no- extremes and cause a reaction, as it did with the mod-
ticed. Ex- ern" faces shown in Example 438.
Mixed Typografic Alph ample 430 A few of the favorite type -faces of our fathers' days
shows both are exhibited in Example 437. These letters have gone
Light-face Celtic
faces. Hold into disuse, not because they are to a large degree fault}-,
the print but rather by reason of having been superseded by better
Mixed Typografic Alph about two and more artistic type-faces.
Latin Antique
feet from
theeyes Here are a few suggestions printers should memorize
Mixed Typografic Alph and the Large fonts of a few legible type-faces are better than
Caledonian (Antique) similarity small fonts of many faces.
is striking. Text letters, not being as legible as roman, should not
Mixed Typografic Closer ob- be used promiscuously.
Doric (Antique) servation Do not make general use of imitation engravers' faces
reveals in or gothic (block) letters.
the D e Purchase type-faces that look well, wear well and allow
Vinne face of constant use.
"Plain-
many char- If dust is found accumulating on a font of type, get rid
acteristics —
of the dust and the type.
peculiar to it alone. De Vinne was first made by the Practice the use of all capitals, or all lower-case, capital-
Central Type Foundry. ized, in a job of printing.
Jenson Old Style, following Morris' use of a similar If possible, use only one series of type on a single piece
type-face (the Golden), became as popular as the De of printing.
Vinne for a time, but is now little used. Because of the To get variety, set some lines in roman capitals and
close set of the letters it is not as legible as Old Style others in italic lower-case.
Antique (Example 432).
By Example 434 it will be seen that type-faces
which give fairly good results in two-color printing
are procurable. As a color surrounded by a dark out-
GUTSMBBBG, WBIN, X8SS.
line stands out more strongly than when printed alone,
the solid portion of these two-color letters should be
printed in tints. Type-faces as shown could be used to
good advantage on catalog and booklet covers. These
letters are not as successful in the small sizes, for two-
color printing, as in the large sizes. Not only is it more
difficult to obtain register, but there is less opportu-
nity for the color to show forth. To be in position to
get these two-color effects it is only necessary for
printshops already possessing the solid letters to the 8rip of Erintinp IddreBsed to
order the companion outline face. Outline letters are
sometimes serviceable by themselves. The New York
Herald, it is well known, makes use of outline type-
faces exclusively, for display portions of advertisements.

The terms "old-style" and "modern" as phrases of

opposite meaning do not possess the significance they
did a generation ago, when type-faces were fairly well
divided in this respect, as shown in Examples 435-436.
Since the birth of a new typography, about 1890,
most type-faces have been modeled after the letters
used by early printers, with the result that the ' old
style" is now the rule and "modern" the exception.
The characteristics of both are often found combined BUIDE PRATI5UE DE HHPDSITEUR
in types recently designed. There is a possibility that
the severe, sharp-faced modern" type-faces may EXAMPLE 439
sometime regain popularity. The printer and the type Some of tte "fancy" letters that pleased printers d
founder have always been susceptible to outside influ- the latter half of the Nineteenth Century
^tMSConeMnit^iiQl^mMitfi^^

EXAMPLE 441
Tte first "imprint," as tound on Fust ana Scnoerrera Psalter or 1457

Lesmots Francois felon lordre

des lettres,ainri que les fault

cfcrire: tournez en latin, pour

les enfans.

A PARIS
Delimprunetie de Rob.Efticne Impiimeur <Iu Roy.
M.D.Xtlin.

Auecpriuilegedu Roy.

EXAMPLE 447-B
Tke printer s device and imprint kere monopolizes t^vo-tkirds or
tke title-page. From a book by Robert Estienne
 :

m^

IMPRINTS
THE printer's name or device should beplaced upon As a further precaution, all proofs receiving the O.K.
every well -executed piece of work produced b.v him. That of the customer should contain the imprint just as it is to
this is not more often done is due sometimes to neglect be used, and on large orders, where there is doubt, per-
and other times to fear of the customer's mission should be obtained. There are in-
condemnation of the act. Why should not i
i
stances where customers have refused to
the printer mark his product as other crafts- | accept printed work for the reason that an
men and manufacturers do? Each piece of imprint was placed upon it.
clothing he wears, from hat to shoes, prob- All this is recommended because printers
ably carries the name or trade-mark of its as a rule have neglected to imprint their
maker, as do automobiles, pianos, watches, work, but it is only necessary to get patrons
silverware and many other things he accustomed to the new order of things. If
or o^^ms. The maker's name and trade- some friend had suggested to Johan Guten-
mark are a guarantee of a certain quality of berg that he imprint his name on his work,
product in fact, they are absent only on
; the discussion that has since arisen as to
cheap or imitative articles. If whether he printed the Bible
the printer is doing careless of Forty-two Lines' would not
*

Mork and giNing no thought have taken place.

to quality, he had better hide The commercial printer's
his identit.v, but if he is con- imprint should be unassuming
scientiously producing good and placed inconspicuously.
printing, as a duty to the craft Decorative imprints could be
of which he is a member he used on booklet and catalog
should "let his light shine be- work, and in addition the deco-
''
fore men. rative device should find place
If a commercial printer has on every piece of the printer's
not been in the habit of placing own stationery and advertising
an imprint upon his product, matter, even on the office door
and he decides to do so, cus- and outside sign.
tomers should tactfully be
made acquainted with the in- The use by printers of
novation. They may object to an imprint merely because decorative devices dates back to one of the first printed
such a thing has never before been used on their printed books, the famous Psalter of 1457. Previously for a great
matter, but probably stand ready to be convinced of its many hundred years pictures and devices in various forms
reasonableness. It may be an excellent plan for the printer had been relied upon to convey information and to act as
to mail his customers an announcement to this effect distinguishing marks for various purposes. Figures such
The standard of quality attained by the Smith Printshop is such as the white horseand the red lion, portrayed in front of
that it is due our customers and ourselves so to mark each piece
taverns and public houses during the last two centuries,
of printing produced by us as to identify it as a product of the
Smith Printshop. This we will do henceforth. were outgrowths of the coats of arms of titled folk

EXAMPLE 442
Aldus' anchor and dolphin device, and adapta

[1531
 154 THE ART AND PRACTICE OF TYPOGRAPHY

The most popular imprint-device as early used by printers, and modern interpretationa

who in ancient times hung the limb of a tree. The significance of the characters on the
family device in front of their shields is not definitely known. Humphreys in his His-
estates as emblems of hospital- tory" asserts that the shields contain the arms of Fust
ity to the weary traveler. and those of Schoeffer. Roberts in his Printers' Marks"
Emblems and devices seem al- describes the characters on the shields as composing rules.
ways to have had place in human Humphreys' statement is probably correct. It would
history. The sign of the Cross seem to the writer that the decorator-printer Schoeffer
in the eleventh century led the adopted the inverted "V" portion of the crossed bars
Crusaders against the followers found on his father-in-law's shield because of its sugges-
of the Crescent. The cross of tion of a scribe's copy-book support (see frontispiece) or
St. George ( + ) furnished in- the type-case holders of the early printers. The short
spiration for the English in their warfare with the Scots, projecting strokes lend reasonableness to this theory. The
who rallied around the cross of St. Andrew (X), and the three stars may have had some personal significance.
combined crosses now inspire the patriotic Britisher. This device of Fust and Schoeffer was imitated by sev-
It would seem that printers could do better work if eral printers of the same century, chief among whom
they were to select some device which would represent an were Michael Furter and Nicolas Kessler, whose devices
ideal, and then attempt to live up to it. are shown in Example 440. Furter, who printed at Basel,
While the Gutenberg Bible of Forty-two Lines, gen-
erally accepted as the first book printed with movable
types, contained neither device nor printer's name, the
Book of Psalms, or Psalter, of 1457, not only has the names
of Fust and SchoefFer and the date, but an imprint device
which has the distinction of being the first ever used on ^
a book typographically printed. This famous Psalter was
the product of Johan Fust and Peter Schoeffer, who suc-
ceeded to Gutenberg's printing office. At the end of the
book, printed in red ink, is the colophon of the printers
(Example 44 1), a translation of which follows:
This book of Psalms, decorated with antique initials, and suf- . Hansard United Typothete
ficiently emphasized with rubricated letters, has been thus made
Lond on. England
by the masterly invention of printing and also of type-making,
without the writing of a pen, and is consummated to the service
of God, thru the industry of Johan Fust, citizen of Mainz, and
Peter Schoeffer, of Gernszheim, in the year of our Lord 1457, on The arms supposed t n master printers
the eve of the Assumption.

The colophon contains a typographic error, perhaps the Switzerland, in 1490, was once credited with being the
first to be made by a typesetter, the second word show- inventor of printing, thru an error in a book, the date of
ing spalm-" for psalm-." On several of the Psalters which was made to read 1444 (MCCCCXLIIIl), instead
still in existence (one is without it) the colophon is ac- of 1494 (MCCCCXCIIII).
companied by the decorative device shown in Example This first imprint-device has recently been adopted by
440, consisting of a pair of shields suspended from the the Club of Printing House Craftsmen, of New York City.
 IMPRINTS
What is considered to be the most classic of all im- he reshapedit as shown in

print-devices (Example 442) is that used in 1502 by Aldus Example 451, which car-
Manutius, the great Venetian printer, who introduced the suggestion of one of
ries a
italic face of type. The device, an anchor, around which Robert Estienne's marks
is twisted a dolphin, is said to be symbolic of the proverb (Example 450).
"Hasten slowly." The anchor represents stability and
the dolphin swiftness. Aldus depended upon this device One of the most famous
to act as a mark of identification for his work. imprint-devices is that
In a spirit of affection and regard for the famous Vene- adopted by the Society of
tian, the device of Aldus has been adopted or adapted Printers at Venice in 1481
by several well-known printers. There is a nice senti- (Example 443), about the
ment connected with the use of this device in 1852 by time of the death of Nich-
William Pickering, the noted English printer. In place olas Jenson, who is sup-
of the AL-Dvs'" of the original, Pickering's adaptation posed to have originated
contained a motto in which he announced himself as the the design. Various ex-
English disciple of Aldus. planations have been
The Chiswick Press, of London, in 1892 used the given of the significance
anchor and dolphin as a part of its device, which also in- of this device, the most
cluded a lion. reasonable being that the
McClure, Phillips & Co., of New York, have a conven- globe and cross were em-
blematic of authority in
the daj's when church and
state were one. A leaf of
an ivory tablet of the sixth
century, preserved in the
British Museum, repre- EXAMPLE 446
sents St. Michael the
Archangel offering a globe ancient printers' marks
surmounted by a cross to
the Emperor of Byzantium (now Constantinople). The
globe probably represented the earth, altho the fact that
the earth was round was not common knowledge in the
early days. The theory, however, was accepted by the
educated priest and layman long before Columbus sailed
for India.
The divisions of the circle or globe of the Venetian
imprint-device may represent the crossed supports once
used for geographical globes, or may be due to the fact
that the world was once divided into three parts — Europe,
tionalized interpretation which shows the dolphin and Asia and Libya (Africa).
anchor in white uj)on a black circular background (Ex- The double-cross in the Roman church today is asso-
ample 442). ciated with the authority of an archbishop, and as a dec-
Bruce Rogers, at the Riverside Press, has most inter- orative form of the cross, extends back many centuries.
estingly adapted the Aldus device. It seems that he al- The ornamental double-cross pictured in this connection
ways had a fondness for the thistle, and when seeking was once the property of St. Waudru, of Belgium, who
a motive for a mark, naturally turned to it. When the died in 670.
time came for putting it into use, the first requirement In further consideration of the cross and globe device
happened to be for an Aldine page, so it was cast in a form it may be well to mention that an astronomical sign con-

that would distinctly suggest the Aldus anchor and dol- sisting of a circle with a cross above it ( 6 ) was used by
phin. (Compare the two designs in Example 442.) While the Egyptians many years before the Christian era. Such
on the subject of Bruce Rogers' device it may be inter- a sign is yet used astronomically and also to indicate the
esting to relate that later when he desired to use it on a male in botany. Another astronomical sign bearing on
book modeled on French the subject is that of a cross within a circle (©), by which
sixteenth centurj' work the earth is indicated.
 :

156 THE ART AND PRACTICE OF TYPOGRAPHY

Bruges in Belgium. The characters
contained in the design have caused
much discussion. The Wonthe
left and the "C" on the right are
generally accepted as the initials
of Caxton. The center characters
have been claimed by some to be
the figures "74," but the most
reasonable explanation is that they
form a trade device used by the
merchants of Bruges. This explana-
tion is seemingly confirmed by the
discovery of a memorial plate to
one John Felde, containing his
trade-mark as a merchant, which
trade-mark is very similar to the
characters in the center of Cax-
ton's imprint-device. The repro- EXAMPLE 450
duction of the Felde design shows One of Robert
that if the top stroke were taken Estienne's marks
away and a loop added the result (See Ex. 451)
I

EXAMPLE 449-A would be Caxton 's characters.

|OSWAI,l)PKKS,S| Wynkyn de Worde, when he succeeded Caxton
The Lion of St. Mark and its us,
by the Oswald Press as England's printer, adopted Caxton 's characters
(probably a sentimental act) and in the device shown
The cross and globe device added his own name at the foot.
of the Venetian Society of William Morris, in planning an imprint-device for the
Printers has proved the most Kelmscott Press, evidently made a study of De Worde's
popular of any of the old im- design, for there is resemblance in shape and in the pla-
prints. When Elbert Hubbard cing of the name at the foot.
established the Roycroft Shop T. C. Hansard on the title-page of his "Typographia"
at East Aurora, N. Y., in 1896, he adopted it as a work- (l825) uses a device which tradition tells us was granted
mark, placing an R" in the lower half of the circle in by Emperor Frederick HI. of Germany to a corporation
place of the dot. Fra Elbertus' interpretation of the de- of master printers known as the Typothetse. (See Ex-
vice establishes the circle as the emblem of the perfect ample 445.) References by writers to the origin of this
(the complete), and the lines puncturing into the circle design are generally contradictory. The United Typoth-
the attempt to make the perfect article, to do perfect etae of America, an association of employing printers, has
work. Hubbard seems to have learned of William Morris adopted the device and uses it in the conventionalized
to like strength and simplicity in printing, binding, and form shown. The design in its original form tends to her-
other things, and this fact very likely dictated the selec- aldic elaborateness. There is represented an eagle hold-
tion of this work-mark, which is the simplest of all the ing a copy-guide in one claw and a composing-stick in
devices used by early printers. the other. Surmounting the design is a griffin (eagle-lion)
When the advertising manager of the National Biscuit grasping two ink-balls. The Winthrop Press mark (Ex-
Company was looking about for a ample 452) was probably inspired
trade-mark this old device of cross by this German emblem insofar as
and ball must have appealed to him concerns the griffin, copy-guide and
strongly, and such is the power of
advertising that printers may some
VENETIAN LIFE ink-balls,
blems
which are excellent em-
for the jjurpose.
BY WILLIAM DEAN HOWELLS
day be accused of copying the de-
sign from the biscuit people. THE AUTOGRAPH EDITION In Great Britain the printer
The remarkable adaptability of WITH ILLUSTRATIONS BY whose name would allow a pun has
the device is also demonstrated by EDMUND H. GARRETT always been considered fortunate.
IN TWO VOLUMES John Daye, a London printer of
the Griffith-Stillings imprint, in
which it forms a part of a clever 1560, had an elaborate device,
modern decorative design. paneled, in the center of which
The imprint-device of the Gould is a picture of a reclining man

Press (Example 452) may have being aroused by a figure which,

originated with the Venetian print- pointing to the sun, says, "Arise,
ers' design. It is an interesting for it is day." (Example 446.)
variant. Androw Myllar, who printed in
These numerous uses of the old Edinburgh, Scotland, in 1510,
circleand cross design suggest a used a device which portrayed a
paraphrase of an ancient proverb miller climbing to his mill. (Ex-
"a good device lives forever." ample 446.) The arrangement of
his name in the lower part of the
William Caxton, England's first design suggests De Worde's, and
printer, used an imprint-device the characters in the shields may
(Example 4 1.4) that in appearance have indirect connection with the
resembles a rug, which it may have globe and cross device of the Vene-
been intended to represent, as Cax- EXAMPLE 449-B tian printers.
ton is supposed to have used this The Lion of St. Mark appropriately adapted t( The imprints of some of the
mark when he was a merchant at book on Venetian life, by Bruce Rogers notable printers of the sixteenth
 IMPRINTS 157

TYPIS EXCVDEBANT H.O.HOVGHTON ET

SOCII INyEDIBVS SVIS RIPARIIS
CANTABRIGI^ MASSACHV
SETTENSIS IN AMERICA
ANNO MDCCCCII

EXAMPLE 451
Colophon, or "imprint,"" stowing tte thistle
Bruce Rogers, shaped after the Estienn
device in Example 450
 -

158 THE ART AND PRACTICE OF TYPOGRAPHY

Bruce Rogers (Example 449-B). The Lion of
St. Mark is interesting in its significance.
Tradition has it that long ago, when John
Mark, the missionary companion of Paul,
was on his way from Alexandria in Egypt to
^^ \ Aquileia in Italy for the purpose of preach
1^ I
ing the gospel of Jesus, he found himself
' after a violent storm on one of the Rialto
islands that now form the city of Venice. An
angel appeared to him with the message
(Pax lihi Marce Evangelista mens) that there
on those islands his bones would some day
find peace. In fulfilment of this prophecy,
in the year 829, several Venetians went to
Alexandria where the body of Mark had
been buried, removed it surreptitiously and
and seventeenth centuries are interesting. John Froben, took it to Venice. Such was the enthusiasm caused by

of Basel, Switzerland, who was a close friend of Erasmus, this event that St. Mark supplanted St. Theodore as the
the philosopher and patron of learning, in 1520 used a patron saint of the city. " Viva San Marco^^ was heard as
device containing a staff surmounted by a dove and en- the battle crj' of the Venetians, and the animal symbolical
twined by two serpents. (Example 447-A.) The legend, of St. Mark became the glorious sign of the republic. In
"Be ye wise as serpents and harmless as doves," some- Venice today there is a red granite column upon which
times accompanied the design. stands the winged Lion of St. Mark, holding with one
The troublous times of the Reformation, during which claw a book of the gospels. (Example 449-A.) As shown
John Bebel was imprisoned, may have had some influence in Example 449-B, the exposed pages of the book con-
on his selection of a device. It consisted of a tree, in the tain the message of the angel as already quoted.
branches of which was a prostrate man, and over him was Just why a winged lion was chosen to symbolize St.
a large flat thing representing the platen of a printing press. Mark is not definitely known. Such a figure had been
(Example 447-A.) On the platen were words meaning used in ancient days by several Asiatic peoples to repre-
Do not press poor me to death."
Christopher Plantin, a printer and publisher of Ant-
werp, Belgium, and well known as the printer of the
Polyglot Bible of 1570, employed a device which is em-
blematic of the saying of Jesus, "l am the vine.
"
A device used by the Elzevirs at Leyden, Holland, in
1620, shows a tree with spreading branches. On one side
of the trunk is the figure of a man and on the other a
scroll with the words No?i solus (not alone).
Robert Estienne had a similar device in 1544 (see Ex-
ample 447-B, insert). The device as shown is slightly
reduced from the original, while those previously men-
tioned are greatly reduced in size.
Sometimes these printers' marks were so large as to
leave little room for the title-page proper, in contrast to
which is the modesty of Ulrich Zell, of Cologne, Prussia,
whose works are numerous and who is credited with start-
sent their gods. The Lion of St. Mark, as appearing on a
ing the story of the invention of printing by Coster. Zell
scarcely ever placed even his name on a book, yet his
Venetian coin struck about 1330, stands full face with
work may be identified by the individuality of the typog- head encircled by a halo.
raphy. This, however, is extreme modesty.
The colophon -imprint shown in Example 451 is sug-
gestive of possible arrangements for elaborate booklets or
The Heintzemann Press device in Example 448 has an
antique appearance and its designer evidently received books, especially the printer's own advertising matter or
publications. The style is Italian, for it will be remem-
inspiration for his anchor, foliage and scroll from such
devices as those of Aldus and Plantin. The Riverside Press
bered that the printers of Italy usually had the beginning
mark, too, has ancient motives. The anchor-shaped thistle, and ending set in capitals to differentiate from the body of
as already stated, is based the book. Elbert Hubbard at one time made use of sim-
upon Aldus' device, and the ilartreatment for the colophons or endings of his "Little
surrounding frame is sug-
?te. gestive of ancient designs
i^XXaJft^TV^
in metal.
iUu9=.K auT0l5 1^
yfoupirij'yncvy-Y
J

(=f*t
/. j^ An interesting feature of
v^ v 1 yowouriTOjlj- I^AIP^X some early Venetian books

^^^EPRt^n is the use by printers of

decorative devices designed
upon the winged Lion of St.
Mark. Recent adaptations
of this device are the
EXAMPLE 453 Oswald Press imprint
a imprint that has to (Example 449-A) and the EXAMPLE 455
with mythology ornament on a title by
 IMPRINTS 159

co^PA^nr

m
MltTNBAPO

Representative of the large v eby

Journeys" and special pam- at the vertical stroke; the border forming an *'0," the
phlets (Example 458). the publisher.
initial letter of
Example 452 shows four de- Of the large variety of devices in use by commercial
signs with motives from ancient printers those shown in Example 456 are representative.
sources. The Matthews-North-
rup device of the mythical It is possible to construct really creditable decorative
phoenix rising from the fire is imprints with typefounders' ornaments and suitable type-
emblematic of immortality the ; faces. Example 457 presents several such designs as dem-
torch probably signifies the in- onstrations of what can be done in this respect. In build-
tellectual light possible because ing these imprints the author has kept in mind the rules
of the invention of printing. The Winthrop Press imprint that govern combinations of type and ornament, as ex-
has already been mentioned as having relation to the plained in the chapters relating to harmony, appropriate-
ancient German printers' arms. The Binner-Wells design ness, tone, contrast, and ornamentation. In the Church
suggests that of Froben, by the lettering between the Press design the border is made outline to reflect the orna-
oval lines. The possible derivation of the Gould Press ment. The type used in the Smith-Brown, Willis Works,
device from the Venetian master printers' emblem was and Gothic Shop imprints harmonizes with the orna-
previously suggested. mentation in both tone and shape. Italic type and the
The unique mark of the De Vinne Press
(Example 453) probably pictures a page
from a manuscript book. The legend con-
nected with the Greek lettering is mythical mum
and has to do with one Prometheus, who,
while chained to a rock, tells of the bene- Mlotfe0
^mttI)^^rolun
fits he had conferred on mankind. A lit-

m
eral translation of the Greek at this point
reveals the appropriateness of the quota-
tion as used by the De Vinne Press And
:

further, I discovered for them numeration,

most striking of inventions and composi-
; Buffalo
tion, nurse of the arts, producer of the
record of all things. " This imprint was de- t!i:f)e(§otfjic
signed by Babb, Cook & Willard, archi-
'top
tects of the building in which the De Vinne
Press is housed.
Three imprint-devices, based upon archi- Printed for
Jones &Condy
tectural motives, are shown in Example 454. by the French
In the Rogers design the architectural panel Sandsell Press
is surmounted by a silhouetted heraldic fig-
"Print
ure that adds much to the attractiveness of Toronto
the device. A Roman laurel wreath in the Chicago
HoUister design is supported by two Ionic
pillars. The Egyptian winged ball, asps,
and open book, are well blended with the
monogram circle that fits the Roman arch
in theTrow imprint. The initials of the
several printers are prominent features of
these devices.
Initials in monogram form are frequently
used by printers, and three such devices
are shown in Example 455. Reversing one
of the initials is a favorite method when
the nature of the letter allows it, as in the
Patteson Press device. Fitting the initials
to a general shape calls for clever work, as
in the shield shape of the Corday & Gross
EXAMPLE 457
design. The "AP" in The American Printer Decorative imprints constructed -with typefou
mark was made of two type initials, joined '
suitable type-faces
160 THE ART AND PRACTICE OF TYPOGRAPHY
fleur-de-lis are French in motive. The Caslon type-face
and the old-style parentheses go well together. The block,
(goon ©rintinc from or gothic, type-face in its plainness of stroke suggests
^tije dall fl3re)58 Greek letters. The money-bag ornament is an attempt at
a pun, in the Stuff imprint. The harmonious gray tone
of the Horner & Wilburn device is due to harmony of
ornament and type-face. Many other equally good decora-
tive imprints may be made with type.
The printer will more often be called upon to use a
small, inconspicuous type-imprint than the prominent
decorative device, and it is just as important to have dis-
THE EMPIRE SHi
PRINTED THIS tinction in these small type lines. There are grouped in
BOOKLET Example 459 a variety of effects suggested for this pur-

SO HERE ENDETH THE BOOKLET "PASTELLES IN

PROSE," WRITTEN BY ELBERT HUBBARD FOR
JOHN WANAMAKER, AND THE WHOLE DONE
INTO PRINT BY THE ROYCROFTERS AT THEIR
SHOP, AA^HICH IS IN EAST AURORA, N. Y., MCMVII.

t book-endin t Hubbard

ELECTRIC print]
was the custom one time to electrotype im-
I

pose. It at
print lines so they could be easily handled, but now the
linotype furnishes a convenient method of casting them.
Bath Times
It is well, tho, to strengthen the face by having the slugs
Job Department
copper-faced, which work is done by electrotypers.
The imprints of the Corbitt Company and the Knowl-
ton & McLeary Company have the conventional horizon-
The Kiessling Company
tal rule over the type lines, a practice that is commend-
©rintera
able when the imprint is set close to the foot of a type-
New York City
page. The style of setting the name of the press in text
letter, and the firm name in capitals and small capitals, as
practiced by the Riverside Press, is effective. Sole use of
text also looks well, as will be seen from the Heintze-
mann Press and Call Press imprints. Slightly spaced
small capitals give good results, as does italic lower-case
or capitals, examples of which are shown. Lower-case of
JOHN WEIXTON, Prin simple type-faces such as Caslon or Antique, appeals to
printers with leanings toward simplicity. A light rule
surrounding the type-line, as in the case of Electric Print,
Clje |)eint^cmann |)rc66 adds character to the imprint. The styles of the type-
J8o0ton iitaBBatljtiBetts imprints here shown are varied, and printers, no matter
what their personal tastes may be, should find something
to suit their needs.
Hill's Print Shop
New York Where should an imprint be placed.'' In the old days
when a printer was also the publisher, the imprint was
given a prominent place in some instances, as has been
;

DONE AT shown, the device and imprint monopolized two-thirds

THE WEST SIDE PRINTERY of the title-page. It is now accepted as good form in
CAMBRIDGE book printing to place the publisher's imprint on the
title-page, and the printer's on the back of the same
leaf, at the foot. This position seems to be the logical
—And Bihon did it ! one for the printer's name or device on catalogs and
booklets, altho many are found in the rear. The Mat-
thews-Northrup Works frequently places a line of type, as
shown in Example 459, in a vertical position near the
fold on the fourth page of cover.
On the smaller jobs of commercial printing the imprint
should be modestly displayed, and in some cases should
Knowlton &= McLeary Co., Fa>mington not be used at all. There are printers who go so far as to
place imprints on tickets, but they use a very small light-
face letter, one of those diminutive faces that come on a
six-point body.
The imprint affords the printer a legitimate opportu-
nity for publicity of which he should avail himself to the
EXAMPLE 459 fullest extent that business wisdom permits. After the
Small type imprints, and the i artist has produced good work he affixes his name to it.
effects possible witb tber Should not the printer do the same.^
APPENDIX
 w Z 5
u. «! H
< 2
H

Oh
si
5g
i-i Cl,

w
X

^ :j
"^
3:0
H OO-.H>HH«0.wH

=
, _ ,

IN OF SUB
THE THE ORIGI
ENER MULTI
READ YORK
FOR PAGES REPRE

IMMENSE PRINTER
SALES REGULAR
PRINTER
PRINTING

MANAGERS
IN PUBLISHING

EMPLOY
LARGER
PRINTERS IS YEAR'S
SCHOOL WAS TYPOGRAPHER

NEW
ITS AND
THE
IT PRESSMEN.
FIRST
OF
IN THE 1903. A INVESTOR
II
ADVERTISER- FROM IS IS
FOR ITS IN
AMERICAN PLACE.
:1s
ENVELOPS
AMERICAN
WORLD. IN WAS
THE PRINTERS.

AMBITIOUS
IN OSWALD

AND AND

INCREASED

RESULT
PRINTER
STUDENT
THE HALL
ADVERTISING
FIELD;

m
INVESTED

BEGUN
MAGAZINE
THE THE
INFLUENCE

EMPLOYEE, FOR THE PRINTER

TO FOLD.
CITY
AND CONCEPTION

OF COMPOSITORS
THE TO
OF 25
THE THINGS

AMERICAN
OF FIELD-EMPLOYING
RETURN
MANY
AMOUNT
AND FROM
TO
PARTS
EDUCATIONAL

BULKIER
TYPOGRAPHY.
PROFITS
SENTATIVE
MEN AMERICAN IN SCRIPTION
FOREMEN.
READING
COMPANY.

THESE VALUE
THE FOR GETIC
WILL PUED
AND THE ALL NAL THE
ER, BY

III
=
 — ;

THE TYPOGRAPHY OF A CIRCULAR

HOW should a circular be treated typographically? This Let us analyze the four specimens selected as the
question submitted by the publishers of The American best of the one hundred and ninety-nine:
Printer to its readers brought one hundred and ninety- —
Mr. Anthoensen's circular.- This was selected as the
nine answers in the form of designs for one-page circu- best from an artistic viewpoint. There is harmony of
lars in two colors. The copy was as follows: type-face and decoration, the tone is even, the propor-
tion and balance are perfect. The words are arranged
Bulkier envelops for the employee, larger profits without awkward divisions and every line fits snugly
for the employer, and increased sales for the adver-
without recourse to wide letter-spacing or ornamentation.
tiser— these things result from rejrular reading of
The spacing is almost perfect. Not only does this speci-
The American Printer and from advertising in its
pages. The American Printer is the representative men register high artistically, but also from considera-
magazine for printers in all parts of the world. It tion accorded the advertising features. The introductory
is read by men of influence in the printing field
lines are given prominence and the name of the publica-
employing printers, managers, foremen, and ambi-
tious and energetic compositors and pressmen. The tion is emphasized wherever occurs. Altho set entirely
it

American Printer was first in the educational is not difficult. For its par-
in capitals, reading the circular
field; its School of Typography, begun in 1903, was ticular use in advertising a printing trade paper, and
original in conception and is of immense value to for art purposes generally, the typographical style of this
the student typographer. The amount invested in a
year's subscription to The American Printer will page is recommended however, the average customer
;

return to the investor multiplied many fold. Oswald would not appreciate it.
Publishing Company, -io City Hall Place, New York. —
Mr. Doyle's circular. This was selected as the best
from an advertising viewpoint. It excels in its presentation
In order not to restrict the efforts of those energetic of the advertising elements. The introductory phrases
typographers willing to give their time and abilities for are given the prominence intended by the writer of the
the general good, it was determined to render judgment copy. The words "The American Printer" are presented
—
from two viewpoints the artistic and the advertising strongly without overshadowing all other lines as was
realizing that an artistic job of printing is not always done in some specimens. The arrangement of the descrip-
acceptable from the practical, advertising viewpoint, and tive paragraphs in parallel columns is good ; it enables

that printed work in which the advertising features are the reader quickly to gather the points presented. Set-
emphasized often lacks typographical beauty. ting the last paragraph smaller and in italic separates it
The copy begins with three "catch-phrases" or "eye- and clinches the argument of the circular. Objections
attractors," as they may be called, the object being to could be raised to the blackness of the head and foot
engage the attention and cause an interest, on the sup- rules. Eight-point instead of twelve-point rules would
position that having become interested the reader will perhaps have been better. However, heavy rules of this
peruse the circular. There are many parts of the copy that kind, permissible outside of the type-page, would be
may be displayed some more important than others,
; objectionable if used inside, diverting attention from the
and it may be interesting to observe that the words reading matter. This specimen also has merit from an
The American Printer" have been displayed or empha- artistic viewpoint. Type-faces are harmonious, the tone
sized in almost every specimen sent in. The inclination is fairly good, and there is present both proportion and

has been to give too much prominence rather than too balance.
little to these words. —
Mr. Watkins' circulars. The artistic merit of the
There is a tendency among compositors to make the specimen in capitals is so obvious that it would have had
signature of a circular or advertisement too prominent. an excellent chance for first selection had more atten-
This was done on most of the circulars submitted. The tion been given the advertising features. The circular
name of the advertiser and the address in this instance has been converted into a general one and the title of
are merely for the purpose of reference. the magazine is treated as the subject. The tone is fairly
While transposition of copy was no violation of rules,, even, type-face and border harmonize and the treatment
many of those submitting specimens made a mistake as a whole is unusual and interesting. The motive is
of judgment when they changed the copy about and based upon the work of Aldus, the Italian printer of the
started typesetting at the wrong point. When a customer sixteenth century. The use of an initial in the middle of
brings copy to the printer it is the duty of the printer a sentence is objectionable.
to interpret as faithfully as possible the ideas of the cus- For legibility Mr. Watkins' specimen in Caslon lower-
tomer as presented in the copy; to build upon it; and to case scores higher than most others. The large rubricated
add such typographical treatment as will further the in- initial attracts the eye and leads to a reading of the
terests of the customer. The printer should not blindly introductory phrases. Mr. Doyle in his circular has
follow copy, neither should he change or transpose it grouped the various advertising points so as to assist the
unnecessarily. reader in absorbing the thoughts expressed. In the circular
 —

THE ART AND PRACTICE OF TYPOGRAPHY

r=^^ =^^
JSulbitr larger ^ Sntrt aKeb
Bulkier envelops for the employee,
Cnbelopes; Uroftts; ^les;
^ Employee Employer Advertiser
larger profits for the employer
increased sales for the advertiser—
and

Ibcac lhing» te«ult ftom reguUr reading of

QTlje SUmeritan printer

Is the representative magazine
for printers in al! parts of the
i
world. It is read by men of in- m^t ameritan printer is the repre-
fluence in the printing field — sentative magazine for printers in all
employing printers, managers, parts of the world. It is read by men
foremen.and ambitious and ener- of influence in the printing field — em-
getic compositors and pressmen. ploying printers, managers, foremen and
I The American Printer was
first in the educational field; its
^ pressmen.
School of Typography, begun in
Wit american printer was first in
1903, was original in its concep- the educational field. Its School of
tion and is of immense value to
Typography, begun in 1903, was orig-
the student typographer. The inal conception and is of immense
in
value to the student typographer.
The amount invested in a year's sub-
scription to Clje iSnurican printer wiu
return to the investor multiplied many
fold.

OSWALD PUBLISHING COMPANY

19 CrrV HALL PLACE
(i^sEtoalb $ublt£;f)tng
25 City Hall Place,
Companp
New York
H

[iiMmgBmooaimfflmiaaMJ^^
Bulkier Envelopes for tl^e Employee i

Bulkier Envelopes for the Employee Larger Profits for the Employer^ i

Larger Profits for the Employer, and Increased Sales for the ^Advertiser
Increased Sales for the Advertiser These things result from regular reading of

The cylMERICAN
American Printer PRINTER
Is the representative magazine (or printers
in all parts of the world. It is read by men of gjHE AMERICAN PRINTER
influence in the printing field— employing is the representative magazine
pnnters, managers, foremen, and ambitious for printers in all parts of the
j|
and energetic compositors and pressmen. A world. It is read by men of

The American Printer was first in the 5, influence in the printing field
educational field: its — employing printers, managers, foremen,
and ambitious and energetic compositors
School of Typography
and pressmen.
begun in 1903, w s original in conception CThe American Printer was first in the
educational field its School of Typography,
;

rypographer. begun in 1903, was original in conception

amount invested in a year's subscnp- and is of immense value to the student
o The American Printer will return typographer.
; investor multiplied many fold. CThe amount invested in a year's sub-
scription to The American Printer will
return to the investor multiplied many fold.

. Oswald Publishing Company Oswald 'Publisl^ing Co.

25 City Hall Place, New York Twenty.five City Hall Place
New York

CC.-Selectedfor
 THE TYPOGRAPHY OF A CIRCULAR

The Bulkier envelopes for the employe

Larger profits for the employer
Increased sales for the advertiser
American —these things result from regular
reading of The American Printer
and from advertising in its pages.
Printer The American Printer is the repre-
sentative magazine for printers m
is the representative magazine for
all parts of the world. It is read by
printers in all parts of the world.
It is read by men of influence in the
men of influence in the printing
printing field —employing printers, field — employing printers, mana-
managers, foremen and ambitious, gers, foremen, and ambitious and'
energetic compositors and pressmen energetic compositors and press-
Bulkier envelopes for the employe men. The American Printer was
Larger prqfits for the employer first in the educational field; its
Increased sales for the advertiser School of Typography, begun in
1 903, was original in conception and

The American Printer wu fint in the educational is of immense value to the student

typographer. The amount invested

in a year's subscription to The
American Printer will return to
the investor multiplied many fold.
Oswald Publishing Co.
t)s\\al(l Pul)lishing Company
SS City Hall Place, New York

under consideration grouping has not been practiced, Tho decorative, the decoration is subordinated to the
but the entire message is made easy to read, and this reading parts of the circular. The spacing is consistent
almost guarantees that it will be read. An advertise- thruout. The italic type-face does not quite harmonize
ment, circular, or other job of typography, to be set in with the Old-style Antique, yet the general effect is so
undisplayed style, should not have much copy supplied pleasing that no fault should be found with it.
for it. If a great amount of copy is supplied it is well to —
EE. The uneven spacing between lines (which af-
display parts of it, or introduce headings that will en- fected the tone) and placing the real beginning of the
able the reader (juickly to grasp the thoughts expressed. reading matter below its proper position, weakened the
A treatment of Mr. VVatkins' page nearer the ideal would effectiveness of this specimen. There is consistent use of
be to place "The American Printer" in one line, reduce lower-case, and the egg-and-dart border is a harmonious
the signature one size and, to fill the space thus gained, mate for the Scotch Roman type-face. As it may prove of
set the body of the circular several points larger. interest, this specimen is shown rearranged on a some-
what different plan. The three italic lines are moved
The other circulars here reproduced, lettered for iden- to the head of the page, where they belong, and
tification, are analyzed below : the remaining matter arranged without display. This
—
AA. This was printed on a folded sheet of hand- treatment is more severe, but affords easy reading of the
made paper, with which the Caslon type-faces blend circular, and the tone is even. Color at the head and
pleasingly. The style of the border is associated with foot relieves the page of monotony.
Colonial printing and makes an acceptable mate for the —
FF. There is consistent use of lower-case in this
type-faces and paper. The initial "l" is misused. An specimen and the tone is even, tho a trifle strong. It
initialshould indicate the starting point here it does not. ; tells its story in an emphatic manner and from an adver-
—
BB. The even, dark tone of the type-face and border tising viewpoint this is merit, but from the viewpoint of
is the first thing in this specimen to merit praise. Old- typographic beauty the type should be reduced a size
style Antique and Caslon Text are legible type-faces, thruout, with more blank space inside the border.
and are particularly appropriate for this kind of work. —
GG. This specimen in arrangement is entirely differ-
The rubricated initials form a clear contrast to the ent from any of the others and the advertising features
surrounding black and white. are well displayed. The introductory matter is consider-
CC. —
In this specimen the introductory phrases are ately arranged at the head and upper left side, and the
separated from the main portion of the circular by the general matter is placed in a solid group with an initial
border. The general effect of the circular is one of neat- to lead it off. The signature group is a size too large.
ness. The tone is an even gray, marred only by the ex- —
HH. The white space on this page is carefully dis-
cessive strength of the signature. Type and border har- tributed, lower-case is used thruout and the signature
monize, and blank space is properly distributed. kept in proper proportion. The border and the two faces
—
DD. The uniform gray tone of this specimen is its of type are harmonious. The words The American
chief attraction. It has strength, too, and legibility. Printer" should have been smaller.
 — - ;

THE ART AND PRACTICE OF TYPOGRAPHY

C Bulkier envelops for the Bulkier Envelops for the Employee

employee, larger profits for
Larger Profits for the Employer £^
the employer, and increased
sales for the advertiser Increased Sales for the Advertiser

These things result from regular reading of

These things result

The American
Printer
from regular
reading of
n 'HE AMERICAN
PRINTERiitherep-
magazine for
printers in all parts of the
world. It is read by men
of influence in the printing

The American Printer is the representative

llmerican field —
employing printers,
magazine for printers in all parts of the world. It managers, foremen, and
is by men of influence in the printing field
read ^rinttr ambitious and energetic
employing printers, managers, foremen, and ambi- compositors and pressmen.
tious and energetic compositors and pressmen.

The American Printer was first in the educa-

^from advertising
in its pages
The American Printer
was first in the educational
tional field School of Typography, begun in 1903,
; its
was original in conception and is of immense value field; its School of Typo-
to the student typographer.
graphy, begun in igoj,
was original in conception
The amount invested in a year's subscription to
The American Printer will return to the investor
and is of immense value
to the student typographer.
The amount invested in a
year's subscription to The
Oswald Publishing Company " will
25 City HaU Place, New York
Companp
return to the investi

25 City Hall Place tiplied many fold.

New York

GG.— Selected for Fourth Place, Advertising Division

By Austin M. Reblin, Dorchester. Mass.

J J. —
A feature that made this circular a winner is the
arrangement of the head portion, wherein the phrases
Bulkier Envelops," Larger Profits," and Increased
Bulkier Envelot)es for tKe EmJ)loyec Sales" stand out prominently. Because the reading por-
Larger Fronts for tne Emt>loyer, ana tion below the head is a size too small the circular was
Increased Sales for tlie Advertiser prevented from winning a better position. The last line
of the address should have been in capitals. Perhaps the
of tlie Amcncui PrintCT ud fcom
page would look better with the ornament placed under
the last paragraph.
KK.— This page is well balanced and blank space is
Che Hmmcan
judiciously distributed. Harmonious in the use of prac-
tically one face of type, there is an inconsistent use of
capitals and lower-case. The words "advertising in its
pages," are displayed too prominently; the words in the
Printer beginning of the sentence are just as important. The
three lines at the head are not large enough, but the
words "The American Printer" are too large. The sim-
tke world. It is read by men f influence in tke printing plicity of border allows prominence to the reading matter.
field — employing printers, n >ager8. foreman, and ambi-

American Printer was first ii

A. — The red border on this specimen is its striking
feature, from an advertising viewpoint. There is a har-
School of Cypograpby monious use of type-faces and the general effect is good.
Perhaps an improvement would result if the reading
begun in 1903. was original in conception and is of im- matter were set the full width of the line "The Ameri-
mense value to tbe student typograpber, Tbe amount in-
can Printer" and in type a trifle larger.
vested in • year's subscription to tbe
will return to tbe investor multiplied
American Printer
many fold. C «> »
B. — This page is harmonious in typography, the border
and type matter blending agreeably. The use of capital
lines in the head and foot groups is commendable, but
Oswald Publisning Comfiany
in this instance the signature is too prominent. The
25 City Hall PUce 5. «««.* New York
body type should be a size larger ; there is a suggestion
of weakness as it now stands.
C. —The general appearance of this page is good, but
from an advertising viewpoint it is wrongly constructed
HH.—Selected for Fifth Place, Advertising Division the heading is placed in the lower portion of the page.
By Edward Connor, Everett, Mass. While a certain distinction is given by the ornament
 p C cJ
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 '

THE TYPOGRAPHY OF A CIRCULAR

BULKIER ENVELOPS R PROFITS FOR THE EMPLOYER, A

FOR THE EMPLOYEE
LARGER PROFITS
FOR THE EMPLOYER AND
INCREASED SALES X3he
FOR THE ADVERTISER
American
©rinter
Advertising in Its Pages

THE AMERICAN PRINTER

OSWALD PUBLISHING COMPANY Oswald Publishing Company

25 City Hall Place. NEW YORK

in the top line, its presence between two related words pages with decoration. When border decoration came to
is objectionable. It was a mistake, also, to use an initial, be printed, it was placed close to the type; this gave the
as itdoes not mark the beginning of the sentence. page an appearance of solidity and unity. In the page
—
D. This page has merit as a design, but is too much under consideration the type should have been set closer
broken into groups for circular purposes. There is con- to the border and in a larger size.
sistent use of italic lower-case, and rule and border —
I. A well-balanced page, harmonious in use of type-
treatment is harmonious. faces and lower-case, but containing too much display.
E. —
There is not much to adversely criticise in this Then, too, the copy being transposed starts at the wrong
specimen. A square effect has been obtained at the sac- place. The use of the monogram is commendable.
rifice of letter-spacing which somewhat affects the page —
J. A handsome page that would have been selected
tone. Type-face and border are harmonious. for a place were it not that the introductory reading
F. —
This is a page of strong contrasts. The type-faces matter has been made awkward by transposition. The
and border are harmonious and the general effect is good, tone of the Caslon type-faces blends pleasingly with that
yet from an advertising viewpoint there are defects. Too of the border. The distribution of the blank space, and
much emphasis is given the words "employee," "em- the starting of the paragraphs flush at the side and sep-
ployer," and advertiser," which are meaningless sep- arating them by increased space, are good features.
arated from the words that complete the thought. The K.— Another specimen that counts high in typo-
phrases displayed in their entirety, as was done in most graphical beauty, but loses when considered from the
of the specimens, or divided as in JJ, are preferable. advertising viewpoint. The starting phrases are placed
G. —
Typographically this is a good specimen. Only near the foot of the circular. Old-style Antique is a good
one type-face is used, and the display is in capitals ex- companion for the wood-cut design used in the heading.
clusively. Displaying the phrase '
The American Printer —
L. Another admirable typographical specimen that is
was first in the educational field" is a commendable fea- deficient in treatment of the advertising features. There
ture. The only fault is that the copy was transposed. is the same objectionable use of an initial as pointed

H. —
The designer of this page went to considerable out in the criticism of specimens AA and C. The tone
trouble in having a border especially made for it, but of this specimen is decidedly pleasing, the ornament
failed to blend the typography with the border. This blending well with the type-faces.
specimen suggests the question, "What is the purpose —
M. Type-face and border are harmonious, but the
of a border?" It can be argued that a border is to type- tone is "spotty" and the balance poor. The two lower
matter what a frame is to a picture. And then it may be paragraphs should have been set a size larger, and the
held that, adapted to printing, the border is merely space between the upper groups lessened. A three-line
'
marginal decoration. As found on this specimen it may group should have been made of The American Printer.
be well to assume that it is marginal decoration. The N.— This specimen is defective in tone and in promis-
early typographers first printed the type-pages and the cuous use of capitals and lower-case in display. The rule
illuminator covered the margins close up to the type- arrangement is pleasing, type-faces harmonious, and the
 THE ART AND PRACTICE OF TYPOGRAPHY

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in will

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the pnnling
first
con-

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student

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fold.

envelopes for increased advertiser

was
the
many
employee,
j
the
onginal

to
in
Trinltr
profits
value
multiplied

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influence

the and
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ii 1903.
immense

^^ULKIER of Vhejlmcman
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larger investor

in
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giaphy.
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return

t^^^^ It
 THE TYPOGRAPHY OF A CIRCULAR

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 1

THE ART AND PRACTICE OF TYPOGRAPHY

—
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merican

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The American Printer Books for Printers

Oswald Publishing Company

Printers, Publishers

Booksellers

Represented by 25 City Hall Place

John Caxberg New York
1

Selected for First Place

Design by Howard Mixter, Buffalo. N. Y.

Selected for Second Place

Design by Will J. Cota, Burlington. Vt.

THE AMERICAN PRINTER

Oswald publishing Qo.
PUBLISHERS MjL TWENTY-FIVE
PRINTERS J^ (H CITY HALL PLACE
BOOKSELLERS NEW YORK
REPRESENTED BY JOHN CAXBERG

OOKS FOR PRINTER

Selected for Third Place

Design by Arthur Nelson, New York
 : :

THE TYPOGRAPHY OF A BUSINESS CARD

THE business cards here exhibited were selected from phrases well set forth. The owl ornament assists in the
more than four hundred different arrangements con- distribution of color over the face of the card, and is
structed by printers in thirty -five states of the Union, counted an appropriate device for booksellers.
Canada, England, Wales and Sweden. The showing is —
Fourth Place. This card is uncommon in its con-
interesting in that it presents the ideas prevailing in struction and color treatment. Type, rule and ornament
1909 of the typographical treatment that should be ac- are blended with artistic skill, and the general effect is
corded a business card. The copy follows strong and attractive. The two book ornaments are un-
conventional, but are decidedly fitting for the purpose.
Oswald PublishinjBr Company, printers, publishers, Fifth Place. — The circular ornament on this card
bookseUers, 25 City Hall Place, New York. Repre- afforded a nucleus around which was constructed a rather
sented by John Caxberg. The American Printer. pleasing type arrangement. At first glance one is tempted
Books for printers.
to suggest moving the main group higher on the card and
transferring the small top group to the foot of the orna-
The business is three-fold in character (printers, pub- ment, but it is doubtful if this would improve the result.
lishers, booksellers), and each of the divisions is of equal
importance. This fact was grasped by most of the com-
Sixth Place. — For neatness and simplicity this card
classes with the specimen selected for first place. Its
positors, as will be seen. style is more conventional, tho, and for that reason would
The card selected for first place (which, by the way, was perhaps appeal to the tastes of a greater number of people.
the personal preference of the president of the Oswald The commercial printer would be making no mistake
Publishing Company) contains the most correct dis- were he to adopt this treatment for the bulk of business-
position of the various portions of the copy. Distinction card orders. Caslon Text and the Caslon roman capitals
is given the name of the company and directly under-
as here used give greater distinction and individuality than
neath is displayed the three words indicating the busi- would the frequently used imitations of engravers' faces.
ness. Consideration is next given the name of the repre-
sentative, and then the location of the company. The
—
Seventh Place. The pleasing balance and symmetry
obtained on this card are notable features. It also scores
phrases "The American Printer'' and "Books for Print- because of the legibility of the Cheltenham capitals and
ers,*' important only in a parenthetical sense, are placed the tone and shape of the book ornament.
in the upper comers. While the other cards were ar-
ranged differently according to the style of treatment
—
Eighth Place. The decorative motive of this design
is well carried out by the ornamental band and Old Style
adopted in each case, there was an intelligent apprecia- Antique capitals. Caslon Text would have been better
tion of the relative importance of the phrases. than Engravers' Old English for the main line.
The first thirteen cards are here briefly reviewed —
Ninth Place. What has been said about the card
First Place (Insert). —
The fact that this card was pre- selected for sixth j)lace could almost be api)lied bodily to
ferred over all the others is a triumph for simplicity in this example. The qualities of neatness and refinement
typography and for the Caslon type-face. It is notable are, if anything, more strongly emjihasized.
that, excepting the name of the representative, the de- —
Tenth Place. In some respects the treatment of this
sign is all in lower-case. Typographers generally should example resembles the card selected for eighth place.
find in the unaffected simplicity a valuable hint. Simple The ornamental band is the same design slightly larger
arrangements, built on art principles, please ten times and lighter in tone. The blank space has been well dis-
where elaborate designs please once. The two light lines tributed over the entire card, giving it a graj' tone.
that form the border give shape and finish to the card. —
Eleventh Place. Type-face and ornament combine
—
Second Place (insert). While this card also contains here to make a strong, artistic effect that closely ap-
the Caslon type-face, no roman lower-case whatever ap- proaches hand-lettered results. A two-point lead lifted
pears. This last-mentioned circumstance, together with from between the lines at the head and inserted below
the employment of a decorative border, and the cone the ornament would liavc perftctcd this card.
formation of the words, gives a result totally unlike the —
Twelfth Place. The classic treatment of this ex-
first example, but one which, from another viewjjoint, is ample is pleasing. Tiie capitals are slightly spaced and
as good. A suggestion was made that the book ornaments this adds to its effectiveness. The center group could
opposite the words "Printers, Publishers" are superfluous. have been moved closer to the main line in the interest
The design would api)ear a trifle clearer without them, of more perfect spacing.
yet the ornaments fulfil an object in that they connect —
Thirteenth Place. The manner in which the words
the border with the type matter. are distributed over the face of this card is uniciue. It is
—
Third Place (Insert). The merit of this examjjle lies seldom that scattering produces sucii good results, and
chiefly in the striking effect produced by the heavy red compositors are far safer when they group the words.
bands. The wording is cleverly arranged to blend with There is not a capital line on the card and the type-
the main purpose, and the comparative value of the face, Puritan, lends itself hajjpily to this treatment.
 THE ART AND PRACTICE OF TYPOGRAPHY

OSWALD PUBLISHING ©fltnalb PubltHl|ing Qlnmpang

iA4 COMPANY iJkjk PRINTERS, PUBLISHERS, BOOKSELLERS
ITt '^^^ YORK flTI THE AMERICAN'PRINTER. BOOKS FOR
•mJ Twenty-five City Hall Place "Ofl PRINTERS. 25 CITY HALL PL.,NEW YORK
PRINTERS. PUBLISHERS, BOOK-
SELLERS—BOOKS for PRINTERS
THE AMERICAN PRINTER
REPRESENTED BV JOHN CAXBERG
Repreaeated by JOHN CAXBERG

THE AMERICAN PRINTER

BOOKS FOR PRINTERS

Oswald PuDlishmgCompany
PRINTERS TWENTY-FIVE
PUBLIS HERS CITY HALL PLACE
BOOK SELLERS NEW YORK

ReprcMntcd by JOHN CAXBERG

•THE-AMERICAN
OSWALD PUBLISHING COMPANY
PRINTERS: PUB LIS HERS: BOOKSELLERS
THE AMERICAN PRINTER : : BOOKS FOR PRINTERS
Ogbjalb ^ufaUsljins Company
PRINTERS, PUBLISHERS y BOOKSELLER

NEW YORK
REPRESENTED BY

25 CITY HALL PLACE, NEW YORK

OSWALD PUBLISHING CO.

OSWALD PUBLISHING CO. PRINTERS PUBLISHERS BOOKSELLERS
PRINTERS :: PUBLISHERS :: BOOKSELLERS THE AMERICAN PRINTER BOOKS FOR .

PRINTERS 25 CITY HALL PLACE, N. Y.

The AMERICAN C^^^^ '* BOOKS FOR
PRINTER |(M||^|| PRINTERS

!5 CITY HALL PLACE. NEW YORK. RcpreMnlcd by JOHN CAXBERG

REPRESENTED BY JOHN CAXBERG

 THE TYPOGRAPHY OF A BUSINESS CARD

OSWALD PUBLISHING COMPANY

^fitoalti $ublifii)tng Company
PRINTERS 03
PRINTERS PUBLISHERS
PUBLISHERS BaOKSELLERS
THE AMERICAN PRINTER BOOKSELLERS
BOOKS FOR PRINTERS THE AMERICAN PRINTER
?" BOOKS FOR PRINTERS

RBPRB8ENTBD BY 25 CITY HALL PLACE

JOHN CAXBERO NEW YORK
25 CITY HALL PLACE NEW YORK

By Percy Ginsburg, Boston, Mass.

Oswald Publisliing Comfjany r..^...^.^

Publishers Booksellers
OSWALD
Printers PUBLISHING II

TKe American Printer ^T Books for Prmte«

COMPANY Printers
RrprtienlrJ h John Caxbtrg
Publishers
Booksellers
25 C.ty Hall Place. New York
IS City Hall Place : : NEW YORK
'

y Albert Prastmark Crary, N. D. ,

" THE ASERICAn PRIBTER " BOOKS FOR PRDITERS

©Ktoalb ^ublisffjina Co.

PRINTERS :: PUBLISHERS :: BOOKSELLERS
TWENTY. FIVE CITY HAL I. PLACE. NEW YORK O^smalb ^ubltal^mg (Ed.
33rinlpr0.^ubli8l]pra
?8ookaflbra

R<p«al«l br lOHB CAMERG 25 CfTY HAll. PUCE, REW YORK

By Frank J. Wolf, Denver, Colo. By Leon I. Leader, Brattleboro, Vt.

<

OSWALD PUBLISHING COMPANY

25 CITY HALL PLACE. NEW YORK
PRINTERS. PUBLISHERS. BOOKSELLERS
THE AMERICAS PRINTER BOOKS FOR PRINTERS

REPRESENTED BY JOHN CAXBERC

'
I'

By H. D. Wismer. Fulton. N. Y. By W. A. Allen. Boston. Mas

 THE ART AND PRACTICE OF TYPOGRAPHY

C^c^lmcn'taft Printer
tJBooM for ptintcri
OSWALD PUBLISHING COMPANY
TWENTY- FIVE CITY HALL PLACE
NEW YORK- PUBLISHERS -PRINTERS
BOOKSELLERS -THE AMERICAN
PRINTER BOOKS FOR PRINTERS

^^^^
-

REPRESENTED BY lOHN CAXBERG

Printers • Publishers •
Booksellers

25 CiTv Hall Place

New York
Represented by Joh« Caxberc

By Harold Eldridge, Atlantic, Mass. By Theo. Backen, New York. N. Y.

BOOKS POR PmlNTElM

Printers, Publishers, Booksellers,

25 City Hall Tlace, 3(ew Tori.

Oswald Publishing Company REPRESENTED BY JOHN CAXBERG.
printers
PUBLISHERS • BOOKSELLERS

B crrv Haix p

John Caxbbrg New York

y E. A. Frommader, Moline, 111. By William Toovey, Hemel Hempstead, England

"^
©s^toalb ^ufafefjina Company THE <^MERICAN 'PRINTER
"Books for Printers
lartnter©.. |3ubli0l)ers.. Boofe^^ellers
JSumber Qttocntpjfitic Citp J^all ^lace.iSeto gorb Citj
RtprmntfH tip John (taxbtrfl Oswald jPublishiing Compan'^
25 City Hall Place
New York
T'rinters
fifpresenled by Tubliskers
SSoofag lor printers
JOHN CAXBERG 'Booksellers
tElK American printer

ly J. W. Spradling, Sparta, Wis. By M. C. Merriam, Phoenix, Ariz.

© 03WALD PUBLISHING COMPANY

TWENTY-FIVE CITY HALL PLACE, NEW YORK
rr.'_NTERS PUBUSHERS
: BOOKSELLERS :

THE AMERICAN PRINTER

Oswald Publishing Company BOOKS FOR PRINTERS
PRINTERS • Publishers • booksellers
o BY John Caxbcro

REPRESENTED BY JOHN CAXBERG

By F. W. Lake, Moline, lU. By Harry E. Shrope, Washington, N. J.

 THE TYPOGRAPHY OF A BUSINESS CARD

1
I

SP^^SWALD PUBLISHING OSWALD PUBLISHING COMPANY

PRINTERS, PUBLISHERS, BOOKSELLERS
^^^^H City
GOMPANYiTwentj-five BOOKS FOR PRINTERS
R^TB Hall New York Place, TWENTY- FIVE CITY HALL PLACE
NEW YORK
)3StiM^^ ^ublii\)tti. printers, ^oobStUtri
«R<pre...i«d hi JOHN CAXBERG

tE^^camerican printer* SSoohjet fotj^intttjt

D

By Frank L. Crocker, Jersey City, N. J. By Walter B. Gress, Brooklyn, N. Y. (Non-competitive)

THE AMERICAN PRINTER BOOKS FOR PRINTERS

<0sbml& PDl)lisl)ing (^mmi

Prinlfrs, Pubiisbfrs, Boo&sfllprg
Oswald Publishing Company
25 (Sit? Iball Plarr. Jlflu j^orfe

Printers :: Publishers
Booksellers
Books for pnntffi
Cli» tmtnm Pnnlfr
R..«-..«l k, lOIIN C*JBt»G
*

y O. Grigutsch, Los Angeles, Cal. y L. F. Evans, Raleigh, N. C.

OSWALD PUBLISHING CO.

Oswald 4^ubUsl)in9 Comfan^
PRINTERS PinLISHERS- BOOKSELLERS
•

"Prlntcrs.TJubllsbcrs. booksellers
NEW YOHK

Ol)e merican rinler

^ooKs for 4^riRt(irs

JOHX CAXBERG

By Karl R. Moberg, Sundsvall, Sweden By William H. Jackson, Philadelphia. Pa.

SWALD PUBLISHING
OSWALD PUBLISHING CO
COMPANY ^x'^^TERs^o
PUBLISHERS a PRINTERS. PUBLISHERS. BOOKSELLERS
BOOKSELLERS 25 CITY HALL PLACE. NEW YORK
ITED BY JOHN CAXBERG
THE AMERICAN
THE AMERICAN PP.INTER €| BOOKS FOR PRINTERS
PRINTER . BOOKS
FOR PRI NTERS REPRESENTED BY JOHN CAXBERG
m m ui

25 CITY HALL PLACE, NEW YORK

By R. Henneberry. Boston. Mass. By W. R. Terry, Durham, N. C.

 THE ART AND PRACTICE OF TYPOGRAPHY

"Thf American Printer- gooks for Printere

OSWALD PUBLISHING
COMPANY '•""^""io'Sls^irLlS!

THE AMERICAN PRINTER

Oswald Publishing Company D BOOKS FOR PRINTERS a a
Printers Publishers 25 CITY HALL PLACE, NEW YORK
Booksellers

25 CITY HALL PLACE K»pr«»Dl*d by JOHN CAXBEIG

Repreaeoted by JOHN CAXBERG NEW YORK

By A. Miltenberger Jr.. New York, N. Y. By Winifred Arthur Woodis, Worcester, Mass.

The American Printer Books for Printers

Oshald Tuhlishing Company

T'RINTE'SJS pyBLISHZnS SOOKSELLEJ{S .;
Oswald Publishing Company
T '
/.'-' '^l' 'P-'-'nter - Books for Printers Publishers
Booksellers

ZO^ NZ.W YOSJK

r> CITY HALL riACZ

By Herbert R. Smith, Washington, N. J. By William B. Bradford, Portland, Me.

"The American Printer" Books for Printer*

Jswa/d Publishing Company

OSWALD PUBLISHING COMPANY

PRINTERS : PUBLISHERS :; BOOKSELLERS

25 C.TV Hall Plau

JOHN CAXBERG NEW YORK

ly George B. Moore, Fulton. N. Y. By C. P. Flaskamp, Cleveland, O,

The American Printer Books for Printers

Oswald Publishing Company

Pnbliahers ii Printers ti Booksellers
Twenty tiTe City Ball Plaoe

New York Companp

Printers. Publishers. Booksellers

The American Printer

JOHN CAXBERG

By George W. O'Neal, Norfolk, Va. By W. H. Benson, Batavia, 111.

 THE TYPOGRAPHY OF A BUSINESS CARD

ZtftOmtium
Oswald Publishing Go.
fttivttt PRINTERS. PUBLISHERS. BOOKSELLERS
^J^^^l PUBLISHING
i-lp^ COMPANY The American HH^ Books for

^liS'^ iBoob«flItr8C25Citp

BOOKS f»r 25 CITY HALL PLACE. NEW YORK

PRINTERS
Represented by John Cixberg

By Eli Black. Cleveland. O. By C. R. Morris, Fostorio, O.

PRINTERS PUBLISHERS BOOKSELLERS

OstoalD Boilislitns
OSWALD PUBLISHING CO.
»5 City Hail Place. NEW YORK

The American Printer

BOOKSJorPRINTERS BOOKSELLERS
Books for Printers

By Frank A. Shaw. Concord, N. H. By John Houtkamp, Philadelphia, Pa.

®stDaIt)^3ubIts|)tngCQmpanp Oswald
Printers
TWENTV-FIVE CITY HALL PLACE, NEW YORK
Publishing X Publishers

^tinuts, iSubliBljers, moobetUtxe ^ Booksellers

Company
OHe Qmerican Qrinter
Books for Printers

R.pr„««d b, 25 City Hall Place

Soot0 far ^tintttg John Caxberg New York
JOHN CAXBERG c?
\iU Th« Am«icah Printbr

By E. Peterson. Galveston. Tex. y John H. Woods, Atlanta. Ga.

FOR. PRINTERS OsuialJi ^bliatiing (jompany

o SWALD
PRINTERS
25
.: PUBLISHERS
CITY HALL PLACE. NEW YORK
.: BOOKSELLERS

OUBLISHING
QOMPANY ^^ ^^
JOHN CAXBERG (JJlje Amcrttan Jrinttr

By J. Warren Lewis, Ogden, Utah By N. G. Gustafson, Boston. Mass.

 THE ART AND PRACTICE OF TYPOGRAPHY
.

The American Printer Boob for Printers

'iiSM3]fe^]fe)SMa3te^M53te[9M3]f'.^ m

Oswald Publishing Company

^Qubltfilimg Qpmpang i
PRINTERS, PUBLISHERS. BOOKSELLERS ^
25 City Hall Place 25 City Hall Place. New York
RJ
New York
Printers
Repr«enied by Publishers R,or,..„.,d bv ^^^ Amrrtran ^rintpr ^
John Caxberg Booksellers j
r^TTSfr^.^/r^'^fr^l?^!^^

By Robert F. Salade. Philadelphia, Fa. y B. Walter Brannan. Colwyn, Pa.

Books for Printers The American Printer

OSWALD PUBLISHING COMPANY
25 CITY HALL PLACE. NEW YORK

PRINTERS, PIJBUSHERS. BCX)KSF.! F.RS

Oswald Publishing Company
.1

TAe AMERICAN PRINTER

and BOOKS FOR
PRINTERS

By F. H. Moore, Allegheny, Pa. By George H. Grampp, Buffalo, N. Y.

The JmericanTrmler .: "Bonis fir Trintert

fHL AMLRICAN Pf BOOKi FOR PRINTERi
— ^0

SWALD
PUBLISHING Oswald Publishing Co.

COM PANY "PRINTE.R5«»

.PUBLISHLRS'
BOOK5LLLLR5

25 CITY HALL PLACE.

j^rinter0'j|aubli0i)er0'J5oofe0ellers
epresente^
^XBERG NLW YORK
'^""'"john''c<'xberg "^5 C«TY HaLL PlaCE, NeW YoRK

By Tom V. Jones, Cardiff, Wales By George Millar, New York, N. Y.

Qswald Publishing Company (f^stoalli $u!)li0f)ing Company

''' "
30KS /Of PRINTERS
PrinferS : PublisfieriS '.^odbetQtts
PRINTERS, PUBLISHERS
BOOKSELLERS 25 <titp ^afl Pate
^tto Sort
25 City Hall Plac.
*

|f«t*ttentsa tur The Aiherican Printer

JOHN CAXBERG NEW YORK CITY . iOHN CAXBBRQ Books Tor Pfintera +

By Charles F. Keppler, Detroit, Mich. By Austin M. Reblin, Dorchester, Mass. (Non-competitive)

 :

y
33H
THE TYPOGRAPHY OF A BLOTTER
THE blotter as a means of publicity is no longer an ex- A brief review of the first tliirteen blotters follows
periment it is lar^jely used by advertisers and is a famil-
; —
First Place (Insert).- This blotter probably owes its
iar form in the printshop. This being so, the subject was selection to the strong border treatment, which caused it
chosen for the consideration of those interested in The to stand out above all others. It is a blotter that will de-
American Printer School of Typography. There is no mand attention from the recipient and right at this point
:

craft law that confines the typographic treatment of it must do its work, for the blotter is too striking to be

blotters to any set style, and reproduction herewith used on a desk day after day. The triangular ornament
of sixtj'-three type-designs, from the same copy, by as adds a certain necessary decorative quality, and the
many different typographers, reveals the variety of treat- Scotch Roman tyi)e-f;ice gives a tone of distinction.
ment blotters receive from printers generally. The copy Second Place (Insert). —
The merit of this blotter
from which these designs were comiwsed follows: seems to lie in its simple, straightforward arrangement of
the several parts of the copy, and in the strength im-
parted to the design by the rule panels. The initial has
The American Printer sets the pace for enerfretic
printers in the race for success. It trains them in a place in leading the attention to the phrase "The
correct practices and leads them into ri^ht paths. American Printer sets the pace.*" The manner in which
In these days Goodenouj^h falls by the wayside and the copy is divided into panels is commendable.
Dothebest is first at the tape. Two dollars pays for
twelve months of The American Printer. Oswald
Third Place (Insert). —
The spirit of the copy has been
Publishing Company, ii City Hall Place, New York. admirably interpreted by the designer of this blotter.
The typefounders' athletes interestingly illustrate the
phrase "in these days Goodenough falls by the wayside
Theadvertising value of a blotter seems to lie in its and Dothebest is first at the tape." The placing of the
ability to do one of two things —
strongly and favorably words "The American Printer" at the right of the line is
to attract attention when received, or thru attractive sim- odd, yet pleasing, and the remaining portion of the sen-
plicity to grow in favor during use. The former may be tence is set sufficiently large to carry the eye along in
likened to a rocket which compels attention and i)leases reading it. The signatuic is pinpt-rly subordinated.
for a moment, and the latter to a star whose beauty and FoiRTH Place. —
This l)l()ttcr scores in effectiveness at
attractiveness last forever. The opinions of the persons a position between tlie strongly attractive and modestly
who made selections from three hundred and thirty-five refined. It is a design that one could look at repeatedly
blotter designs show a preference for effects that imme- without weariness. The manner in which the copy is sep-
diately create a favorable impression thru strong use of arated into groups shows careful and intelligent analysis
color or illustration. It will be noticed upon examination on the part of the designer.
of the preferred designs, that there is more to them than Fifth Place. —
The classic simplicity of this blotter
the mere idea of attracting attention, and that the mes- will appeal to refined tastes. Such a blotter before one
sage contained in the copy has been so treated as to en- on the desk is not only inoffensive, but a positive delight.
able the reader easily to digest it. There is advertising value in the emphasis placed upon
It is customary for a compositor first to select the im- the first sentence of the copy. The signature is unobtru-
portant phrases and classify them in importance. A ma- sive.
jority of the typographers chose "The American Printer" Sixth Place. —
To those who recognize the merit in
as of first importance and "Oswald Publishing Company, harmonious relations between type-faces and borders,
25 City Hall Place, New York,"' for secondary emphasis. this design affords pleasant study. The square-like sec-
Some treated the words "The American Printer" too tions of the initial"A" reflect the little red s(iuares in
strongly, and most of the typographers gave too much the border and the blend is further carried into the type-
prominence to the company name and address. The last- faces. The importance of emphasizing the first sentence
mentioned part of the copy is really of minor import- is also recognized in this instance. The way in which
ance. It has no direct advertising value and is for the The"" is disposed of among the flourishes of the initial
convenience of the reader should he desire to correspond letter is interesting.
with the company. Seventh Place. —
A number of other blotters here re-
There is another material point in connection with produced also show the feature possessed by this one, of a
this copy. The purpose is not so much to make known red border running to the edge of the stock. The mat-
The American Printer, as to publish the fact that it sets ter on this blotter is well apportioned and the first sen-
the pace for energetic printers in the race for success. tence legibly presented. This and other specimens are
Those designers who emphasized this statement carried witnesses of the excellence of Caslon for blotter purposes.
out the idea of the man who wrote the copy, and it Eighth Place. —
While lower-case of Caslon has been
may be interesting to state that the copy was so writ- well used on other designs, this blotter finds favor in the
ten as to afford opportunity for illustration such as is found clever use of Caslon capitals. The initial, too, is a factor
in the design selected for third place. in its attractiveness.
 THE ART AND PRACTICE OF TYPOGRAPHY

S. ;-i ^ It
falls

c« 2 >-
ce bem tape
rs
<D .y
w
JK
1) C^ S « w^t <!-
5 g
ii « OJ U A succ lead

8 eP denou
at
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e z r St

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1

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a ?2^.2
ra
2"
t o
Oh II I ts e
th
ctic

pra
days best

11^ 1 u T" 5: >,

Se othe

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hese C/3 _,
in t
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i

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< •=Si£T -^ s ^ ^ Mm M
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6
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'iflgt''
II

*"
1
 '

THE TYPOGRAPHY OF A BLOTTER XIX

Ninth Place. — The adaptation of

the stock automobile cut to the phrase
13 m The American Printer sets the
pace," no doubt weighed heavily in
the selection of this blotter for hon-
ors. As has been said, the copy was
race right
first
York
peculiarly suitable for the use of ap-
Printer.

the
is propriate illustration.
—
N...

in
into

Tenth Place. This is one of

printers them
Dothebest

American
those strong designs that accomplish
their purpose immediately. The state-
leads

and
The
ment that The American Printer
energetic

and
sets the pace*' cannot be missed by
of
wayside
the man who opens the mail.
for practices

months
COMPANY

Eleventh Place. — The beauty ele-

pace the
ment no doubt gave this design its
the
by position. There is pleasing contrast
correct

of tone between the type-face and

twelve

PUBLISHING
falls
sets

in
for
white background, and the graceful
them
ornament strikes a harmonious note.
p?y9
PRINTER
Goodenough

OSWALD
The correct distribution of space is a
trains
feature of this blotter.
It
days
dollars

Twelfth Place. — The meritorious

feature of this blotter is its distinct-
Two

iveness. The diagonal color-lines fol-

AMERICAN

success. these

Plic< lowing the direction in which the

In tape.
for
Hill italic slopes give a note of originality
OHE paths.
the
Cic, that has value from an advertising
at 2i
viewpoint.
Thirteenth Place. —Here is a
blotter that, used continually on a
desk, will not tire the eye. The mod-
^ m est treatment accorded the type-mat-
ter carries it close to the point wliere
the message is in danger of being
missed, yet the extreme neatness of
the design, guaranteeing its use for a
longer period, gives it continued op-

II
n
1
w
u
<^!|^
i^i^
iisi
r^ *^
@
^^^x^^
portunity of being considered and
carefully read.

Perhaps the strongest design among

those recognized by honorable men-
tion is Mr. McLelian's. The border

il, 0. nT^i "^ § ^'^^N^ running to the edge of the blotter is

i^ 2U: V;-.«5 1 6 ^*>>^ ^
delivered from plainness by the white
lines at the corners. The initial blends
5^ &^i-:l
I well with the type-treatment, which

T
H s.
way

3?l provides for emphasis of the first sen-

T CO pati
the tence.

m
Printer

in tape.
The blotters by Messrs. Loven-
S cm
right
by
s dale, Streeter, Young and Grady are

« Hr1i5
ic ic

commendable because of their neat-

= s
II,'
^s ness, as they are the kind that will

^ pl)^1 E rj 1
C/:^^-£=rJ| sr
^i
;ji
>

i
^
5
wear well.
The arrangement of Mr. Wohl-
ford's blotter is the most unusual, the
position of the illustration panel at

61 ^ 1 1 the lower right corner assisting in

III ^3
this result.
Mr. Black's design is also uncom-
1^ ^ r?' :| monly arranged, the square of large
type contrasting not unpleasantly
ij ^SSv '-"
"^
< with the blank space at the right.

,r5s w o I ;
^^v ^1 1
6
The orange panels on Tom V. Jones
l)lotter are too strong as they appear
here, and should be tinted lighter.

Wn^ Otherwise this design has excellent

O ^

if^ advertising value.

Mr. Verburgt's design scored be-
cause of its suggestion for using a mini-
ature cover reproduction.
 THE ART AND PRACTICE OF TYPOGRAPHY

s^ AMERICAN PRINTER
r/i^Hmerican printer
ic Printers in the Race for Sua

0«wald publishing Company

ESSHE AMERICAN PRINTER

Wi)t American printer atti tfje pace ^Bpfflsets the pace for energetic
I

energetic printers in the race for success SffiS printers in the race for success.
and them
It trains them in correct practices
I——g=»tkLn
PCj 1
'' '"'"^ ''^^'"
into right paths.
'" '^""^'^^ practices
In these days Goodenough
leads
falls & leads them into right paths. In
JEtoo BoUarS
'>' '''^ "'ayside and Dothebest is first at the tape these days Goodenough falls by the
wzyside&Dot/iel>estis first at the tape Oswald Publishing Co.

THE AMERICAN PRINTER The AMERICAN PRINTER |

sets the pace for energetic printers in the race
success. It trains them in correct practices and leads I

them into right paths. In these days Goodenough

|
falls by the wayside and Dothebest is first at the tape

OSWALD PUBLISHING COMPANY "

OSWALD PUBLISHING CO.. 25 CITY HALL PLACE. >4EW YORK

feHE AMERICAN PRINTER

'

sets the pace for energetic:::: Tibe American Printer

1 printers in the race for success Sets the Pace for Energetic Printers in the Race for Success
d leads them
In these days Gooder • // Imim tkem in Correct Practices and I
krside and Dothebes n Uads them into Right Path

OSWALD PUBLISHING COMPANY. 25 City Hall

E AMERICAN PRINTER s ts the pace

[for energetic printers in the r for success.
5 them in correct practices and leads

[
them into right paths. In these days Good-
enough falls by the wayside a nd Dothebest is first at the
tape. gTwo dollars pays for twelve ^^BH^^^B
OstoaU DuWi«!)iii8 Cempanj
months of The American Printer. j^lHHHIi
OSWALD PUBLISHING COMPANY. J5 City Hall Place. NEWYORK
 THE AMERICAN PRINTER
printers in the race for success.
sets the
them in correft
pace for energetic
It trains
and leads them into right paths. In these days Good
praftices
enough falls by the wayside and Dothebest is first at the tape
Two dollars pays for twelve months of The American Printer
Oswald Publishing Company, 25 City Hall Place, New York

Selected for Second Place

Design by William L. Doyle. Cleveland. O.

Goodenough falls by the wayside

IN these daysand f
yT
y%2^ Dothebest first at the tape is

The American Printer

sets the pace for energetic printers in the race for success.
It trains them in correct practices and leads them into
right paths. Two dollars pays for twelve months of The
American Printer Oswald Publishing Company
25 City Hall Place, New York

Selected for Third Place

sign by E. A. Froramader. Molin
 THE TYPOGRAPHY OF A BLOTTER

. -I-HE American Printer sets the pace

Oswald
The American Printer Publishing
1 for energetic printers in the race for
success. It trains them in correct prac
* tice« and leads them into right paths
•en die p»« for mcrgctic printers in the rjce for sgcccK
Company

—
In these days
Goodenougk falls by the way
side and Dotkibest is first at the tape
Two forwelve months of ^ <
dollars pays

for twelve oionih. of The Amerian Printer

'///i'Aniencan Prinrcr
0™^d Pablkhu,e Comply 25 C, H^ Pbce. N« V„k

The American Printer sets the pace for

The American Printer
enerj^etic printers in the race for success

Oswald Publishing Company

Ch^aM Publishing Company, 15 City Hall Place, New York SS City Hall Place : -:- -.- -: NEW YORK

the pace for energetic printers in the race

?ss. It trains them in corre<ft praAices -
Cl)t ^jntrii I Crittttr - stts tt)c paa
and leads them into right paths. In these days for tntrattu pnnttrs in ra«
Ostoall) Cnblisting Gompanp tlie
Goodenough falls by the wayside and
:

25 Citp *aU PUtt Xitu Port I

^'^ su£««S- 3t trams t\)tm in
Dorhebest is fir^ at the tape bj, Itorrftt urattictsanblfabBtljtm
ZtBO ftoUar* into rigtjt pattjs. 3n tfjtsr baps
paps (or ttDtlbe montbs ^oobrnousf) (alls bp ti)t toapstlx
of Zi)t ^nurican printer I anb Sotbtbtst is first at ttt tape

THE AMERICAN PRINTER

J^BBhE AMERICAN PRINTER
HnH sets the pace (or energetic printers
1
jK3J
j
kit a ll>e u,'

gH
^^^Q them in correct practices
them into right
and leads
paths.

1
OSWALD PUBLISHING ToMpTnT
TWENTY. FIl'E CITY HALL
HB&OSU
^"^^^
ALD PUBLISHING COMPANY

^^^^- PL AC E, M EW YO R K

rhe AMERICAN PRINTER

C[.
them, in correct practices and leads them into right paths.
ITIntrains
these days Goodenou-ih falls by the wayside and Dothebest is
first at the tape. TWO DOLLARS pays for twelve months of
Tbt AMERICAN PRINTER

OrjcaU Tublishing Company

,- City H.:ll PLuc, A. :: York Oswald Publishing Company
J L
 THE ART AND PRACTICE OF TYPOGRAPHY

y MT CO fV\ ''^'^^'^ rOR TWELVE MONTHS '^

The American Printer
^^.UU
II

i t]L» of The AMERICAN PRINTER rjf

^2F~^^\y!;r=^£iH:?~
OSWALD PUBLISHING COMPANY Oswald Publishing Co.. 25 City Hall Place, New York

Galveston, Te;

THE AMERICAN THE AMERICAN PRINTER tkem

in tke race (or success. It trains
.«, tke p.« (or energetic printer,
in correct practices anJ leaJs

PRINTER se..i,.P«. tKem into right paths.

and Dothche,t is
Cm In these Jays Goodenough
lirst at the tape. C Two dollars
(alls by the waysije
pays {or twelve months
of Th, Stmcrican 'Prints.
OSWALD PUBLISHING COMPANY
OSWALD PUBLISHING CO.'

|ISS||11I sets the pace loT

^^^M energetic printers in the race for success. <1 It

^^^^ trains them in correct practices and leads them

^™"^^ into right paths. *i In these days Goodenougk
'

falls by the wayside and Dothebest is first at the tape.

^he Bmerican printer THE AMERICAN PRINTER

SETS THE PACE FOR EJOERCETIC PRINTERS IN THE RACE P
the pace for energetic prinlers in the race for luccesi. them in correct
IS THEM IN CORRECT P S AND 1.EADS THEM INTO
Scb It trains

practices and leads them into right paths. In these days Coodenou;h
falls by the wayside and Dothebest is Hrst at the lap(!
„ /or Twdx Mcr,lh o/ TU A,
OSWALD PUBLISHING COMPANY
X PLACE. NEW YORK

IN THESE DAYS HH^t^^^^I

f aimfruan ^nntfr sets the pace for energetic
The A merican Printer
printers in the race for success. It trains them in
pays for twelve months
1®^-;)
correct practices and leads them into right paths

eimXn $ubU0i)in8 Componp :: :: 25 Cttp j^ Sloa.- ^to ^brh

 -

THE TYPOGRAPHY OF A BLOTTER

THE AMERICAN PRINTER THE AMERICAN PRINTER sets tne pace

for energetic printers in the race for
success. It trains them in correct pract-
ices and leads them into right paths.
Two DoUao^ pay for 12 months of THE
,^ cR In these dars
Coodenough falls by the \vayside and
Dothebest is first to the tape. Oswald
Publishing Co.. 25 City Hall Place. N. Y.

^ AMERICAN PRINTER^ HE AMERICAN /RjNTER

OSWALD FOBLSHIJiC CO - 2S Gtr Ball Place • NEW YORK OSWALD PUBLISHING C lY. 25 C>t>- Hall Place. NEW YORK

Br W. R. Padgett

fab br fe •api^'i.j Dodxixit b fa< « d. a^ The American Printer

HHHHI 0««U Pifchi, Gx. 25 Cky HJ PUce. N<wYoi
1

r Oswald Publishing Company

UfVeem Irrioc Leader

Ctlf atmr nf an ^rtntrr

ssi^'ZiSSJrss^
n die pace for OKt^eac pnaten in die race for success. It traim
In these days
Gc^denoush falls by the wayside and
^qsGaadeaoaehbOsbydiesaysdeanl Dodvebea a hm at the ape
Doihcbesi is first at the tape
Tw ^Ufan f^ Jir mAr mmtJh of The Amtnca finmur
q ?'*i=L!r-*"-^.:r!^,r:s.iJS'—
oswxu, ««ush,m; COMP.V.. « c, «.. ^,. s„ r^
^

Q The American
• ,- 'a;
Printer
printefs in the The AMERICAN Printer
r«**.-.
»- «

~
-^
pro^-^ri
- --
o.-.; .

Oswald Publishing Company

.^ s^^
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OSWALD PUBLISHING COMPANY

 THE ART AND PRACTICE OF TYPOGRAPHY

THE AMERICAN PRINTER

energetic printers in the race for success.
sets the pace for
It
|H E AM ERICAN PRINTER sets the pace for energetic printers
Clt trains them in correct practices and
e race for success.
s them into the right paths. Cln these days Goodenough
trains them in correct practices them into and leads
i falls by the wayside and Dothebest is first at the tape.
right paths. In these days Goodenough falls by the Ctoo Bollars paps for Itotlbf montbs o/€bc amcritan $rinttr

wayside and Dothebest is first at the tape. Two dollars

pays for twelve months of The American Printer.
) PUBLISHING COMPANY. 2 . NEW YORK

—
THE AMERICAN PRINTER
$2.00

OSWALD PUBLISHIN-C COMPANY, r«,t^/w Cily Hall Pkc, New Y,r

ETS THE PACE for energetic print-

them in correct practices and leads

them into right paths. In these days
Goodenough falls by the wayside
and Dothebest is first at the tape

(0Buiuib Publishing (!Iom)iang

The American Printer sets the pace for energetic

Tpp AViFRTCAN PRI/NTER printers in the race for success
' • / . '. I'rinh-rs in the Race for Sumss tliem in correct practices and leads them into rigiit paths
It trains
In these days Goodenough falls by the wayside and Dothebest
is first at the tape

Two dollars pays for twelve months cf The American Printer

(O0toal6 J)ubli3t)in8 Companp
Oswald Publishing Company ''Se'Xyo"""'

nnhe American Printer si

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Oswald Publishing Company -.

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