MODERN ROMAN LETTERS
The small or "minuscule" letter that we now use in all printed books
attained its modern and definitive form only after the invention of
printing. The first printed books were made to imitate, as closely as
possible, the handwritten work of the scribes of the early fifteenth
century, and as printing was first done in Germany, the earliest book types
were those modeled upon German scripts, somewhat similar to that shown in
141, and their condensed or blackletter variants. The Italian printers, of
a more classical taste, found the German types somewhat black and clumsy;
for though Gothic characters were also used in Italy, they had become
lighter and more refined there. The Italians, therefore, evolved a new form
of type letter, based upon the _Italian_ pen letters then in use, which
though fundamentally Gothic in form had been refined by amalgamation with
an earlier letter known as the "Caroline", from its origin under the
direction of Charlemagne. The "Caroline" was in its turn an imitation of
the Roman "Half-uncial." The close relationship of the first small type
letter forms in Italy with the current writing hand of the best Italian
scribes is well indicated by the legend that the "Italic," or sloped small
letter, was taken directly from the handwriting of Petrarch. The new
Italian types, in which classic capitals were combined with the newly
evolved minuscule [53] letters, were called "Roman" from the city of their
origin, and sprang into almost immediate popularity, spreading from Italy
into England, France and Spain. In Germany, on the other hand, the national
blackletter form persisted, and is still in use to-day.
The minuscule "Roman" letters thus evolved were developed to their most
perfect individual forms by the master-printers of Venice; and it is to the
models which they produced that we must revert to-day when we attempt to
devise or reproduce an elegant small letter of any conservative form. The
modern pen draughtsman should bear in mind, however, that, perfect as such
forms of letters may be for the uses of the printer, the limitations of
type have necessarily curtailed the freedom and variety of their serif and
swash lines, and that therefore, though accepting their basic forms, he
need not be cramped by their restrictions, nor imitate the unalterable and
sometimes awkwardly inartistic relations of letter to letter for which he
finds precedents in the printed page. Indeed, the same general rules for
spacing and the same freedom in the treatment of the serifs, kerns and
swash lines are quite as applicable to pen-drawn small letters as to the
capital forms. The only true path of progress lies in this freedom of
treatment; and if the same fertile artists of the Renaissance who have
bequeathed to us such beautiful examples of their unfettered use of the
capital had used the minuscule also, we should undoubtedly possess small
letters of far more graceful and adaptable forms than those which we now
have.
[Illustration: 50. SCHEME FOR THE CONSTRUCTION OF ROMAN SMALL LETTERS.
F. C. B.]
[Illustration: 51. SCHEME FOR THE CONSTRUCTION OF ROMAN SMALL LETTERS.
F. C. B.]
In 50 and 51 may be found an attempt to formulate a scheme to assist in the
reconstruction of an alphabet of Roman small letters, after somewhat the
same fashion as [56] that devised for the Roman capitals by Mr. Ross, in 1
and 2. A small-letter diagram must, for obvious reasons, be less exact and
detailed than one for the more defined capital form; but the diagram given
will serve to determine sufficiently the main outlines and proportions. In
their shapes the letters shown in 50 and 51 adhere fairly closely to the
best type forms of the small letter; and the drawing will serve, further,
to show the space generally allowed by modern founders between one
lower-case letter and another when set into type words. This spacing is
based on the m of the fount employed. The open space between all but k, w
and y (in which the outlines of the letters themselves hold them further
away from their neighbors) and the round letters being the space between
the upright strokes of the m; an interval represented in the diagram by a
square and a half. The round letters, as has already been said in speaking
of the capital forms, should be spaced nearer together; and it will be
observed that they are only separated by one square in the diagram.
Although suggestive, the rules which govern the spacing of types are not to
be blindly followed by the pen letterer. In type, for instance, it would be
impossible, for mechanical reasons, to allow the kerns of the f, j and y to
project far over the body of the next letter, and in these letters the
kerns consequently have either to be restrained or the letters spaced
farther apart. In pen lettering, however, the designer is not restrained by
such limitations, and his spacing of letters should be governed solely by
the effect.
The disposition of the accented lines in the small letters follow the same
general rules that govern those of the capitals (see page 2); the only
deviation being in the case of [57] the g, in which the shading of the
bottom seems to have been determined largely by the effect upon the eye.
It will be noticed in the diagram that the "ascenders" of the smaller
letters rise about three squares to their extreme top points above the body
of the letter; that the body of each letter is inclosed in a square that is
three units high, and that the "descenders" fall but two squares below the
letter body. These proportions are not by any means invariable, however,
and indeed there is no fixed rule by which the proportions of ascenders and
descenders to the body of the Roman minuscule may be determined. In some
forms of the letter both are of the same length, and sometimes that length
is the same as the body height of the letter. In general a better result is
obtained by making both ascenders and descenders of less than the length of
the body, and keeping the descenders shorter than the ascenders in about
the proportion of two-fifths to three-fifths.
Parallel lines of small letters cannot be spaced closer to each other than
the ascenders and descenders will allow; the projections above and below
the line are awkward, and interrupt the definite lines of demarkation at
the top and bottom of the letter-bodies; the capitals necessarily used in
connection with the small letters add to the irregularity of the line--all
of which reasons combine to limit the employment of minuscule for formal or
monumental uses. On the other hand, the small letter form is excellently
adapted for the printed page, where the occasional capitals but tend to
break the monotony, while the ascenders and descenders strongly
characterize and increase the legibility of the letter forms.
[Illustration: 52. SPANISH ROMAN LETTERS. PEN DRAWN. FRANCISCO LUCAS, 1577]
[Illustration: 53. SPANISH ROMAN LETTERS. PEN DRAWN. FRANCISCO LUCAS, 1577]
[Illustration: 54. SPANISH ITALIC LETTERS. PEN DRAWN. FRANCISCO LUCAS,
1577]
[Illustration: 55. SPANISH ITALIC LETTERS. PEN DRAWN. FRANCISCO LUCAS,
1577]
[Illustration: 56. ITALIAN SMALL LETTERS. J. F. CRESCI, 1560]
[Illustration: 57. ENGLISH 17TH CENTURY INCISED LETTERS. FROM TOMBSTONES]
[Illustration: 58. MODERN SMALL LETTERS. AFTER HRACHOWINA]
[Illustration: 59. MODERN SMALL LETTERS. CLAUDE FAYETTE BRAGDON]
[64]
Figures 52 to 59 show several forms of small letter alphabets; those shown
in 52 to 56 being taken from "Writing books" by Spanish and Italian writing
masters. These writing masters often chose to show their skill by imitating
type forms of letters with the pen, but though similar in the individual
forms of the letters the written examples exhibit a freedom and harmony in
composition impossible for type to equal, and therefore are immeasurably
more interesting to the modern penman. Figure 61 illustrates a type form of
minuscule which may be commended for study. Other examples of small letters
by modern designers will be found in 105, 110, 118 and 131, where they are
used in connection with their capital forms.
[Illustration: 60. INSCRIPTION FROM ENGLISH SLATE TOMBSTONES, 1691.
F. C. B.]
[Illustration: 61. ROMAN AND ITALIC TYPE. FROM THE SPECIMEN BOOK OF WILLIAM
CASLON, 1734]
The minuscule alphabet by Mr. Claude Fayette Bragdon, 59, is a carefully
worked-out form which in its lines closely follows a type face devised by
Jenson, the celebrated Venetian printer who flourished toward the end of
the sixteenth century. This example together with those shown in 50, 51 and
56 exhibits some conservative variations of the standard models for
minuscule letters; and the same may be said of the modern type faces shown
in 62, 63 and 64. The various other examples of the small-letter forms
illustrated evidence how original and interesting modifications of
conservative shapes may be evolved without appreciable loss of legibility.
[Illustration: 62. MODERN ROMAN TYPE "MONTAIGNE". BRUCE ROGERS]
[Illustration: 63. MODERN ROMAN TYPE "RENNER". THEO. L. DE VINNE]
[Illustration: 64. MODERN ROMAN TYPE "MERRYMOUNT" BY B. G. GOODHUE]
[Illustration: 65. MODERN ROMAN TYPE "CHELTENHAM" BY B. G. GOODHUE]
Figure 61 shows the capital, small letter and italic forms of a type based
on old Venetian models, cut by William Caslon in the early part of the
eighteenth century, and ever [69] since known by his name. This face has
comparatively recently been revived by modern type-founders; and though
this revival has provided us with a text letter far superior to the forms
previously in use, the modern imitation falls short of the beauty of
Caslon's original, as may be seen by comparing the letters shown in 61,
which are reproduced from Caslon's specimen-book, issued by him about the
middle of the eighteenth century, with the type used in printing this
volume, which is a good modern "Caslon."
Figures 62 to 67 show some newly devised type faces, all designed by
artists of reputation. Figure 62 illustrates a fount called the "Montaigne"
which has been recently completed by Mr. Bruce Rogers for the Riverside
Press, Cambridge, Mass., and cut under his immediate direction, with
especial insistance upon an unmechanical treatment of serifs, etc. As a
result the "Montaigne" is, for type, remarkable in its artistic freedom,
and its forms are well worthy the study of the designer. Both its capitals
and small letters suggest the purity of the Italian Renaissance shapes. The
letters space rather farther apart than in most types, and the result makes
for legibility. Although several other modern faces of type have been
designed on much the same lines, notably one for The Dove's Press in
England, the "Montaigne" seems the best of them all, because of its
freedom, and its absolute divorce from the overdone, exaggerated,
heavy-faced effects of the Morris styles of type.
Mr. De Vinne of the De Vinne Press, New York City, has introduced a new
type called the "Renner", 63, which was originally cut for some of the
Grolier Club's publications. The letters were first photographed from a
selected page of Renner's "Quadrigesimale," then [71] carefully studied and
redrawn before the punches were cut. Mr. De Vinne has added small capitals
and italics to the fount, as well as dotted letters to serve as substitutes
for the italic for those who prefer them. The "Renner" type would have been
more effective on a larger body; but for commercial usefulness it is
generally deemed expedient to employ as small a body as the face of a type
will allow. Mr. De Vinne notes, in this connection, that all the important
types of the early printers were large, and that a fount designed to-day
with regard only to its artistic effectiveness would be cast upon a large
body and be of good size.
Mr. Bertram G. Goodhue has designed two founts of Roman type, and is now at
work on a Blackletter face. His first fount, cut for Mr. D. B. Updike, of
the Merrymount Press, Boston, and known as the "Merrymount," is shown in
64. Intended for large pages and rough paper it necessarily shows to
disadvantage in the example given, where the blackness and weight of the
letters makes them seem clumsy, despite the refinement of their forms.
[Illustration: 66. MODERN GREEK TYPE. SELWYN IMAGE]
[Illustration: 67. MODERN ROMAN TYPE. C. R. ASHBEE]
The "Cheltenham Old Style," 65, is the other Roman face recently designed
by the same artist. It was cut for the Cheltenham Press of New York City;
and embodies in its present form many ideas suggested by Mr. Ingalls
Kimball of that press. Observe especially the excess in length of the
ascenders over the descenders, and that the serifs have been reduced to the
minimum. Contrary to the usual custom in type cutting, the round letters do
not run above or below the guide lines. The capitals compose excellently;
but the small letters are too closely spaced and seem too square for the
best effect, and weight has been obtained by so thickening the lines that
much delicacy and variety has been lost. [72] The "Cheltenham Old Style"
is, however, very legible when composed into words, and is effective on the
page.
Any attempt to get the effect of Blackletter with the Roman form is likely
to result clumsily. The celebrated Roman faces designed by William Morris
(too familiar to require reproduction here) are, despite their real beauty,
over-black on the page, and awkward when examined in detail. While the
stimulus Morris's work gave to typography was much needed at that time, the
present reaction toward more refined faces is most gratifying. By precept
and example Mr. Morris produced a salutary revolt against the too thin and
light and mechanical type faces before in use, but he went too far in the
opposite direction, and we are now certainly falling back upon a more
desirable mean.
Mr. Herbert P. Horne is at present designing a new fount of type for the
Merrymount Press, Boston, to be [73] known as the "Mont' Allegro," which
seems, from the designs so far as at present completed, likely to prove in
some respects the most scholarly and severe of modern faces.
The Greek type designed for the Macmillan Company of England, by Mr. Selwyn
Image, 66, is of sufficient interest to be shown here, despite the fact
that it is not strictly germane to our subject. In this face Mr. Image has
[74] returned to the more classic Greek form, although the result may at
first glance seem illegible to the reader familiar with the more common
cursive letters.
The type shown in 67 is a new English face designed by Mr. C. R. Ashbee for
a prayerbook for the King. Interesting as it is, it seems in many ways too
extreme and eccentric to be wholly satisfactory: the very metal of type
would seem to postulate a less "tricky" treatment.
It is interesting to attempt a discrimination between the various national
styles of pen letters which the recently revived interest in the art of
lettering is producing; and it is especially worth while to note that the
activity seems, even in Germany, to be devoted almost exclusively to the
development and variation of the Roman forms. It is noteworthy, too, after
so long a period of the dull copying of bad forms, and particularly of bad
type forms, that the modern trend is distinctly in the direction of
freedom; though this freedom is more marked in French and German [75] than
in English or American work. Hand in hand with this increased freedom of
treatment has naturally come a clearer disclosure of the mediums employed;
and indeed in much of the best modern work the designer has so far lent
himself to his tools that the tools themselves have, in great measure,
become responsible for the resulting letter forms. [76] Moreover modern
designers are showing a welcome attention to minuscule letters, and it even
seems possible that before long some small letter forms that shall be
distinctively of the pen may be developed, and that the use of type models
for minuscule pen letters will no longer be found necessary or commendable.
[Illustration: 68. MODERN GERMAN CAPITALS. AFTER J. M. OLBRICH]
[Illustration: 69. MODERN GERMAN CAPITALS. GUSTAVE LEMMEN]
[Illustration: 70. MODERN GERMAN CAPITALS. AFTER ALOIS LUDWIG]
[Illustration: 71. MODERN GERMAN CAPITALS. AFTER OTTO ECKMANN]
Another noticeable tendency in modern lettering seems to be the gradual
promotion of small letter forms to the dignity of capitals, (see 79 and 98
for examples) in much the same way as the Uncial letter and its immediate
derivatives produced the present small letter. It is surely to be hoped
that this movement may not lose vitality before it has had time to enrich
us with some new and excellent forms.
[Illustration: 72. MODERN GERMAN CAPITALS. OTTO HUPP]
[Illustration: 73. MODERN GERMAN CAPITALS. JOSEPH PLÉCNIK]
[Illustration: 74. MODERN GERMAN CAPITALS. AFTER FRANZ STUCK]
[82]
[Illustration: 75. MODERN GERMAN CAPITALS. F. C. B.]
[Illustration: 76. MODERN GERMAN CAPITALS. AFTER BERNHARD PANKOK]
[Illustration: 77. MODERN FRENCH POSTER. THEO. VAN RYSSELBERGHE]
[Illustration: 78. MODERN FRENCH COVER. M. P. VERNEUIL]
The influence of nationality is strongly shown in the modern lettering of
all countries; and it is generally as easy to recognize a specimen as the
work of a German, French, English, or American artist, respectively, no
matter how individual he may be, as it is to tell the difference between
the work of two different designers.
The modern German seems to have an undeniable freshness of outlook on the
Roman alphabet. He treats it with a freedom and variety and a certain
disregard of precedent--induced, perhaps, by his schooling in
Blackletter--that often produces delightful, though sometimes, be it added,
direful results. But if the extreme and bizarre forms be thrown aside the
designer may obtain suggestions of great benefit and value from the more
restrained examples of German work. Many eminent German draughtsmen, whose
work is all too little known in this country, are [84] using letters with
the same distinction that has of late years marked their purely decorative
work, as the specimens shown in 68 to 76 will evidence. Figures 68 and 75
show forms which are perhaps especially representative of the general
modern tendency in German work and many German artists are using letters of
very similar general forms to these although, of course, with individual
variations. Figures 70 and 73 show two very original and pleasing styles,
also markedly German. In spite of the national drift toward the Roman, much
modern German lettering still takes the Gothic and Blackletter forms; and
the specimen reproduced in 71 shows a curious combination of the Gothic,
Uncial and Roman forms pervaded by the German spirit. The beautiful
lettering in 72 seems to have been inspired from a stone-cut Uncial. Figure
74 shows an almost strictly Roman letter, and yet is as unmistakably German
in handling as any of the other examples shown.
[Illustration: 79. MODERN FRENCH LETTERS. AFTER M. P. VERNEUIL]
[Illustration: 80. MODERN FRENCH POSTER. P. BONNARD]
[Illustration: 81. MODERN FRENCH COVER. GEORGE AURIOL]
[Illustration: 82. MODERN FRENCH CAPITALS. ALPHONS M. MUCHA]
[86]
Among the examples of modern French lettering, those shown in 78 and 79 are
perhaps the most typical of the modern school. This style of letter was
given its most consistent form by the joint efforts of M. P. Verneuil and
some of the pupils of Eugène Grasset, after whose letter it was originally
modeled. Grasset freely varies his use of this form in his different
designs, as in 85, but founds many of his best specimens upon the earlier
French models.
[Illustration: 83. MODERN FRENCH LETTERED PAGE. GEORGE AURIOL]
[Illustration: 84. MODERN FRENCH LETTERS "CURSIVE". GEORGE AURIOL]
[Illustration: 85. MODERN FRENCH COVER DESIGN. EUGÈNE GRASSET]
[Illustration: 86. MODERN ENGLISH CAPITALS. WALTER CRANE]
[88]
M. George Auriol has extended the modern use of drawn letters by publishing
a number of small books which he has handwritten throughout, although the
form of letter he generally uses for this purpose is purely modern and not
at all like the texts of the medieval scribes. M. Auriol's letter is
beautifully clear, readable and original; "brushy" in its technique, yet
suitable for rapid writing. He calls [91] it a "Cursive" letter, and has
recently made designs for its use in type. The page shown in 83 is from the
preface to a book of his well-known designs for monograms, and the entire
text is written in this cursive form. The individual letters of this
"Cursive" may be more easily studied in 84. The cover for "L'Image", 81,
shows the same designer's use of a more conventional Roman form.
The poster by M. Theo. van Rysselberghe shown in 77 exhibits two
interesting forms of French small letters that are worthy of study and
suggestive for development.
M. Alphons Mucha employs a distinctive letter, especially fitted to his
technique, which he uses almost invariably, 82.
Much recent French lettering inclines toward a certain formlessness, that,
although sometimes admirable when regarded merely from the point of view of
harmony with the design, has little value otherwise. A typical specimen of
such formless lettering is that shown in the very charming [92] "Revue
Blanche" poster, 80. Excellent when considered with the design, the
lettering alone makes but an indifferent showing.
The Italian designers of letters have not yet evolved any very distinctive
national forms. In many ways Italian work resembles the German. It has less
originality, but greater subtlety and refinement.
[Illustration: 87. MODERN ENGLISH POSTER. WALTER CRANE]
[Illustration: 88. MODERN ENGLISH CAPITALS. WALTER CRANE]
[Illustration: 89. MODERN ENGLISH LETTERS. WALTER CRANE]
[Illustration: 90. MODERN ENGLISH TITLE. JOSEPH W. SIMPSON]
The strongest personality among modern British letterers is Mr. Walter
Crane. Characteristic examples of his work are shown in 86, 87, 88 and 89.
Although sometimes apparently careless and too often rough, his lettering
has the merit and charm of invariably disclosing the instrument and the
material employed. Mr. Crane is especially fond of an Uncial pen form,
which he varies with masterful freedom. It may be mentioned in passing that
he is perhaps the only designer who has been able to make the wrongly
accented Q seem consistent (compare 86), or who has conquered its swash
tail when the letter is accented in this unusual way.
[93]
Mr. Lewis F. Day has become a recognized authority on lettering, both
through his writings and his handiwork. His great versatility makes it
difficult to select a specimen which may be taken as characteristic of his
work; but perhaps the lettering shown in 95 is as representative as any
that could be chosen. Among his designs the magazine cover, 93, is an
unusually free and effective composition, and its letter forms possess the
variety required to satisfy the eye when so much of the whole effect of the
design depends upon them.
[Illustration: 91. MODERN ENGLISH POSTER. JOSEPH W. SIMPSON]
[Illustration: 92. MODERN ENGLISH COVER. WILLIAM NICHOLSON]
[Illustration: 93. MODERN ENGLISH COVER. LEWIS F. DAY]
[Illustration: 94. MODERN ENGLISH TITLE. GORDON CRAIG]
The style of lettering ordinarily employed by Mr. Selwyn Image--a style of
marked originality and distinction--is well exhibited in the design for a
book cover, 98.
The name of Mr. Charles Ricketts is intimately associated with the Vale
Press. The detail of the title-page reproduced in 100 shows a
characteristic bit of his work.
Mr. J. W. Simpson, one of the younger British draughtsmen, uses a graceful
and interestingly linked Roman form shown in the panel from a title-page,
90. The bizarre [95] letter by the same artist, 91, is fairly
representative of a style recently come into vogue among the younger
British draughtsmen, which is related to a form of letter brought into
fashion by the new English school of designers on wood, among whom may be
mentioned Mr. William Nicholson and Mr. Gordon Craig, both of whom have
done lettering distinguished by its indication of the medium employed.
Figure 92 shows Mr. Nicholson's favorite type of letter [96] fairly, and
the style of Mr. Craig's work is suggested by the title for a book cover in
94.
The book cover, 97, by Mr. Edmund H. New, shows variants of the Roman
capital and minuscule forms, which closely adhere to classic models.
Mr. Robert Anning Bell has done much distinctive lettering in intimate
association with design. Figure 96 is fairly representative of his style of
work.
[Illustration: 95. MODERN ENGLISH CAPITALS. LEWIS F. DAY]
[Illustration: 96. MODERN ENGLISH TITLE. ROBERT ANNING BELL]
[Illustration: 97. MODERN ENGLISH COVER. EDMUND H. NEW]
[Illustration: 98. MODERN ENGLISH COVER. SELWYN IMAGE]
Such other British artists as Messrs. Alfred Parsons, James F. Sullivan,
Hugh Thompson, Herbert Railton, Byam Shaw, H. Granville Fell and A. Garth
Jones, although much better known for their designs than for their letters,
[97] occasionally give us bits of lettering which are both unusual and
excellent; but these bits are commonly so subordinated to the designs in
which they are used and so involved with them as to be beyond the scope of
the present book.
[Illustration: 99. MODERN ENGLISH CAPITALS. ANONYMOUS]
[Illustration: 100. MODERN ENGLISH CAPITALS. CHARLES RICKETTS]
In illustrating the lettering of American artists it has been unfortunately
found necessary to omit the work of many well-known designers, either
because their usual style of lettering is too similar in fundamental forms
to the work of some other draughtsman, or because the letters they commonly
employ are not distinctive or individual.
[Illustration: 101. MODERN AMERICAN TITLE. EDWIN A. ABBEY]
[Illustration: 102. MODERN AMERICAN TITLE. ANONYMOUS]
[Illustration: 103. MODERN AMERICAN COVER. EDWARD PENFIELD]
Mr. Edwin A. Abbey is a notable example of an artist who has not disdained
to expend both time and practice on such a minor art as lettering [100]
that he might be able to letter his own designs, as the beautiful page,
shown in 153 in the succeeding chapter, will sufficiently prove. The
lettering of the title-page for Herrick's poems, 101, by the same
draughtsman, is likewise excellent, being both original and appropriate.
The letters in both these examples are modeled after old work, and both
display an unusually keen grasp of the limitations and possibilities of the
forms employed, especially in the former, 153, where the use of capitals to
form words is particularly noteworthy, while in general composition and
spacing the spirit of the letter used (compare 179) has been perfectly
preserved.
[Illustration: 104. MODERN AMERICAN CAPITALS. EDWARD PENFIELD]
[Illustration: 105. MODERN AMERICAN SMALL LETTERS. EDWARD PENFIELD]
[Illustration: 106. MODERN AMERICAN COVER DESIGN. H. VAN B. MAGONIGLE]
[Illustration: 107. MODERN AMERICAN CAPITALS. H. VAN B. MAGONIGLE]
Mr. Edward Penfield's work first attracted attention through the series of
posters which he designed for 'Harper's Magazine' with unfailing fertility
of invention for several years. During this time he evolved a style of
letter which exactly fitted the character of his work. The cover design
shown in 103 displays his characteristic letter in actual use; while the
two interesting pages of large and small letter alphabets by him, 104 and
105, show the latest and best development of these letter forms. The
heading [102] shown in 102 exhibits a slightly different letter, evidently
based upon that used by Mr. Penfield.
The capitals by Mr. H. Van B. Magonigle, shown in 107, are derived from
classic Roman forms but treated with a modern freedom that makes them
unusually attractive. They appear, however, to better advantage in actual
use in conjunction with a design, 106, than when shown in the necessarily
restricted form of an alphabetical page panel.
[Illustration: 108. MODERN AMERICAN CAPITALS. B. G. GOODHUE]
Mr. Bertram G. Goodhue, whose designs for type have already been mentioned,
is a [104] most facile and careful letterer. Although his name is more
intimately associated with Blackletter (examples of his work in that style
are shown in the following chapter), he has devised some very interesting
variations of the Roman forms, such as that used in 108, as an example.
[Illustration: 109. MODERN AMERICAN TITLE. WILL BRADLEY]
Mr. Will Bradley uses a very individual style of the Roman capital, often
marked by a peculiar exaggeration in the width of the round letters,
contrasted with narrow tall forms in such letters as E, F and L. Mr.
Bradley has become more free and unconventional in his later work, but his
specimens have always been noteworthy for beauty of line and spacing; see
111. Figure 109 shows his employment of a brush-made variant of the Roman
form; [107] and 110 shows both capitals and small letters drawn in his
earlier and less distinctive style.
[Illustration: 110. MODERN AMERICAN CAPITALS AND SMALL LETTERS. WILL
BRADLEY (1896)]
[Illustration: 111. MODERN AMERICAN COVER. WILL BRADLEY]
[Illustration: 112. MODERN AMERICAN TICKET. A. J. IORIO]
The ticket, 112, designed by Mr. A. J. Iorio, suggests what our theatre
tickets might be made. In spacing and general arrangement of the letters
and the freedom of treatment, Mr. Iorio's work may be compared with much of
the [110] work of Mr. Bradley. Figure 113 shows a modern Roman capital form
modeled upon the work of Mr. Bradley.
[Illustration: 113. MODERN AMERICAN CAPITALS. AFTER WILL BRADLEY]
[Illustration: 114. MODERN AMERICAN CAPITALS. MAXFIELD PARRISH]
[Illustration: 115. MODERN AMERICAN TITLE. MAXFIELD PARRISH]
[Illustration: 116. MODERN AMERICAN CAPITALS. A. B. Le BOUTILLIER]
Mr. Maxfield Parrish commonly employs a widely spaced letter, fashioned
closely after the old German models, beautiful in its forms, and displaying
the individuality of the artist in its composition. The form and use of Mr.
Parrish's usual letter is well shown in 114; and the title from a book
cover design, 115, shows yet another example of the letter in service.
The lettering of Mr. A. B. Le Boutillier is always notable for spacing and
composition. Figures 117 and 118 exhibit excellent capital and small-letter
forms (which, by the way, were drawn at the same size as the
reproductions); and [111] the two other specimens of Mr. Le Boutillier's
work, 116 and 119, which are reproduced to show his letters in use, will be
found exemplars for spacing, composition, balance of weight and color, and,
in the latter drawing, for harmony between the lettering and the treatment
of the design.
[Illustration: 117. MODERN AMERICAN CAPITALS. A. B. Le BOUTILLIER]
[Illustration: 118. MODERN AMERICAN SMALL LETTERS. A. B. Le BOUTILLIER]
[Illustration: 119. MODERN AMERICAN POSTER. A. B. LE BOUTTILLIER]
[Illustration: 120. AMERICAN BOOK-PLATE. CLAUDE FAYETTE BRAGDON]
The form of letter preferred by Mr. Claude Fayette Bragdon is represented
by the page of small letters, 59, which, as we have already said, are
closely modeled on the type alphabet designed by Jenson. In Mr. Bragdon's
version they represent an excellently useful and conservative style of
small letter. They are shown in use, with harmonious capitals and italics,
in the 'Literature' cover design, 121. In the small book-plate, reproduced
in 120, Mr. [112] Bragdon has used a very graceful variant, especially
noteworthy for its freedom of serif treatment; and in the letter-heading,
122, he has employed an attractive capital of still different character.
[Illustration: 121. MODERN AMERICAN TITLE. C. F. BRAGDON]
[Illustration: 122. MODERN AMERICAN LETTER-HEAD. C. F. BRAGDON]
Mr. H. L. Bridwell has originated the singularly excellent letter shown in
124, which is founded upon some of the modern French architectural forms.
He uses it with great freedom and variety in spacing according to the
effect that he desires to produce. In one instance he will jam the letters
together in an oddly crowded line, while in another we find them spread far
apart, but always with excellent results as regards the design as a whole.
Something of this variation of spacing is shown in 123. In the numerous
theatrical posters which Mr. Bridwell has designed--and which too seldom
bear his signature--he employs a great variety of lettering. Sometimes, of
course, the freedom of his work is restricted by the conservatism of
clients; but often the letter forms here illustrated add to the style and
distinction of his designs.
[Illustration: 123. MODERN AMERICAN COVER. H. L. BRIDWELL]
[Illustration: 124. MODERN AMERICAN CAPITALS. H. L. BRIDWELL]
[Illustration: 125. MODERN AMERICAN CAPITALS. FRANK HAZENPLUG]
[Illustration: 126. MODERN AMERICAN CAPITALS. FRANK HAZENPLUG]
[116]
[Illustration: 127. MODERN AMERICAN COVER. FRANK HAZENPLUG]
Mr. Frank Hazenplug, the author of much clever decorative lettering, has
evolved a very black and striking style of capital that still retains
grace. Figures 125 and 126 show two sets of Mr. Hazenplug's capitals. A
book cover on which he has used small letters in an original way is
reproduced in 127. Figure 129 shows the employment of a heavy-faced letter
similar to that exhibited in alphabet 126, but suggestive in its serif
treatment of Mr. Penfield's letter.
[Illustration: 128. MODERN AMERICAN TITLE. EDWARD EDWARDS]
Mr. Edward Edwards employs a letter, 128, which, though rather conventional
in its lines, is noteworthy for its treatment of serifs and its spacing.
Mr. Guernsey Moore's letters shown in 130 are naturally better both in
intrinsic form, spacing and composition than the widely used "Post Old
Style" types which were based upon them. The large and small letters
displayed in 133 show a form that, at the present writing, seems to be in
considerable favor. It is, however, too extreme, and its peculiarities are
too exaggerated to allow it to become a permanent style. But like the
extravagant German forms [117] already referred to, it has also apparent
advantages; and a few of its characteristics are not unlikely to survive in
some more conservative adaptation.
[Illustration: 129. MODERN AMERICAN COVER. FRANK HAZENPLUG]
[Illustration: 130. MODERN AMERICAN TITLE. GUERNSEY MOORE]
[Illustration: 131. MODERN AMERICAN TITLE. HARRY E. TOWNSEND]
The letter by Mr. Harry Everett Townsend shown in 131 is most distinctive
in effect--a more refined form of the rapidly drawn character shown in 138.
Mr. Howard Pyle often gives us charming bits of lettering in connection
with his illustrations. The heading, 132, shows a characteristic line. Most
of Mr. Pyle's lettering is "Colonial" or Georgian in style, though the
initials he uses with it are generally rendered in the fashions of the
early German woodcuts, somewhat similar to Holbein's initials for the
"Dance of Death."
[Illustration: 132. MODERN AMERICAN HEADING. HOWARD PYLE]
One of the most original of American letterers is Mr. Orson Lowell. Usually
closely conjoined with design, his lettering does not show to its full
value when reproduced apart from its surroundings, for much of its charm
depends [118] upon its harmony in line and color with the accompanying
drawing Mr. Lowell has taken the same basic forms as those used by Mr.
Penfield, and has played with them until he has developed a series of most
ingenious and fanciful letters. The examples reproduced in 136 and 137 but
inadequately show a few of the many forms that Mr. Lowell employs with
remarkable fertility of invention and delightfully decorative effect of
line. The small letters, 135, shown opposite his capitals, 134, are not by
Mr. Lowell, nor are they in any way equal to his own small letters, of
which regrettably few appear in his published work; but they may serve to
exhibit a similar method of treating a much more conventional form of
minuscule than Mr. [122] Lowell would himself use for the same purpose.
Despite its unconventionally, however, an examination of Mr. Lowell's work
will show that each letter has been developed to fit the space between its
neighbors and to balance and relieve their forms; and that, fanciful as
some of the shapes may appear, they have invariably been knowingly worked
out, and always appear harmonious and fit.
[Illustration: 133. MODERN AMERICAN LETTERS. F. C. B.]
[Illustration: 134. MODERN AMERICAN CAPITALS. AFTER ORSON LOWELL]
[Illustration: 135. MODERN AMERICAN SMALL LETTERS. F. C. B.]
[Illustration: 136. MODERN AMERICAN TITLES. ORSON LOWELL]
The pages of letters shown in 138, 139 and 140 are intended to suggest
forms which, while suitable for rapid use, yet possess some individuality
and character. The so-called "Cursive" letter by Mr. Maxfield Parrish, 140,
is particularly effective for such informal use--in fact, its very charm
lies in its informality--and is quite as distinctively "pen-ny" as any of
Mr. Crane's work of the same kind.
A glance over the field of modern examples will disclose, first, a general
tendency to break away from the older type models in pen-drawn forms;
second, a growing partiality for the small letter, and third, a sporadic
disposition to use capital and minuscule forms interchangeably. The first
[123] trend may be noticed by comparing the letter shown in 132, which is
closely modeled after type, with that shown in 136, in which an opposite
method is followed, and the letters are so treated in handling form and
color as to best harmonize with the design itself. The possibilities latent
in the small letter are indicated by such interesting uses as those shown
in figures 77, 89, 98, 101, 111, 112, 121, 127, 130 and 131. American
designers seem to be especially interested in the development of the small
letter. Of the intermingling of the capital and small letter shapes
examples may be found in figures 71, 75, 77, 78, 79, 82, 83, 84, 98, 127
and 134. In these examples it will be noted that the minuscules seem to be
more easily transformed into capitals than do the capitals into minuscules;
only a few of the latter appearing to lend themselves harmoniously to the
small letter guise.
[Illustration: 137. MODERN AMERICAN TITLE. ORSON LOWELL]
[Illustration: 138. MODERN AMERICAN LETTERS, FOR RAPID USE. F. C. B.]
[Illustration: 139. MODERN AMERICAN ITALIC, FOR PLANS, ETC. C. F. BRAGDON]
[Illustration: 140. MODERN AMERICAN LETTERS. MAXFIELD PARRISH]
Such tendencies as these, if allowed to develop slowly and naturally, are
certain to evolve new forms--a process of modification which it should be
fully as instructive and entertaining to observe as any of the historical
changes that have already become incorporated into our present letter
shapes.
[127]
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