Poster printing a specialty in large cities—Type equipment well
selected, but not elaborate—Blend of type-faces—Standard job faces
duplicated—Sizes of posters, car cards and window cards—Color and
lettering—What the poster should be—Viewed at closer range—Typographic
effects in poster printing—A poster that measures up—A study of
composition—Contrast of color—Card in conversational style—Using types
in a sane, simple manner—Strong simplicity—Refinement in theatrical
printing—A strong poster in gothic and “secession” border—Making the
typography appropriate-Shakespearean typography—Decoration reproduced
from original sources—Usefulness of a library of books—A hanger in one
size of type—The Colonial style of type arrangement—Why cardboard is
used—Suggested arrangement for excursion card—Printers and poster
printing—The best sale-bill compositor in the country—Work should be
done profitably—Poster printing on a large scale.
ADVERTISEMENTS
_Page 139_
Advertisements, business men and printers—Blame for ineffectiveness—
Treating the advertisement typographically—Study of good type work,
advice and judgment—Oratory—A good speaker and a good typographic
advertisement—Print too small or too large—Bluntness and forcefulness—
Decorative attractiveness—Emphasizing significant parts—The difference
between setting type with a stick and setting it with the head—Assuming
a new formation—A multiplication of small advertisements—Easily read,
conversational style of advertisements—Not much to say—Popularizing
zinc—A well-treated signature—One of many clever advertisements—A
peculiar department-store advertisement—Problems of the country
newspaper—Typography influenced by the article advertised—Text types in
advertisements—Harmonious suggestion—A long list of cities and agents—
Selling costly automobiles—Suggesting Roman architecture—Text group in
upper right corner—Little display—Blank space well used—Interesting
country-newspaper advertisement—Classified advertisements well
displayed.
NEWSPAPERS
_Page 147_
Neutral gray—Building suitable and harmonious typographic form—Problem
simpler in early days—The ideal newspaper—The title—Distinctive in
design—Text letters—Using the ends of titles—Slogans and quotations—Date
lines—The text—Small type—Narrow columns—Lengthy excerpts indented—The
headings—First newspaper a letter and not set off by headings—Side
headings—Wars developed display—Advertising the contents—Condensed type
necessary—Harmonious type lines—Italic to overcome monotony—Paneled
headings—A four-deck single-column heading—The make-up—A good-looking
newspaper—Alternating large and small headings—No advertisements on
front page—Position of article of most importance—Paneled news—
Editorials—Usual position—The sporting page—Building advertisements from
the lower right corner of the page.
PERIODICALS
_Page 151_
Making publications attractive—Letterer and decorator—Circus poster
type—The poor always with you—Many periodicals good to look at and easy
to read—The dimensions—Nine by twelve inches a favorite with technical
publications—Three groups for magazines—Growing larger—Pocket magazines—
The front cover—Paintings—Decorative designs—Paid advertisements on the
front cover—Appropriate views in halftone—Columns—Number decided by size
of type—Wide columns strain the eyes—Gutenberg used two columns—Small
type in very wide measures—The margins—Proportions as in good books—Good
margins spoiled in bindings—Type-faces for the text—Chosen for
legibility in small sizes—Separation with one-point leads because of
lack of descenders—Difference in type-faces printed on coated and
antique-finished paper—Lines need to be separated by leads—Should be
well-formed as well as readable—Thin lines should be cut a trifle
stronger—Type-faces for the headings—Same design as type for text
matter—Desirable, but not always possible—An instance—Large, black
headings should be avoided—Slightly decorative panels—Editorial headings
and titles—Make-up of the illustrations—A background of gray—Well
balanced—Text matter between illustrations—Same style on facing pages—
Arrangement of headings—They sell the contents—A well-advertised story—
The captions—Centered under illustrations—In two parts—Lines of same
length—The editorial pages—No standard style—Unlike other reading pages—
Features—Verse in italic—Restraint necessary—The advertisements—Bold
types overshadow text pages—Good taste—Not to be mingled with text
matter—Treatment need not be timid or blustering—When advertisers are
best served.
HOUSE-ORGANS
_Page 161_
Little brother of the periodical and newspaper—Smallest and largest
dimensions—Favorite sizes—Self-covers and covers that are separate—Not
many pages—Published regularly-Titles—Number of columns—Margins—
Type-faces—Headings—House advertising—Illustrations, descriptions and
prices—Mistake to use dark types with illustrations—Ideal typographic
treatment—Useful and informative—Light matter to maintain interest—
Features—Borders and initials—Almanacs—House-organs on blotter stock—In
newspaper style—A western printer’s expression—Specimens of actual work—
Too much copy—Loose inclosures should not prove a nuisance—Return post
cards—Postal regulations.
TYPE-FACES
_Page 169_
Type-faces not easily remembered—Naming and numbering—Six representative
standard Roman type-faces—Legible and good-looking and possessing
character—Caslon Oldstyle—Scotch Roman—Cheltenham Oldstyle—Cloister
Oldstyle—Bodoni Book—French Oldstyle—Private type-faces not considered—
Permanency and investment—Cloister Oldstyle based on Jenson’s Roman
letter—Not the first Roman type—Caslon Oldstyle—A historic American
type-face—Approved by good printers as the best and most useful Roman
face available—Difficulties in machine composition—Not an entirely new
Roman letter—Story of its designing—Ill-treated by modern founders—The
revival—Bodoni Book—Refined and legible—Its history—Modern ideas of
improvement—Scotch Roman—The link connecting the graceful old-style and
the severe modern Roman—French Oldstyle—Capitals especially pleasing—
Cadmus, the Mayeur letter—Cheltenham Oldstyle—Designed in America and
developed into a numerous family—The space above the line emphasized by
long ascenders—Used for narrow booklets—Capitals awkwardly large—
Development of the Roman type-face—In the beginning Roman letters were
in capitals only—Lower-case letters in formation—Black Letter and White
Letter—Jenson fortunate in the selection of a model—Comparisons—A change
in form—Moxon’s drawings of the alphabet—Made into type—Baskerville’s
types rival Caslon’s in beauty—Bodoni threw typography out of gear—His
types not so dressed up and finished as at the present time—Modernized
Oldstyle—Characteristics of Roman type-faces—The serifs—Has a decorative
quality—Oldstyles and Moderns distinguished by serifs—Thick and thin
strokes—Makes lettering interesting—Their distribution—Characteristics
of pen-made letters—Ascenders and descenders—Beauty in the strokes—False
logic—Proportion of letters—Old Roman capitals as models—Uniformity in
width revealed in typewriter type—Legibility of type-faces—Type matter
should be easy to read—Tests for legibility—Printing on a hard-finished
paper and a soft-finished paper—Decided contrasts tire the eye—
Lower-case more legible than capitals—Space between lines necessary—
Space between words—Advantage of close spacing—Possible in machine
composition—Words more easily read than letters—Group of words almost as
easily read as one word—Length of line—Recommendations—Size and kind of
type should be considered—Measuring one and a half alphabet—Technical
and optical reasons—Testing newspaper types—Approved type sizes and
leading—Dr. Cohn’s measurements—Italic types—The mate of Roman types—Was
first cut by Francia for Aldus—Not merely an inclined Roman—Moxon’s
Italic letters, including Swash capitals—Text faces—Fashioned after
Black Letter writing—Other names—Block types—An unfinished Roman letter—
Poster rendering in black tones—Bold types—Many could be dispensed with—
Ornamental types—Types for special purposes—The influence of Frederic W.
Goudy on typography.
IMPRINTS
_Page 195_
The printer should regularly use his name and device—Neglect and fear of
customer’s condemnation—Should mark his product as other craftsmen and
manufacturers do—A guarantee of quality—How the innovation could be
introduced—A precaution—Imprint should be unassuming and inconspicuously
placed—Various uses—First use of a printers’ decorative device—
Historical uses of distinguishing marks—Emblems of hospitality—The sign
of the Cross—Printers should select a device and attempt to live up to
it—The Gutenberg Bible contained neither device nor printed name—Fust
and Schœffer’s Psalter first book with imprint—The colophon-A decorative
device—Its significance—Imitated—As used by a descendant—The classic
Aldus device—Pickering uses it—Others adopt it—Bruce Rogers’s
interpretation—The imprint-device of the Venetian Society of Printers—
Its significance—Emblem of authority—The most popular of old imprints—
Hubbard adopts it—Used on biscuit packages—Other adaptations—Caxton’s
imprint device—Resembles a rug—Characters cause discussion—A trade
device used by the merchants of Bruges—A merchant’s memorial plate—De
Worde adapts the device—Morris’s device resembles De Worde’s—The device
of the German master printers—Typothetæ—A modern adaptation—The British
printer and the pun—Daye and Myllar—Froben’s imprint—Devices of Bebel,
Plantin, the Elzevirs, Tory, Dolet and Estienne—Devices very large in
the old days—Ancient motives in two modern devices—The winged Lion of
St. Mark—Recent adaptations—Story of the device—A colophon-imprint—
Designs with ancient motives—The unique mark of the De Vinne Press—
Imprint-devices based upon architectural motives—Initials in monogram
form—Representative devices used by commercial printers—Decorative
imprints with typefounders’ material—Harmony of type, rule and ornament—
Small type imprints—Where should an imprint be placed—On books—On small
commercial work—A legitimate opportunity for publicity that should be.
LIST OF REPRODUCTIONS
The first printed Declaration of Independence, frontispiece
PART ONE
WHEN BOOKS WERE WRITTEN
_Page 1_
The scribe at work, opp. p. 1
Assyrian clay tablet, p. 1
Ancient Roman reading manuscript, p. 2
Roman waxed tablet, p. 3
The Egyptian “Book of the Dead,” p. 3
Evolution of the alphabet, p. 4
Capital letters of the ancient Romans, p. 4
Uncial letters of the sixth century, p. 5
Half-uncial letters, p. 5
Gothic letters of the fifth century, p. 5
Page from the “Book of Kells,” p. 6
THE ORIGIN OF TYPOGRAPHY
_Page 7_
Portion from Fust and Schœffer’s Psalter of 1457, opp. p. 7
French playing card, a block print, p. 7
Image print of 1423, p. 7
Bible of the Poor, from block book, p. 8
Text page from the block book “Ars Moriendi,” p. 8
Page from an engraved wood block, p. 9
Page from separate metal types, p. 9
Two pages from the Huntington copy of Gutenberg’s Bible, p. 12
Decorated page from Gutenberg’s famous Bible of Forty-two Lines, opp.
p. 12
THE SPREAD OF TYPOGRAPHY
_Page 13_
The Venetian style of typography and decoration, opp. p. 13
The spread of typography (table), p. 13
Page printed by Koburger, p. 14
The first displayed composition, p. 14
A page from the famous Bamberg Missal, opp. p. 14
The first italic, a page by Aldus, p. 15
Specimens from Plantin’s Polyglot Bible of 1569, pp. 16, 17
Gothic ornamental pieces, from a “Book of Hours,” p. 16
Page by England’s first printer, p. 17
Page in English by John Daye, p. 18
The first Psalter in English, p. 18
TYPOGRAPHY IN COLONIAL DAYS
_Page 19_
A title-page of 1655, with much type display, opp. p. 19
First book printed in English America, p. 19
Title-page of a Shakespeare book, p. 20
First edition of “Pilgrim’s Progress,” (reset by Whittingham), p. 21
First issue of the London “Times,” p. 21
Page from a chap-book, p. 22
Page from “Description of Trades,” p. 22
French specimen of 1742, p. 23
Caslon types and ornaments, p. 23
First edition of “Paradise Lost,” p. 24
Two pages from “Poor Richard’s Almanack,” p. 25
Italian specimen of 1776, p. 26
Pages from Bodoni books of 1789 and 1806, p. 26
TYPOGRAPHY IN THE NINETEENTH CENTURY
_Page 27_
A Morris title-page and text page, opp. p. 27
Page from a “Book of Common Prayer,” p. 27
A design of the rule-curving period, p. 28
Title-page of 1810, p. 28
Title-page of 1847, p. 28
Title-page of 1872, p. 28
Title-page of MacKellar’s “American Printer,” p. 29
A banquet program of 1865, p. 29
From a type-foundry specimen book of 1885, p. 30
A business card of 1865, p. 30
A business card of 1889, p. 31
Stationery composition of 1870, p. 31
The panel as used in 1893, p. 31
A neat letterhead of 1897, p. 31
Title-pages by Charles Whittingham, p. 32
Bradley’s adaptation of the Colonial style, opp. p. 32
A Jacobi page of 1892, p. 33
A Bradley page in lower-case, p. 33
A Bradley page in Caslon capitals, p. 34
A De Vinne page, p. 34
PART TWO
(_The index figures refer to the number of the example_)
THE “LAYOUT” MAN
_Page 35_
Booklet cover-page laid out with pencil and crayon, 1
Anticipating the appearance of the printed page, 2, 3
Ascertaining color combination with crayons, 5, 6
Laying out copy for machine composition, 4-a, 4-b
Table for ascertaining the number of words to square inch, 7
Notehead set without instructions, 8
Business card set without instructions, 9
Label set without instructions, 10
Notehead laid out for compositor, 11
Business card laid out, 12
Label laid out, 13
Layout of a cover-page, 14
Cover-page as set from instructions, 15
Layout sketch for a cover, 16 (insert)
The cover printed as indicated, 17 (insert)
HARMONY AND APPROPRIATENESS
_Page 41_
Harmony by the use of lower-case, 18
Harmony of type-faces and borders, 19
An architectural subject treated appropriately, 20 (insert)
A booklet cover suggestive of the subject, 21 (insert)
Cover suggested by old lock-plate, 22
An old lock-plate, 23
Inscription on a Roman arch, 24
Cover-page for a catalog of books, 25
A plain page for a plain purpose, 26
Treatment appropriate for a church program, 27-a
Portion of a page of an old manuscript missal, 27-b
Cover-page for a catalog of decorative materials, 28
The Colonial arch, 29
Title-page in semi-Colonial style, 30
TONE AND CONTRAST
_Page 47_
Contrast in color and tone, 31
Uniform tone and contrast of black and white, 32
Four ornaments, each of a different depth of tone, used in the
construction of four pages, 33, 34, 35, 36, 37
Extremes of tone on book pages, 38, 39
Blending of illustration and text, 40
Spotted black tone of border and text, 41
Blending of illustration and type-face, 42
Uniform tone in classic typography, 43 (insert)
A study in uniform tone, 44 (insert)
Tone-blending of initial, headpiece and text, 45
Emphasis of parts to be printed in light color, 46, 47
Display lines should match the border in tone, 48
Uniform tone by equal spacing, 49
PROPORTION, BALANCE AND SPACING
_Page 53_
One method of determining the page length, 50
Another method, 51
Three widths of type-faces, 52
Type page in which vertical lines predominate, 53
An architectural comparison, 54
The conventional page shape, 55
Type page in which horizontal lines predominate, 56
An architectural comparison, 57
Page in which ornament, border and type-face are in proportion, 58
(insert)
Pages in which the type-face is not in proportion, 59, 60
Mismated type-faces and borders, 61
Vertical lines proper, 62 (insert)
Horizontal lines not suitable, 63
A display line surrounded by other type lines must be larger, 64, 65
Type proportionately too large, 66
Type proportionately too small, 67
A proportion that is about right, 68
Out-of-center balance on a card, 69
Type grouped unusually high, 70
Exact center is too low, 71
The point of vertical balance, 72
An architectural example of out-of-center balance, 73
A disorderly arrangement, 74
An ornament that balances with the design, 75
Out-of-center balance on an announcement, 76
The effect of horizontal lines in a type page, and how it is avoided,
77, 78
Spacing letters to obtain even tone, 79
Emphasis obtained by letterspacing, 80
The obsolete practice of spreading the lines over the page, 81
The modern practice of grouping the type lines, 82
ORNAMENTATION
_Page 59_
The egg-and-dart ornament, 83
The bead ornament, 84
The egg-and-dart ornament as a typographic border, 85
The bead ornament as a typographic border, 86
Conventionalized papyrus plant, 87
The winged ball, 88
The acanthus leaf, 89
Palm-like Greek ornament, 90
The Doric pillar, 91
The Ionic pillar, 92
The Corinthian pillar, 93
Ornamentation on an entablature, 94
Square-lined, ornamentless furniture, 95
Square-lined, ornamentless typography, 96
Dainty, elaborate rococo ornament applied to furniture, 97
Similar treatment of a program title-page, 98 (insert)
Slightly ornamental furniture, 99
Slightly ornamental typography, 100
Monotony and variety in strokes and shapes, 101, 102, 103, 104, 105
Roman architectural border and roman type-face, 106
Gothic pointed ornament and Gothic type-face, 107
Natural and conventionalized ornament, 108
Extravagant wall border ornamentation, 109
Roman scroll ornament cut in stone, 110
Type ornament based upon geometric lines, 111
Type ornament based upon foliage, 112
Ornament based upon the inanimate, 113
Ornament based upon the animate, 114
Ornamental hand-lettered effect, 115
Corner ornaments, from bolts on inscription plates, 116
Decoration from a manuscript book, 117
Filling blanks with ornamentation, 118
Semi-ornamental ecclesiastic style, 119
Initials of various kinds, 120
Simple ornamentation applied to letterhead, 121
Appropriate ornamentation on a modern booklet, 122
Effect of alternating colors, 123
An ornament based upon the animate, 124
The significance of ornamentation applied, 125 (insert)
THE TYPOGRAPHY OF BOOKS
_Page 67_
Two model specimens of book typography, 126, 127 (insert)
Title-page of a book of classic poems, 128
Title-page with a nineteenth-century motive, 129
Two book pages inharmoniously treated, 130, 131
Two pages, composite Colonial and modern, 132, 133
Two pages constructed with care for detail, 134, 135
A text-page in modern roman, 136
A text-page in old-style type-faces, 137
Title-page with an Italian motive, 138
Page from a children’s book, 139
Harmony in tone of type-face and decoration, 140
A title-page of classic design, 141
Classic feeling in a modern title-page, 142 (insert)
Text-page of a Roycroft volume, 143
Text-page from a book by De Vinne, 144
Two pages from a small ecclesiastical book, 145, 146
Gothic treatment of a book of poetry, 147
Title-page with a French motive, 148
BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS
_Page 75_
Title-page by Goudy, 149
Two pages from leaflet in simple typography, 150, 151
Three easily-read pages by Sherbow, 152, 153, 154
Two typographic leaflet pages, 155, 156
Three pages in which rules are factors, 157, 158, 159
Label on a brilliant cover, 160
Admirable treatment for small amount of matter, 161
Adopting a photograph of wrong proportions, 162
Two artistic pages from type and rule, 163, 164
Rear and front cover designs of unconventional booklet, 165, 166
A prospectus page by Bradley, 167
Dignified typographic beauty, 168, 169
Hand-lettered cover page, 170
Representative page from a commemoration book, 171
Unconventional arrangement of a booklet page, 172
CATALOGS
_Page 83_
Page from an automobile catalog by Cleland, 175
Unusual treatment of a page, 176
Architectural title treatment, 177
Effective results obtained in a simple way, 178, 179
Inside page and cover of a publication catalog, 180, 181
German poster type on a catalog, 182
Title-page and inside page of a museum catalog, 183, 184
Rules on a book catalog, 185
Type matter prominently treated, 186
Unusual automobile catalog page, 187
Tabular rules in a wine list, 188
German wine-list treatment, 189
Title-page of an exhibit catalog, 190
Capitals and italic for descriptions, 191
Page from a sewing-machine catalog, 192
An attractive background, 193
Artistic catalog treatment, 194
Tabular matter in a catalog page, 195
PROGRAMS
_Page 91_
Program cover-page in ecclesiastical style, 200 (insert)
Economizing space on a program, 201
Missal style of church program, 202
Classic treatment of a church program page, 203
Program page in semi-missal style, 204
Generous margins on a program, 205
A dance card, 206
Page from a booklet program, 207
Unconventional treatment of a dance program, 208
The decorative border on a banquet program, 209
A halftone decorative background on a program, 210
A booklet program, 211
The banquet program in the form of a check book, 212
Humorous treatment of titles and odd arrangement, 213
Suggestion for a menu page, introducing a bit of fun, 214 (insert)
A classic menu page, 215
Program used by master printers, 216
Dignified style for menu page, 217
Treatment simulating woodcut decoration, 218
The missal style adapted to a menu program, 219
Unique arrangement of a menu page, 220
Excellent typographic treatment, 221
Refined entertainment program page, 222
Two pages from an entertainment program, 223, 224
Program page in lower-case, 225
The decoration was in color, 226
Program in Gothic style, 227
A well-arranged page, 228
ANNOUNCEMENTS
_Page 99_
Classic capitals combined with rules, 229 (insert)
Two pages from an announcement folder, 230, 231
Announcement in Colonial style, 232
Odd treatment of an announcement, 233
Announcement in poster art, 234, 235
Invitation based on inscription plate, 236
Ornaments as eye-attracters, 237
Postal-card announcement, 238
Good advertising typography, 239
An announcement, 240 (insert)
Announcement in two groups, 241
Study in tone values and margins, 242
Harmony of type and decoration, 243
A brief announcement, 244
Colonial style of treatment, 245
Literal treatment in Colonial style, 246
Two pages from an announcement circular, 247, 248.
From a convention announcement, 249
Liberal leading of type lines, 250
Harmony in gray tones, 251
Blotter in rugged style, 252
TICKETS
_Page 107_
Classic, refined treatment for art and literary purposes, 256
The historic Gothic, or pointed style, 257 (insert)
Strong treatment, the motive of modern origin, 258 (insert)
A striking effect for the college student, 259 (insert)
Modern treatment based upon the Colonial, 260
Suggestion for course tickets, 261
Daintily appropriate in type-face and illustration, 262
The mission style applied to ticket composition, 263
The ecclesiastical or missal style well adapted, 264
Perhaps Morris would have set a ticket this way, 265
The medieval art worker furnished this motive, 266
Modern application of classic type effects, 267
Patterned after Colonial treatment of title-pages, 268
A dainty, refined effect suited to many occasions, 269
Robust treatment of an outing ticket, 270
The cab ornament dictated the type formation, 271
Treatment that should prevent easy counterfeiting, 272
Decoration suitable for the subject, 273
Arrangement with French motive, 274
LETTERHEADS AND ENVELOPS
_Page 111_
A large amount of copy conventionally treated, 275 (insert)
Small type for professional stationery, 276 (insert)
Church stationery of the conventional kind, 277 (insert)
A change in style of professional stationery, 278 (insert)