dignified in typography. The work of his shop was precise, exact and
thoro. While giving credit to Morris and Bradley for their
accomplishments, he had little sympathy for the styles of either. De
Vinne properly 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 looked 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 subjects, the Morris style is appropriate. For books on
scientific or legal subjects, and for booklets of conservative and
dignified nature, there is nothing better than the De Vinne style. For
booklets which are to attract attention and for job work that is to be
distinctive, Bradley shows the way.
[Illustration:
A JACOBI PAGE OF 1892
Arranged in squared groups in the form of a letter Z
]
With De Vinne beckoning to us from the point of conservatism and Bradley
from the point of radicalism, the typographer anxious to do work
properly must decide for himself how to treat it. I have seen a
jeweler’s 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.
[Illustration:
A BRADLEY PAGE
As produced at the Wayside Press, 1896
]
De Vinne had 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 gave much thought to modern type-faces. The type-face
known as Century was designed after his suggestions as a model 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 nineteenth 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
adaptation of any style that is good when by so doing clients are
pleased and the principles of art are not violated. The title-page
reproduced in this connection is unusual in arrangement. The type groups
and the device are all squared and their angularity is enhanced by the
exclusive use of capitals. Realizing that a page or design is defective
if it presents the appearance of disjointed sections, Mr. Jacobi has
avoided such results in this instance by arranging the page in the form
of a letter Z.
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 be ranked with the esthetic arts. Shall the product of the
village printer be only of the standard of that of the 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. The chapters that
follow will help to this end.
Because printing as now practiced is in a great degree dependent upon
principles and styles developed during the early days of the art, the
student should not neglect carefully to read and digest the historical
facts and reproductions that have been presented. Too many typographers
underrate the value of a knowledge of history. “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 sufficient to use new
type-faces, ornaments and borders, caring little if the resulting jobs
lack appropriateness, harmony, color, tone, and other elements that are
essential to perfect typography.
[Illustration:
A BRADLEY PAGE
As produced at the Wayside Press, 1896
]
[Illustration:
A DE VINNE PAGE
This probably presents De Vinne’s idea of title-page arrangement
]
He who labors without a knowledge of history is much like the young man
who started to work on a job press. He was allowed to make ready a form,
and after a while 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. Mystified, 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 because 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 possessed by the young man who made the
“underlay.”
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 printing history and loves old books, and this
knowledge and affection are expressed in his work. The printer who
succeeds is the one who looks upon all knowledge as valuable and has a
good reason for everything he does.
PART TWO
[Illustration:
EXAMPLE 16
Layout sketched with colored crayons for a catalog cover
]
[Illustration:
EXAMPLE 17
The cover printed as indicated by layout sketch
]
[Illustration]
THE “LAYOUT” MAN
How does the work of the typographer of the twentieth century compare
with productions of the past? In the belief of some the good
typographer, like the good Indian, is dead. The truth is that much of
the printing done during the first four hundred years was not well done.
While the same proportionate result still prevails, the ancient did not
have the excuse of the modern—lack of time; nor has the modern the
excuse of the ancient—lack of facilities. However, while poor work in
any century or any industry is explainable, it is not excusable.
[Illustration:
EXAMPLE 1
Booklet cover page laid out with pencil and crayon on gray stock
]
Someone said, “The man who attained his ambition did not aim high
enough.” Perfection is not attainable, but it should be the goal in our
race. Many typographers are doing good work, altho each is doing it
differently. No one is producing perfect typography; but when perfection
is the pacemaker no result can be commonplace.
The good typographers of the past had the spirit of the master craftsman
and their product was inspired. The modern printer to succeed needs only
the inspiration that comes of study, hard work and love of his trade.
Inspired work, however, is generally the result of preparation.
Artists and advertising men realize the necessity of careful preparation
for the process of printing, but typographers as a class evidently do
not. If they did they would do even better work and make bigger profits
possible. Every printshop should have a “layout” man.
In spite of the fact that much good printing is done today, fully
nine-tenths of the product is partially unsatisfactory because of lack
of preparation. When a business man decides to erect an office building
he does not immediately go to a building contractor and tell him to
build it. He first consults an architectural engineer, examines drawings
and exchanges opinions, and when the building contractor starts his work
everything has been planned and specified.
Should printing be done in a less thoro manner? Is not the making of a
book, catalog or business card each proportionately as important and as
well entitled to proper attention as the larger undertaking? Good
typography cannot be produced if preparation is slighted.
Quality printing is not accidental. Shops famed for the artistic
excellence of their product have maintained their “shop style” despite
changes in the force of workmen and executives, and this individuality,
or “shop style,” as it is termed, has been obtained and retained only
because the copy has been carefully prepared and the work has been
intelligently laid out by some qualified person (artist, ad-writer or
typographer) who understands shop preferences in the matter of style. It
is the “institutional idea.”
In printshops extensive enough to allow of the expense, one or more
layout men should be employed, and in the smaller concerns the head job
compositor or foreman could do the work. Solicitors, when artistically
fitted, could in special cases lay out their own jobs of printing, as
personal contact with the customer peculiarly fits them to do it
satisfactorily. The important thing, anyway, is to please the customer.
While the art side of the practice of typography is important, it is not
all important. Typography is also a business.
If the customer’s tastes and prejudices were ascertained beforehand,
many of the changes now made after jobs are in type, frequently causing
inharmonious arrangements, could be avoided. The average printer rarely
parallels the experiences of a few fortunate printing concerns which,
when receiving an order for a booklet or catalog, are told the amount of
the appropriation and given carte blanche.
[Illustration:
EXAMPLE 3 EXAMPLE 2
Anticipating the appearance of the printed page by utilizing old
booklets or preparing specimen sheets of text matter which are cut
to proper size and pasted in position. The headings are roughly
sketched with pencil
]
Orders for much of the better class of work are obtained thru “dummies”
submitted by printers or solicitors. The customer advises a certain
number of such persons that he is in the market for a booklet and would
like to receive suggestions. Each competitor prepares a “dummy” on the
stock and in the binding intended for the completed booklet. The cover
design is roughly sketched or otherwise indicated and the inside pages
prepared to represent the finished job.
Let us imagine ourselves in a printshop of medium size, which cannot
afford the regular services of an artist. From the composing-room force
take the most artistic and practical job compositor and install him at a
desk. If there is not sufficient desk work to occupy his full time,
arrange with him to fill in spare time at the case. In selecting a man
for the position it should be remembered that few typographers have
qualifications combining artistic perception and thoro workmanship. It
is in a great measure true that a nervous, artistic temperament unfits a
typographer for thoro, finished work at the case or stone, while on the
contrary, a calm, precise, methodical disposition is often accompanied
by lack of imagination. Each workman should have opportunity to do that
which he can do best. He of the artistic temperament should lay out the
jobs, and he of the mechanical turn of mind should construct them.
[Illustration: EXAMPLE 5]
[Illustration:
EXAMPLE 6
Ascertaining color combination by means of crayons. The colder color
should predominate
]
[Illustration:
EXAMPLE 4-a
After pasting in illustration and counting the lines for machine
composition. Reduced from the original
]
The proprietor or other person in authority should discuss with the
layout man the subject of shop style in typographical arrangement. The
matter of type equipment should also be gone over, as nothing hinders
the layout man so much as to be compelled to use type-faces selected by
another having ideas widely different. It is important that the type
equipment be appropriate and sufficient for the class of work done. An
equipment of a half dozen harmonizing faces of type is far better than
one of two dozen ill-assorted faces. Good typography is to a large
extent dependent upon the type-faces used.
[Illustration:
EXAMPLE 4-b
Instructions to operator
]
The layout man should make a study of the personality and tastes of a
customer. He should meet all such that come into the office, and arrange
to call once upon each of the regular customers. He must keep in close
touch with conditions in the composing-room, so that in the discharge of
his duties he does not call for type-faces already set out of the cases,
or not a part of the equipment.
The mechanic and the artist, to do satisfactory work, must have a
certain working outfit. The layout man is 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 shears, a
T-square, a gelatine triangle, a type-line gage, a table for giving the
number of words to an inch in the various size type bodies; and a
library of books and periodicals on printing, especially of those
showing examples of type designs. To provide him also with a set of
water colors, a jar of Chinese white, a bottle of gold paint, a bottle
of india ink and several brushes would not be extravagance.
It would be economical and wise if several sample sheets of each kind of
stock were kept near his desk in a portfolio or convenient drawer. Book
papers could be cut in quarters, cover papers in halves, and cardboard
in various convenient sizes, all ready to be used at an instant’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 ascertain if
the stock may be had without delay.
WORDS TO THE SQUARE INCH
┌───────┬───────────────────────────────────────────────────────┐
│ │ SIZES OF TYPE—_SOLID_ │
├───────┼──────┬──────┬──────┬──────┬──────┬──────┬──────┬──────┤
│SQUARE │ 5 │ 6 │ 7 │ 8 │ 9 │ 10 │ 11 │ 12 │
│INCHES │POINT │POINT │POINT │POINT │POINT │POINT │POINT │POINT │
├───────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┤
│ 1│ 69│ 47│ 38│ 32│ 28│ 21│ 17│ 14│
│ 2│ 138│ 94│ 76│ 64│ 56│ 42│ 34│ 28│
│ 4│ 276│ 188│ 152│ 128│ 112│ 84│ 68│ 56│
│ 6│ 414│ 282│ 228│ 192│ 168│ 126│ 102│ 84│
│ 8│ 552│ 376│ 304│ 256│ 224│ 168│ 136│ 112│
│ 10│ 690│ 470│ 380│ 320│ 280│ 210│ 170│ 140│
│ 12│ 828│ 564│ 456│ 384│ 336│ 252│ 204│ 168│
│ 14│ 966│ 658│ 532│ 448│ 392│ 294│ 238│ 196│
│ 16│ 1104│ 752│ 608│ 512│ 448│ 336│ 272│ 224│
│ 18│ 1242│ 846│ 684│ 576│ 504│ 378│ 306│ 252│
│ 20│ 1380│ 940│ 760│ 640│ 560│ 420│ 340│ 280│
│ 22│ 1518│ 1034│ 836│ 704│ 616│ 462│ 374│ 308│
│ 24│ 1656│ 1128│ 912│ 768│ 672│ 504│ 408│ 336│
│ 26│ 1794│ 1222│ 988│ 832│ 728│ 546│ 442│ 364│
│ 28│ 1932│ 1346│ 1064│ 896│ 784│ 588│ 476│ 392│
│ 30│ 2070│ 1410│ 1140│ 960│ 840│ 630│ 510│ 420│
│ 32│ 2208│ 1504│ 1216│ 1024│ 896│ 672│ 544│ 448│
│ 34│ 2346│ 1598│ 1292│ 1088│ 952│ 714│ 578│ 476│
│ 36│ 2484│ 1692│ 1368│ 1152│ 1008│ 756│ 612│ 504│
└───────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┘
┌───────┬───────────────────────────────────────────────────────┐
│ │ SIZES OF TYPE—_LEADED_ _with 2-point leas_ │
├───────┼──────┬──────┬──────┬──────┬──────┬──────┬──────┬──────┤
│SQUARE │ 5 │ 6 │ 7 │ 8 │ 9 │ 10 │ 11 │ 12 │
│INCHES │POINT │POINT │POINT │POINT │POINT │POINT │POINT │POINT │
├───────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┼──────┤
│ 1│ 50│ 34│ 27│ 23│ 21│ 16│ 14│ 11│
│ 2│ 100│ 68│ 54│ 46│ 42│ 32│ 28│ 22│
│ 4│ 200│ 136│ 108│ 92│ 84│ 64│ 56│ 44│
│ 6│ 300│ 204│ 162│ 138│ 126│ 96│ 84│ 66│
│ 8│ 400│ 272│ 216│ 184│ 168│ 128│ 112│ 88│
│ 10│ 500│ 340│ 270│ 230│ 210│ 160│ 140│ 110│
│ 12│ 600│ 408│ 324│ 276│ 252│ 192│ 168│ 132│
│ 14│ 700│ 476│ 378│ 322│ 294│ 224│ 196│ 154│
│ 16│ 800│ 544│ 432│ 368│ 336│ 256│ 224│ 176│
│ 18│ 900│ 612│ 486│ 414│ 378│ 288│ 252│ 198│
│ 20│ 1000│ 680│ 540│ 460│ 420│ 320│ 280│ 220│
│ 22│ 1100│ 748│ 594│ 506│ 462│ 352│ 308│ 242│
│ 24│ 1200│ 816│ 648│ 552│ 504│ 384│ 336│ 264│
│ 26│ 1300│ 884│ 702│ 598│ 546│ 416│ 364│ 286│
│ 28│ 1400│ 952│ 756│ 644│ 588│ 448│ 392│ 308│
│ 30│ 1500│ 1020│ 810│ 690│ 630│ 480│ 420│ 330│
│ 32│ 1600│ 1088│ 864│ 736│ 672│ 512│ 448│ 352│
│ 34│ 1700│ 1156│ 918│ 782│ 714│ 544│ 476│ 374│
│ 36│ 1800│ 1224│ 972│ 828│ 756│ 576│ 504│ 396│
└───────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┴──────┘
EXAMPLE 7
Table for ascertaining the number of words to square inches. Use
of this table in laying out booklets and catalogs will not only
save time but will minimize the chance of a miscalculation
[Illustration:
EXAMPLE 8
Notehead as set without instructions from layout man The three
specimens on this page lack relation in design
]
For an example of the workings of the layout system we will suppose that
the principal of a local business college has brought in typewritten
copy of about a thousand words to be made into a small booklet. A little
questioning brings out the information that the customer desires
something attractive, refined, and of good quality. He does not want a
cheap job, and neither has he money to spend upon expensive de luxe
booklets.
The layout man looks over his sample papers and finds that there is on
hand a ten-cent white antique paper 25 × 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 4¾ × 6¼ inches. The leaf
is then trimmed to 4⅜ × 5⅞ 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 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 × 25 inches in size, and
an eighth of this sheet folded once gives a leaf 5 × 6¼ inches. Deciding
to have the cover lap three-sixteenths of an inch over the edges of the
inside leaves, it is trimmed to 4–9/16 × 6¼ inches.
[Illustration:
EXAMPLE 10
Label as set without instructions
]
On one of the inside leaves a page is penciled off, the layout man
judging how much of the paper should be covered by print. For cheap work
it is generally necessary to crowd the matter into the least possible
number of pages, and in such case narrow margins are allowed. For the
better quality of work, liberal margins are necessary to proper results.
A page should set toward the top and binding edges, the margins at these
places being each about the same. The margin at the right edge should be
a little more than at the top and back, and the margin at the bottom
should be a little more than at the right edge. For the booklet now
supposed to be in course of preparation, 2¾ × 4 inches has been
determined as the proper size of the type-page. Each page thus requires
eleven square inches of type-matter. The layout man refers to the table
(Example 7) which gives the number of words to a square inch and
ascertains that eleven square inches of ten-point type, the lines
separated by two-point leads, should accommodate one hundred and
seventy-six words. Multiplying this number by six, allowing two pages at
the front of the booklet for the title, etc., he finds the booklet will
take 1,056 words, about the number of words in the copy supplied.
[Illustration:
EXAMPLE 9
Business card as set without instructions
]
For a booklet of this kind the type should be no smaller than ten-point.
Instead of stinting margins and 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 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 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
convenience to the layout man if a number of specimen pages, set in the
available body type (both solid and leaded), were printed for use in
preparing dummies. These specimen pages should be about 5½ × 7 inches, a
size that would make them usable for most purposes.
The cover arrangement was sketched on the gray stock (Example 1), the
border being represented by the gray lines of a hard lead pencil. The
type line was indicated by means of a soft black lead pencil and an
orange crayon. Ornaments are not specified because they are better
omitted on booklets where dignity is the principal feature.
The dummy booklet thus completed is submitted to the customer and when
approved goes to the workrooms with the copy. The compositor, make-up
man, stockman, pressman and binder have no excuse for any
misunderstanding, as, generally speaking, they have merely to duplicate
the dummy. The labor of the estimate man, too, is lessened, as the dummy
booklet affords a substantial basis upon which to figure the cost.
The plan of making a dummy booklet, just explained, can be adapted to
many jobs, but of course it should be varied to suit special
requirements.
[Illustration:
EXAMPLE 12
Business card as laid out
]
In cases of periodicals and voluminous catalogs, dummy sheets should be
printed with the outlines of the page indicated by light-faced rule.
With such sheets the layout man is enabled quickly to paste in position
prints of the illustrations and text matter from the galley proofs.
Getting his instructions in such methodical manner the make-up man can
do his work without confusion of orders, and the proofreader’s task is
made easy.
When illustrations are provided to be incorporated in the text matter
there is more or less trouble in making up the pages. To center all
illustrations so as to avoid changing the width of the type lines is
easy but not always artistic. It is economical to have plates made the
full width of type matter, but the printer is seldom consulted until
after the plates are made. However, various sizes of illustrations 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 instances merely the number of lines
to a page is ascertained. 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 lines are made to
fit the outline of the illustration. The length of type lines should
always be ascertained with the pica (twelve points) as the unit of
measurement.
[Illustration:
EXAMPLE 11
Notehead as laid out for compositor. The three specimens on this page
are related in design
]
Supposing Examples 2, 3 and 4 to be dummies of pages, the composition of
which is to be done on the linotype or monotype machine, the layout man
with his pica measure starts at the initial letter T and measures and
counts the lines, noting the results in the margins. (See Example 4-a.
The page as shown is slightly reduced, hence the lines do not measure as
set forth.) The figures are copied from the margins onto a slip and will
then 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 it is needed by the make-up man,
but it is an expensive habit.
* * * * *
[Illustration:
EXAMPLE 13
Label as laid out
]