larger printshops where long runs on cylinder presses overshadow it in
importance. This condition leads to unsatisfactory results and the
customer is the sufferer; his stationery as a whole is likely to be not
only inartistic but a patchwork of typographic styles and arrangements.
To illustrate this: A dealer in artists’ materials orders at various
times letterheads, business cards and package labels, and the copy is
sent to the workrooms with no instructions about style. Assuming that a
different compositor gets each order, the jobs are composed as shown in
Examples 8, 9 and 10. These specimens are above the average in
arrangement, but are faulty in that they have no relation to each other
in appearance; have nothing distinctive in their typography that
identifies the business card with the letterhead or the label.
[Illustration:
EXAMPLE 14
Layout of a cover-page, with instructions in detail as to material to
be used. Reduced from original
]
[Illustration:
EXAMPLE 15
Cover-page as set from the instructions. Reduced from original
]
How different the results had an artistic layout man prepared each order
before it was given to the compositor. Examples 11, 12 and 13, roughly
sketched with pencil and crayon, demonstrate what could have been done.
With stationery thus harmoniously treated a business house would be
given credit for individuality and progressiveness.
In a printshop doing a good class of work (every printshop should
endeavor to do that) the layout man ought to make a study of color
harmony. Not that it is necessary for him to attend an art school or
devote most of his time and attention to experimenting with prisms and
light rays; charts and tables which help to solve the color problem are
easily obtainable. After a little study and practice he will learn that
while red, yellow and blue (the primary colors) harmonize with each
other, mixtures of two or all three give shades that are more pleasing.
Olive-green (an art shade) substituted for blue, in combination with
orange, produces an artistic blend in place of the gaudiness which
otherwise would prevail. This because olive-green is a mixture of blue
and orange; a relationship in color composition is established and
contrast lessened.
A black page increases in interest with the addition of a touch of red,
and for this purpose vermilion is recommended. The vermilion shade of
red is approximated by mixing white with orange-red.
The colored crayons with which the layout man should be supplied are
exceedingly useful in determining color combinations. The eye is a
reliable guide in this matter, if it is carefully trained to recognize
color harmonies. It should be easy to distinguish the right from the
wrong color treatment in Examples 5 and 6. The colder color should
always predominate; backgrounds of bright red and bright yellow are
difficult to harmonize with any color of ink excepting black.
From the insert (Examples 16 and 17) will be seen how a color
combination may be roughly sketched on the actual stock to be used and
the finished result indicated without setting a line of type or inking a
roller.
When the page is set in type it is well to have the proofs in the colors
and on the stock to be used, but it is unnecessary to separate the
design into several forms to do so. For a job such as Example 15, for
instance, two proofs may be pulled, one in black and one in orange, and
the initial cut out of the sheet printed in orange and pasted in
position on the sheet printed in black. Another and a more satisfactory
way is to ink the entire page with black, then clean the black from the
initials, and ink them with orange by means of a finger. It may be
relevant to suggest that the human skin is ideal for inking purposes,
and that a printer’s composition roller is an imitation of its
qualities.
The layout man, in addition to the study of ink harmony, should learn to
blend colors and tints of paper stock. He should know that a buff or
cream inside paper reflects the color of a yellow-brown cover stock, and
hence makes a prettier combination than white inside paper and brown
cover stock. Another important point is the color blending of a
tipped-on illustration and the stock acting as a background. The
prevailing shade in a color illustration should be matched by the
background or by a surrounding border, or by both.
When laying out advertisements or other display pages the size of the
type-face should be written in the margin (Example 14). Practice will
enable the layout man intuitively to approximate the size needed.
[Illustration:
EXAMPLE 20
An architectural subject appropriately treated
]
[Illustration]
HARMONY AND APPROPRIATENESS
In music there is that which the Germans call “Leit-motif”—the guiding
theme in the construction or interpretation of musical compositions. The
“Leit-motif” finds a parallel in the central idea or motive governing
the composition of a building, a painting, a book or a job of printing.
If Gothic is selected as the style of architecture for a building, every
detail from the arches to the smallest bit of ornamentation is kept in
harmony with the central idea of construction. If the building is to be
Colonial, every detail is made appropriate to the Colonial motive.
[Illustration:
EXAMPLE 18
To obtain Harmony it is frequently necessary to use but one series of
type, and either all capitals or all lower-case
]
The person is legion who undervalues the importance of harmony and
appropriateness. Houses are furnished without regard to a general plan
and furniture is added because it strikes the fancy at the moment of
purchase. A Morris chair in dull-finished wood, a Louis XV table with
dainty curves and gilt luster, and a mahogany or ebony piano case are
gathered in motley discord on an oriental rug. And when this same person
has printing done, or does it himself, there is again revealed an utter
disregard for the things that make for harmony.
What is appropriate? There are times when it is difficult to give an
unprejudiced answer, especially when an idealistic art interpretation of
the appropriate is combatted by the homely reasoning of a tiller of the
soil. As a finishing touch to the classic architecture of the
agricultural building at Washington the words Fructus, Cereales,
Forestes and Flores were carved in suitable places on the structure. The
secretary of agriculture noticed the Latin words and forthwith ordered
the architect to have them recarved in the English—Fruits, Grains, Woods
and Flowers. Now there are those who say the words as modified suggest a
sign on a country store. The architect probably reasons that the words
as originally carved were purely decorative, and in their English form
are not only unnecessary but are about as poetic as a page of stock
quotations in a newspaper or a package of little pig sausages.
It requires a discriminating judgment to distinguish between the
appropriate and inappropriate. The plain people of one of the new
sections of New York City were astounded recently to find the street
signs bearing such names as Socrates, Horatius, Poseidon, Aphrodite,
Pericles and Seleucus. Names such as Wall Street, Broadway, Bowery and
Fifth Avenue are unobjectionable, but Seleucus Street and Pericles
Street—!
Typographers frequently go wrong in the use of the old Roman V. The V as
part of the words PVBLIC LIBRARY on a stone building excites no comment;
it seems appropriate and in good taste; but as part of the words PVRE
MILK on a grocer’s letterhead it tempts the risibility in our natures.
After all, good judgment is one of the most valuable assets a man can
possess.
* * * * *
Harmonious and appropriate results in printing are brought about by
discreet selection and use of these three elements: type, ink, paper. It
is one thing to ink the type and pull an impression on paper, and it is
another thing to do it properly. It makes a difference what type is
used, what ink is used, and what paper is used. There are hundreds of
type-faces, many colors and qualities of inks, and a variety of finishes
and qualities of papers.
As to type-faces: Printers of law briefs and legal blanks need the
formal, legible modern romans. Printers making a specialty of commercial
stationery, wedding invitations and calling cards need scripts and
engravers’ romans. Printers whose chief product is high-class
announcements and booklets cannot do without old-style romans, italics
and text faces. When everything in printing from the diminutive calling
card to the massive catalog is solicited many styles of type-faces are
needed.
[Illustration:
A
Harmony. The heavy line and the light line are found in the
construction of both border and type-face.
]
[Illustration:
B
Harmony. The black, pointed characteristic is a peculiarity of both
type-face and border.
]
[Illustration:
C
Harmony. Type-face is made of strokes of one width; border is composed
of one line of similar width.
]
[Illustration:
D
Harmony. The two type faces are of the same design; one is stronger in
tone.
]
[Illustration:
E
Harmony. The two type faces are of similar design; one is slanted and
slightly altered to obtain contrast.
]
[Illustration:
F
Near-harmony. Type faces are sufficiently similar in design to blend
if contrasting sizes are used.
]
[Illustration:
G
Incongruous. Border has no characteristics that can be found in the
italic type-face.
]
[Illustration:
H
Incongruous. There is no relation in the style of these two
type-faces; one has serifs, the other none.
]
[Illustration:
I
Incongruous. Letters not related in design: one is condensed, the
other extended.
EXAMPLE 19—Harmonious combinations, and combinations that are
incongruous
]
[Illustration:
EXAMPLE 21
A booklet cover, the coloring and typography of which is suggestive of
the subject
]
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 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 until the subject
of color harmony is understood by the printer he will wisely adhere 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 appropriate for
milliners, florists, jewelers and others catering to the esthetic tastes
of women. Dull-finished coated papers are considered more artistic than
highly enameled ones, and there are those who prefer it as being more
restful to the eyes.
[Illustration:
EXAMPLE 23
An old lock-plate
]
It is a stupendous undertaking, in face of the multitudinous elements
that are part of the production of printed work to point out a path that
will lead to good typography. There are many printers doing good work
and each of them has probably arrived at his point of attainment by a
different route. There is no royal road to learning. The student may be
assisted, but whether he succeeds depends to a great degree upon
himself. He must have an open mind, good judgment, and a liking for
simplicity.
Simplicity is synonymous with good typography and its path is a straight
and narrow one. He who would do worth-while typography must decide
wisely when accepting the good things offered by his friends, the paper
man, type man and ink man. They are generous in their offerings and
willingly assist the doubting one in deciding; but confidence in his own
judgment is a necessary qualification for the typographer who would
attain success.
[Illustration:
EXAMPLE 24
Inscription on a Roman arch
]
The ideal printshop is that one which contains only harmonious
type-faces, ink colors and paper stock. This ideal condition being
impossible except in a small shop, the best alternative is to have all
type-faces as nearly harmonious as possible. It would be wise to build
upon the body type as a foundation. Choose a body face that will be
suitable for most purposes, and then select a series or family of
display types that harmonize with it. If Caslon Old Style is chosen as
the body letter, Caslon bold, Caslon italic and Caslon text will afford
variety in display while retaining harmony. (Of course the large display
sizes of the Caslon Old Style should be included.) The Cheltenham family
probably provides the greatest variety of harmonizing faces. Scotch
Roman is a dignified and legible letter, and supplemented by its italic
and the larger display sizes is a satisfactory face for many purposes.
Old Style Antique is a useful letter where a black tone is desired and
is pleasing in its original form. There are many artistic letters now to
be had that give the effect of hand-lettering, which are admirable for
distinctive advertising literature.
[Illustration:
EXAMPLE 22
Type-design for catalog cover suggested by the old lock-plate
]
While harmony of type-faces is essential, yet a certain amount of
contrast is desirable. At one time it was customary to alternate a line
of capitals with one of lower-case. This arrangement gave contrast, but
not harmony. The best results are obtained by the use of either all
capitals or all lower-case. As explained in the chapter “When Books Were
Written,” our alphabet in its original Roman form consisted of capital
letters only. Lower-case letters, also known as minuscules, are the
result of evolution, and in form differ materially from the capitals.
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.
* * * * *
Example 19 illustrates harmonious combinations of type-faces and borders
and also presents several incongruous features.
Section A is an all-capital scheme enclosed in a border of heavy and
light rule. A border such as this owes its origin to the panels used by
the Romans to surround inscriptions on stone, and as these inscriptions
were in capital letters only, the appropriateness of the treatment is
manifest. As the letter is also formed of heavy and light strokes the
harmony is enhanced.
In section B there is harmony from both the historic and artistic
viewpoints. The black text face, representing 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 to
on the ground of illegibility. This black text face (correctly called
Gothic) is historically associated with ecclesiastical printing, and the
border, consisting of pointed crosses of black tone, blends with the
pointed black letters of the type-face.
[Illustration:
EXAMPLE 25
Cover-page for a catalog of books, using type imitations of woodcut
initials and borders
]
Section C shows a plain letter of modern cut known erroneously as
gothic. Containing no serifs, it lacks a feature which has always been
considered necessary to beauty in type-faces. As a harmonious border for
this face there is nothing better than a plain rule of the width of the
type strokes.
The next three panels demonstrate such harmony as may exist between
type-faces of different series:
D.—This panel shows Caslon bold in combination with Caslon roman, and
demonstrates the close harmony existing between type-faces of the same
family.
E.—Another demonstration of the harmony of the family types.
F.—Harmonious, to a certain extent.
The type and rule in the next panel do not harmonize for these reasons:
G.—The border is too black and square in form. Italic, because of the
slant of its letters, looks better not surrounded by a border, but when
one is used it should be light and contain some of the characteristics
of the italic.
In all cases where ornamental borders are used more finished results are
obtained if a rule separates the border from the type, as in Section B.
The next two panels present the “horrible examples,” which are defective
for these reasons:
H.—The type-face of the upper group has nothing in common with that of
the lower group. That of the upper group is a distinctive old-style
roman, with serifs, and is set in lower-case, while that of the lower
group is a plain black modern letter, without serifs, and is set in
capitals. The main display should never be lighter in tone than the less
important type matter.
[Illustration:
EXAMPLE 26
A plain page without ornament or decorative types, for a plain purpose
]
I fails to harmonize because the type-face of the lower group is
slightly extended and the one of the upper group is condensed. The shape
of the letters of a type-face should conform to the shape of the page,
and so far as possible to the shape of the companion letter, when one is
used. Condensed letters should be avoided except for pages that are long
and narrow, and an extended letter should not be used except on a wide
page.
* * * * *
There are more typographic sins committed thru violation of the laws of
appropriateness than in any other way. In this regard it would not be
difficult to make out cases against the best of typographers, whose sins
are washed away by good work in other respects. As in architecture,
where one part of a building bears relation to all other parts, so in
typography there should be a motive that blends all elements in serving
one well-defined purpose. The phrase “Is it appropriate?” prominently
displayed above the type cabinets, over the presses, in the stock-room,
and over the layout man’s desk, would help to keep in mind this
important requirement.
An architectural motive was suggested by the copy for Example 20, and
type-face and decorative border were selected that the motive should be
emphasized. The architecture of the Romans was frequently embellished
with inscriptions (see Example 24), and in modern architecture the panel
of Roman lettering is a feature; the lettering is generally all capitals
of the same size, of a style near that of the ancient lettering; and the
panel is outlined with molding, plain or decorative. Serving a purpose
equivalent to the architect’s panel molding, the type or rule border is
a valuable addition to a page of type. A page of display type or a
halftone not surrounded by a border is like an oil painting without a
frame. The egg-and-dart border around Example 20 is historically
associated with architecture. The type-face is a Roman capital letter
designed by Fred. W. Goudy from an inscription found in the ancient
Forum at Rome.
[Illustration:
EXAMPLE 27-a
Treatment appropriate for a church program, in style based upon old
ecclesiastical manuscript books. (See specimen below.)
]
[Illustration:
EXAMPLE 27-b
Portion of a page of an old manuscript missal
]
Bismarck was called the “Iron Chancellor” because 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 imagination 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 suggesting
shape and treatment and his imagination does the rest.
[Illustration:
EXAMPLE 28
Cover-page for a catalog of decorative materials, suggesting festive
gatherings, music and waving flags
]
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. The border is of black tone and the type and initials
are given the strength that harmonizes with it.
Old books suggest discolored leather, dusty shelves and plain men, and
it is an abrupt change to the subject of millinery, with its bright
colored feathers, ribbons and delicate finery. The milliner ornaments
his salesroom with vines and flowers and dainty colors, and the printer
gets his typographic motive from such sources. Example 21 illustrates a
booklet cover treated thus appropriately. The page size is
unconventional, the coloring is dainty, and the type lines are neatly
diminutive.
As a millinery store is unlike an office in which are maps and blue
prints and legal documents, so typography for these two purposes should
be unlike. Example 26 is a page severely plain and non-sentimental. The
types are merely to tell something in a blunt manner. There is needed no
touch of decoration or color to interest the reader, because those who
read it would do so whatever the treatment. This is the only example in
the present chapter in which the advertising element is unimportant. The
page may be commonplace because it need not be anything else, altho it
is well to do good work even here.
From the surveyor’s office our journey of instruction takes us into a
church during an elaborate Easter service. Light filtered of its
brightness by stained glass windows; high-placed Gothic arches pointing
toward the sky; soft organ-music—all these create an atmosphere of
solemnity and harmony. A program or pamphlet for use during a church
service should be as appropriate to the environment as a Book of Common
Prayer or Bible. Typographic treatment good as shown in Examples 22, 26
or 28 would be ridiculous for a church program. Example 27-a shows a
page historically appropriate. The type-face is peculiarly fitting
because of its pointed form, and also for the reason that a letter of
similar design was used by medieval scribes on ecclesiastical books (see
Example 27-b). The crossed rules, which should be printed in orange-red,
are adapted from the guide lines as made by the scribes for marking the
position of a page on the sheet.
[Illustration:
EXAMPLE 30
Title-page in semi-Colonial style, appropriate for use with a cover
design such as Example 29
]
When a holiday crowd is gathered, dignity is put aside and all enter
into the festive spirit of the occasion. Here is the motive for the
typographic treatment of a booklet or catalog of decorative materials as
presented by Example 28. It would be excessive emphasis of
appropriateness 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 typographers 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 excellence of its
execution, but by the harmonious unity that may be expressed in every
detail, from the literary contents to the last bit of tooling worked on
the cover. The type, ornamentation, paper, ink, margins, leather, the
arrangement 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. Example 29
shows the Colonial arch adapted as the border of a booklet cover. The
artist gives this treatment to the cover because of the motive suggested
by the name “Colonial Trust Company,” and when the title-page is set it
would be a mistake not to use some Colonial arrangement. Example 30
blends with Example 29 and is modified from the old Colonial title-page
treatment just enough to give it a modern appearance without sacrificing
the old-time atmosphere. The border suggests both the widely-spaced
rules of the Colonial printers and the architectural pillars of Example
29. No letter spacing is used, despite the temptation offered.
[Illustration:
EXAMPLE 29
The Colonial arch
]
* * * * *