Gothic style—the type-face a pointed black letter, such as was then used
on manuscript books, and the ornamentation pointed foliage (done by
hand). It was some years after this that typography came under the
influence of the Italian Renaissance, and both type-faces and decoration
assumed the Roman style. In the old days there was sympathy between the
various arts and crafts, and it worked for harmony in effects.
Building-decoration, metal-carving and wood-engraving were governed by
the same artistic motive, and were often done by the same man, much as
the printer at one time was compositor, pressman, binder, typefounder,
ink-maker and paper-maker, all in one. Now, many a piece of printing
goes wrong because the ideas of several people, inharmonious from lack
of relation, are injected into the work during the several stages
necessary for its production.
The relation of typography to architecture is plainly shown in the
formation of the Roman and Gothic alphabets. The letters of the Roman
alphabet, dignified in their straight strokes and symmetrical in their
rounded lines, suggest features of Roman architecture (Example 106; also
see Example 43 of a previous article). In the interesting
picturesqueness of the pointed black Gothic letter may be seen
reflections of the graceful arches of the cathedral pointing upward like
hands in prayer—and of the pointed leaf ornamentation of the Gothic
period. (Example 107.)
[Illustration:
EXAMPLE 98
Dainty, elaborate rococo ornament, as applied to a program title-page.
Compare with the chair, Example 97
]
Ornamentation is both inventive and imitative. An ornament purely
inventive or one purely imitative is seldom artistic. A child may make a
jumble of lines that altho original means nothing; when it is older it
may draw a flower so realistic and imitative that little is left to the
imagination. When a flower or plant is used as a model in designing an
ornament it is “conventionalized,” that is, it is blended with its
environment. A flower in a garden surrounded by other vegetation should
be as the other flowers, but as an ornament on the flat surface of paper
it should be without perspective. Example 108-a shows how commonplace an
ornament looks when its details are carefully shaded in perspective.
Examples 108-b and 108-c show how more decorative an ornament is when
either outlined or filled in. Sometimes shadows are merely suggested, as
on the fruit basket and book ornaments in Example 113.
[Illustration:
EXAMPLE 95
Square-lined, ornamentless furniture
]
[Illustration:
EXAMPLE 97
Dainty and elaborate rococo ornament, as applied to furniture. Compare
Example 98
]
[Illustration:
EXAMPLE 100
Slightly ornamental typography. Compare with chair opposite. Design by
Will Bradley
]
In the conventionalized decorative art of all ages may be found traces
of the things which have inspired the decorator. The lotus leaf, and the
papyrus plant (which once gave writing material to the world) thousands
of years ago influenced Egyptian design (Example 87). Religion dictated
many of the decorative forms in ancient art. The winged-ball-and-asps
(Example 88) was a favorite device in Egyptian decoration and has come
to us by way of Roman mythology as the winged staff of the herald
Mercury, the ribbons on the staff supplanting the Egyptian asps, but
later evolving into serpents as in the decorative border of Example 125.
The work of the best artists is full of meaning. The Egyptians
considered certain animals sacred, and they were reproduced numerously
in the picture-writing and ornamentation of the time. The sacred beetle
as conventionalized was much used. In Example 125 the cog-wheel of
commerce is conventionalized as the rim of the ball, which also contains
a seal. The anchor and rope, hour glass, wreath, torch, acanthus leaves,
all are conventionalized and blended pleasingly in outline drawing. The
tone of the border approximates that of the type matter it surrounds.
[Illustration:
EXAMPLE 96
Square-lined, ornamentless typography. Compare with chair opposite.
Design by Fleming & Carnrick, New York
]
[Illustration:
EXAMPLE 99
Slightly ornamental furniture
]
The acanthus leaf (Example 89) is the model for much of the elaborate
leaf decoration found on the capitals of Corinthian columns and wherever
rich imposing leaf ornament is desired. The anthemion (Example 90) is a
palm-like ornament used by the Greeks and Romans, now frequently found
in decorative work of an architectural nature.
* * * * *
It may not occur to the average printer that architecture is in any way
allied with typography—that there is any connection between the
ornamentation of a building and a job of printing. Fred W. Goudy, Bruce
Rogers and D. B. Updike employ conventionalized architectural columns
and arches to ornament title-pages of classic motives. The average
typographer, tho, finds more inspiration in the ornamentation that is
only an embellishment to architecture. There are several ornamental
units that are used more frequently than others, and these are the
egg-and-dart (Example 83) and the bead (Example 84). You, who are
reading this, are invited to verify by observation this last statement.
A printer who did so was astonished at the eggs, darts, and beads that
were to be seen wherever he looked. Cut into the stone of buildings,
carved into the wood of furniture, used on molding about doors and
windows, on office partitions, on library lamps, in the ceiling panels
of restaurants, about the prosceniums in theaters, around the mirror in
the barber shop—wherever he looked there were the ornaments. It is
remarkable how non-observant the average printer is. The hands of
artists—Greeks and Romans—who lived thousands of years ago made similar
designs, and yet a knowledge of history is counted non-essential by
printers and others!
[Illustration:
EXAMPLE 101
Regularity of repeat
]
[Illustration:
EXAMPLE 102
Variety of repeat
]
[Illustration:
EXAMPLE 103
Monotony
]
[Illustration:
EXAMPLE 104
Less monotony
]
[Illustration:
EXAMPLE 105
Contrasted shapes prevent monotony
]
[Illustration:
EXAMPLE 106
Type border of Roman architectural ornament. Compare the straight and
curved lines with the Roman type-face
]
Let us apply the egg-and-dart and bead ornaments as borders in
typography, and notice how admirably they serve the purpose. Example 85
shows the egg-and-dart ornament perhaps too carefully drawn as to
detail; and Example 86 demonstrates how the bead ornament may be adapted
to panel work.
From early times there seems to have been a triple division of taste
regarding ornament. In the days of Rome these divisions were given
expression in the treatment of supporting columns, the three styles
being known respectively as Doric, Ionic and Corinthian. The Doric
column is severely plain, the Ionic slightly ornamental, and the
Corinthian elaborately ornamental.
The Doric style (Example 91) is emblematic of dignity, simplicity and
strength, and appeals to the man preferring these qualities in printing.
The Ionic style (Example 92) represents refinement in ornament, and
pleases the man able to discriminate between the severely plain and the
over-ornamented—a quality of judgment worth cultivating by every
typographer.
[Illustration:
Outlined Filled in
Illustration, not ornament Ornaments without perspective
EXAMPLE 108
]
The Corinthian style (Example 93) expresses the preference of many who
delight in ostentation and elaboration in ornament. The elaborate, showy
acanthus leaf usually forms the chief decoration for the capital
surmounting the column, and the entablature (Example 94) is particularly
rich in ornamentation.
The Doric pillar has been called masculine and the Ionic feminine, the
sturdiness of the one and the grace of the other also being likened to
the warlike Spartans who emphasized the development of the body and the
artistic Athenians who especially developed the intellect.
This difference in ideals and preferences has come down the centuries to
our time. A few years after Cromwell, plain, blunt, and even
disapproving of sculpture and painting, was ruling England, across the
channel Louis XIV. strutted in corsets and on high red heels amid gilt
and glamour in the courts of France.
[Illustration:
EXAMPLE 107
Type-border of English-Gothic pointed ornament.
Compare the black pointed effects with the Gothic type-face
]
Monks and nuns lived plainly in the company of bare walls and squarely
cut chairs, and dressed in subdued browns and blacks, while at Rome
surrounded by the art works of Michelangelo and Raphael the higher
dignitaries were clothed in brilliant reds, and gold and white.
[Illustration:
EXAMPLE 109
Extravagant wall border ornamentation, designed during the Renaissance
in Italy
]
Morris loved an old worn-out house, squarely-cut furniture, burlap, and
subdued colors; while the Newly-riches boast of the magnificence of
their mansions, Louis Quinze ball-rooms and imported tapestry.
Only recently two church buildings were remodeled. In one were placed
ornamental brass railings, lectern, pulpit and candelabra, and
stained-glass pictorial windows; the walls were covered with gilt
fleurs-de-lis on maroon backgrounds, and the entire effect was one of
cheap magnificence. The other church had been an old Colonial structure
of square proportions. Dignified mahogany furnishings were selected, the
walls were ornamented in pure geometric designs, pale gold on tinted
backgrounds, and the windows were made of small panes of glass subdued
in color, in harmony with the architecture of the building, with a
result that spoke good taste and refinement.
Examples 95, 96, 97, 98, 99, 100, present the three divisions of taste—
the plain, ornamentless; the slightly ornamental, and the elaborately
ornamental—applied to typography and reflected in furniture. The
typographer should learn that the arts are related, that the styles of
home-furnishings and architecture influence the styles of typography. A
few years ago mission furniture was introduced and along with it came
architecture that called for exposed roof supports, squarely-cut
moldings, coarse fabric wall coverings, subdued green and brown
tapestries. And before they knew the reason, printers were using heavy
brass rules, rugged type-faces and printing on dark-hued antique papers.
Example 96 is a program page produced under these influences. Compare it
with the so-called “mission” chair (Example 95) and note the resemblance
of motive. Both are rugged, angular and plain.
[Illustration:
EXAMPLE 110
Roman scroll ornament cut in stone
]
[Illustration:
EXAMPLE 111
Type ornament based upon geometric lines
]
[Illustration:
EXAMPLE 112
Type ornament based upon foliage
]
[Illustration:
EXAMPLE 113
Type ornament based upon the inanimate
]
[Illustration:
EXAMPLE 114
Type ornament based upon the animate
]
[Illustration:
EXAMPLE 115. Ornamental hand-lettered effect; obtained by initials,
text letter and rule
]
Now for contrast, compare them with the dainty, elaborately ornamental
chair (Example 97) and the title-page (Example 98). Both chair and
title-page designs are based upon the frivolous rococo style of the
period known as Louis XV. (or Louis Quinze). In that period, shells and
leaves conventionalized into graceful, golden curves were blended with a
profusion of roses and other flowers. Straight lines were avoided, and
furniture and architecture took on curves even to the extent of causing
structural weakness.
[Illustration:
EXAMPLE 116
Corner ornaments may have been suggested by the bolts on inscription
plates or by the cross lines on books
]
[Illustration:
EXAMPLE 117
Ivy-leaf ornamentation, and spaces filled in by decoration. From an
old manuscript book
]
Because a majority of type-faces are built upon horizontal and vertical
lines, rococo type ornamentation is seldom successful in typography. The
pen-and-ink border design (Example 98) is a clever adaptation of the
Louis XV. rococo style. There is not an absolutely straight vertical or
horizontal line in the border, and with the curves and flowers, ribbons,
lattice-work and cupids it makes an appeal to women. The type-face
combined with the border has similar characteristics—a freedom of line
and an abundance of curves.
Examples 99 and 100 show a chair and an announcement page, both slightly
ornamented to please those folks who like neither the severely plain nor
the elaborately ornamental.
* * * * *
Ornament is secondary to the real purpose of the thing it embellishes;
it should not be so lavish as to distract attention from the more
important object. A booklet is issued to convey a message, and should
the reading matter be overshadowed by ornamentation, this purpose may
not be accomplished. A “flowery” oration may entertain and please an
audience, but it may not convince. In 1896 Bryan stampeded a convention
by his extemporaneous eloquence and metaphor, but when he came to the
“enemy’s country” and faced an audience which wanted facts, he read his
address from carefully prepared manuscript.
[Illustration:
EXAMPLE 118
Filling blank spaces with ornamentation, as was done on manuscript
books. Page by Government Printshop, Berlin, Germany
]
During the Middle Ages, when nations were fighting for existence and
necessities of life were barely obtainable, there was little
ornamentation except in isolated instances, but when, about the
fifteenth century, the Renaissance came, art received an enthusiastic
reception. Ornamentation was indulged in to excess, the artists using
all the classic forms and inventing new ones. Example 109, showing wall
border decoration, looks to the printer like a specimen sheet of type
borders. This brings to mind that there is always the temptation to
over-ornament when an artistic job is desired, and the necessity of
advising printers to restrain themselves and save a few ornaments for
other work. Our brethren of the cloth like to repeat the story of the
theological student preaching his first sermon before the Seminary
authorities. He began at Genesis and took his hearers thru the entire
Bible to Revelation. When he had finished an old professor gravely asked
what he would preach about the next Sunday.
The famous designer Chippendale, first made his furniture serviceable
and then added ornament, from which fact the printer should profit. Have
a printed job serve its purpose, and ornament it only so far as is
consistent to this end. It is frequently advisable to omit decoration
and let the type talk without interruption.
* * * * *
Ornamentation when used for border purposes has two features which may
not be apparent to the superficial glance—regularity in repetition and
variety in repetition. Example 101 shows repeated strokes of the same
length. In Example 102 by alternating the length of the strokes the
design is made more interesting. Examples 103, 104 and 105 illustrate
this principle in rounded forms. In the first there is monotonous
repetition, in the second there is less monotony because the oval form
is less regular than the circle, and in Example 105, by contrasting the
forms in both size and shape the design acquires new decorative
interest. This principle of contrast and variety is exemplified in most
border designs. In Example 107 the light scroll lines contrast with the
black leaves, and in Example 106 curves are contrasted with angles.
Contrast is sometimes obtained with color, as shown in Example 123.
* * * * *
[Illustration:
EXAMPLE 119
Semi-ornamental ecclesiastic style
]
Ornament as used by the printer may be divided into four classes:
Ornament based upon geometric lines (Example 111), ornament based upon
foliage (Example 112), ornament based upon the inanimate (Example 113)
and ornament based upon the animate (Example 114). The center ornament
in Example 111 contains the cross and circle, ecclesiastic devices, and
its conventionalized pointed leaves would also admit it to the group
shown as Example 112—ornament based upon foliage. Leaves and flowers
from the beginning have been a prolific source of inspiration to
artists. Before the invention of typography the decorator of manuscript
books reveled in foliage, as will be seen by Example 117, and today when
decoration is added by the process of printing the same liberal use of
foliage is evidenced (Example 118). In both examples should be noticed
the custom of filling blank spaces with decoration.
[Illustration:
EXAMPLE 120. INITIALS
a—Foliage decoration based on the acanthus leaf
b—Imitation of mortised woodcut initials
c—Simple geometric treatment
d—Rugged Colonial style
e—Suggesting literary use
f—Italian ornamentation
g—Plain black and white effect
h—Modern adaptation of Roman torch
i—German scroll decoration
j—Based upon the uncial character
k—Woodcut effect as used by Morris
]
The inanimate (Example 113) lends itself better for ornamental purposes
than does the animate (Example 114), and the less familiar the subject
the better ornament it makes. An ornament based upon the animate is
shown in Example 124, and as will be seen it is not as pleasing as the
one in Example 121, which is based upon the inanimate.
[Illustration:
EXAMPLE 121
Simple ornamentation applied to letterhead. Design by Harry A. Anger,
Seattle, Wash.
]
Initials afford a convenient means of ornamentation (Example 120). An
initial well chosen as to tone and appropriateness often satisfies all
demands in this line. The mortised Colonial initial indicated by _b_
looks well with Caslon roman and printed on antique paper. The acanthus
design _a_ looks well with Washington Text; the Italian design _f_, with
a letter such as Bodoni. Initials are used in a highly decorative manner
in Example 115, after the style found in ecclesiastical manuscripts. The
possibilities of type and rule are here well set forth.
[Illustration:
EXAMPLE 122
Appropriate ornamentation applied to the modern booklet. Page by the
Munder-Thomsen Company, Baltimore, Md.
]
Sometimes ornaments in the corners of a plain rule border (Example 116)
are sufficient decoration. These effects may have been suggested by the
corner bolts with which brass plates are fastened to walls.
In the booklet decoration (Example 122) the artist has taken his motive
from the word “Washington” making the capitol dome and its supports the
central figure in the design, which is Colonial in character. Drawing a
line down thru the center of the design it will be found that with a few
minor exceptions the right half is a duplicate in reverse of the left
half. The effect is frequently found in decorative work, as it gives
balance and differentiates between illustration and decoration. An
illustrative design, showing an actual scene, would not be effective.
[Illustration:
EXAMPLE 123
Effect of alternating colors, for covers and end-leaves of booklets
and catalogs
]
Wall paper and linoleum designs are made in patterns that repeat at
intervals and for this reason answer the purpose of decoration.
Example 119 presents a program page, which, while attractive, has but
one ornament, an ecclesiastic design. The arrangement of bands above and
below the main display assists in forming a decorative effect.
Type decoration in use today shows a preference for forms from Italian
sources. Several years ago the Colonial spirit had influenced a
preference for Gothic-English forms. The work of Goudy, Cleland and
others has had a part in developing taste for the Italian.
In closing this chapter it may be well again to warn the printer not to
over-ornament. The relation of ornament to typography is well covered in
the caution of an experienced architect to a novice: “Ornament
construction, but do not construct ornament.”
The best art is that which is concealed, and which unobtrusively adds
effectiveness to a piece of printing.
[Illustration:
EXAMPLE 124
This ornament, based upon the animate, not well suited for business
purposes
]
[Illustration:
EXAMPLE 126
]
[Illustration:
EXAMPLE 127
These pages are model specimens of book typography. Shown here in the
actual size of the originals, from zinc etchings
]
[Illustration]
THE TYPOGRAPHY OF BOOKS
Good taste, a quality essential to the successful production of all
kinds of printing, is of great importance in the typography of books. In
the matter of good taste most of us are specialists—we perfect our
judgment in some one respect and let it remain erratic in others. A
musician or other artist may stand high in his class and yet, perhaps,
show poor taste in dress and manners.
[Illustration:
EXAMPLE 128
Appropriate title-page of a book of classic poems. By Bruce Rogers
]
A person of good taste is usually conservative. He weighs all new things
in the balance of judgment, and allows enthusiastic faddists to push him
off the sidewalk rather than join the crowd and shout with it. He knows
the fickleness of mobs and remembers that in a week hosannas have been
changed to shouts of bitter invective. The merchant catering to the
whims of fashion ever has unsalable stock on his shelves. In the days of
militant Rome the crowd which one day cheered Sulla, the next day
crowned Marius with laurel.
[Illustration:
EXAMPLE 129
Title-page with a nineteenth century motive. By Bruce Rogers
]
The natural tendency of humanity is radical. The conservatives are in
the minority, yet their influence is great because their opinions are
generally based upon sure foundations. Of course a person can be
progressive and possess a present-day mind without being either radical
or conservative. The natural tendency of job printers is radical. Left
much to their own whims and fancies they produce printed things which
may please only for the moment. The test of gold is not in its
appearance when purchased, but in years of wear. Because a job of
printing is made for short service is no reason why it should not be as
well done as book composition is required to be. All the art-reasons in
book typography are equally applicable to job typography. The two
methods should not be judged by separate standards—a thing is good, or
it is not. At the present time educational work is elevating the
standard of job typography, and the designer of job composition, drawing
closer to his book brother, is beginning to notice the faults and flaws
in the latter’s work.
[Illustration:
EXAMPLE 130
]
[Illustration:
EXAMPLE 131
Poor examples of book typography. Two pages which set forth the common
practice of inharmonious type treatment, the title-page containing
old-style type-faces and the text-page modern type-faces. The
type-face should be of the same design
]
* * * * *
The book typographer, like the lawyer, is governed by precedent. When
the legal man presents an argument he cites Doe v. Doe, and Smith v.
Jones, and with each new discovery of precedent is increasingly happy.
The common law under which we in America are governed originated in
England centuries ago, and the radicals who would dispense with this law
catalog themselves as anarchists. The right-thinking man is
constructive. When a new thing has been proved good he believes in
adding it to what has already been constructed. The radical is
destructive in that he would destroy what has been constructed and
without always setting some new thing in its place. Attics have been
known to hold masterpieces which have been discarded for new, frivolous
things that from an art viewpoint are worthless.