beautiful colors and lights, and a dozen millionaires will want to marry
her—an extreme illustration of the power of attractive display,
emphasizing the necessity of “playing up” the ordinary to create the
desire of possession. It is possible, also, to accomplish this purpose
by different methods. It is told of Josephine that, wishing to gain the
admiration of Napoleon, she appeared at a reception in a gown of pure
white, without ornament. The contrast of her simple dress with the
elaborate costumes of the other women and with the elegant furnishings
of the room was such as to draw compliments from the emperor. It should
be remembered, however, especially by the typographer, that mere
plainness of dress did not win Josephine her triumph, but that artistic
simplicity did. A block of marble rough-hewn from the quarry is plain,
but, carved into statuary by a Rodin, is far more than that.
This point is worthy of meditation by all who wish to produce the
effective and attractive catalog.
Efforts have been made to standardize the dimensions of catalogs; it
would be well for printers and others to assist in accomplishing this
purpose. A committee of the American Society of Mechanical Engineers,
after investigating the sizes of catalogs in common use, recommended
that the standard size of catalogs be six by nine inches. The
recommendation was also made that the size of bulletins and large
catalogs be eight and a half by eleven inches.
Other suggestions by the committee were: Paper-covered catalogs intended
to be permanently filed should be trimmed to exact size, cover and all,
barring deckle edges. Overlapping covers are favored only when the
covers are stiff enough to support the catalog’s weight when standing on
edge. Titles should be printed on the exposed backs of the catalogs,
reading from top downward. The date of publication should appear on the
title-page. An index card of standard size (three by five inches),
containing the title and character of the contents, should be inclosed
in every catalog.
[Illustration:
EXAMPLE 178
]
[Illustration:
EXAMPLE 179
Facing pages that show effective results obtained in a simple way. The
plain, legible typography ably supports the strong illustration and
attractive border treatment. By the Matthews-Northrup Works,
Buffalo, N. Y.
]
Before proceeding with the composition of a catalog the printer should
insist that the copy be legible, orderly prepared, and all points
settled as to type-face, headings and position of illustrations. A dummy
page should be planned and set up, and it should be studied and
discussed by customer and printer before work is begun on the catalog as
a whole.
If the catalog is to be elaborately treated, all drawings should be
approved and plates made before the type work is commenced. If the
printer is assisting in the general preparation of the catalog, he
should keep before the customer the fact that decoration is merely
supplemental, and should urge first attention to the type matter and
illustrations.
EXAMPLE 175.—This catalog is one of those productions which in style so
closely express the personality of an individual that they are not a
direct help in teaching typography or catalog planning to others. Most
typographers must proceed according to defined requirements and plan
their work with regard to set styles. Mr. Cleland and a few other
typographic artists in this country carry out their ideas without the
assistance of an advisory board. The average typographer or artist, on
the other hand, must not only incorporate the suggestions of half a
dozen persons, but must submit to the deletion of most of the little
things that to his way of thinking give his work character and make it
worth while—the penalty of being merely an average typographer. Mr.
Cleland is a student of the best printing of past centuries, and his
refined taste and wonderful skill with the pen enable him to produce
effects that would be envied by the master printers of old.
On this page he has used Bodoni Book, slightly spacing the capital
letters and grouping the matter so that it dominates the blank space in
the lower portion of the page.
The cartouche, or panel, as here used for the car name was in favor in
Bodoni’s day, a hundred or more years ago. The horizontal position of
the illustration adds to the pleasure in examining the catalog, for when
an illustration runs the long way of such a page the necessary turning
of the book is an annoyance.
EXAMPLE 176.—Brass rules are seldom well applied in typographic work,
but when they are, as in this instance, the results are pleasing. This
page, because of its tabular nature, was doubtlessly difficult to
arrange, and every compositor, appreciating that fact, will admire what
Mr. Cleland has accomplished. It should be noticed that words of roman
capitals have in every instance been letterspaced, while those in
lower-case have not. This treatment gives effects that are unusual and
well liked by persons of good taste.
EXAMPLE 177.—This shows the cover of a catalog of plays. Will Dwiggins
in his usual clever manner has made a design full of character, human in
the absence of the mechanical. The lettering contains suggestions for
effects that could be approximated with some well-designed type-face. It
will probably be well to warn against the careless use of typographic
ornaments in any attempts that may be made to imitate the effect of this
decorative border. Architectural designs formed with the average
printshop material seldom look well. Simple rule effects would be
better.
[Illustration:
EXAMPLE 180
]
[Illustration:
EXAMPLE 181
Inside page and cover of a publication catalog designed by D. B.
Updike. The typographic treatment of these two pages is suitable and
pleasing. The cover stock was green-gray of a rough antique finish
]
EXAMPLES 178 AND 179.—In many catalogs a page illustration is faced with
a page of reading matter describing it. In this instance the descriptive
matter is small in amount and for that reason presented a problem in
typography. The printer, however, solved the difficulty by using a
type-face fairly large in size, but of good design, and placing the
group in the upper part of the page aligned with the top of the
illustration. It is well to keep in mind that in booklets, catalogs and
similar work good results are frequently obtained by aligning all pages
at the head. The effectiveness of these two pages is helped also by the
fact that a red border surrounds each page and the halftone has a dark
background.
EXAMPLE 180.—There is evidence in this specimen that it is possible to
obtain variety and interest by simple means. The italic, especially with
the decorative quality found in swash letters, is a factor, and the rule
at the head, with bits of decoration at the ends, also helps. It will be
noticed that no leaders have been used; their omission is sometimes
advisable, at other times not. An antique-finished white paper is best
for old-style effects such as this.
EXAMPLE 181.—This cover-page has been built on the small illustration.
From the old fireplace the view of the room fades into the paper stock.
After the border line is extended from the drawing, there remains a
large amount of blank space, on which the title, in a well-balanced
position, is arranged in type. The address neatly fitted in the space at
the foot finishes the design at that point.
[Illustration:
EXAMPLE 182
German poster type on a grocery catalog with characteristic block
grouping
]
[Illustration:
EXAMPLE 183
]
[Illustration:
EXAMPLE 184
Typographic arrangement of the title-page and one of the inside pages
of a museum catalog. The proportions of this type-face blend
harmoniously with the dimensions of the page. Example 184 shows some
details of catalog composition
]
[Illustration:
EXAMPLE 185
Rules add a decorative quality to this book catalog. By J. H. Nash
]
EXAMPLE 182.—Modern German typographical ideas have found expression in
this grocery-catalog page. The lettering is type, the black tone and
decorative form of which were probably inspired by strong lettering
designed for poster purposes. Rules seem to have a place in the building
of modern German art effects, as will be seen by this design. Bold type
as used here is possibly unnecessarily forceful, but when color is to be
shown in its true values it is desirable. Color never shows to advantage
in thin lines, while broad lines bring out the color qualities of the
ink. This is why colored inks printed from light-faced types seem to
lack the brilliancy of the prints from flat-surfaced plates in
ink-makers’ sample books.
EXAMPLES 183 AND 184.—Every printer at some time is called on to produce
catalogs in which books or other published articles are listed and
priced, and on such occasions wishes to see what “the other fellow” has
done in this line. For this reason the two pages are of interest. They
show a title-page and a representative inside page from a catalog issued
by the Metropolitan Museum of Art, New York. The type-face is of the
class usually designated as French Oldstyle, and its proportions blend
harmoniously with the dimensions of the page. The distribution of blank
space on the title is pleasing; the type lines are so grouped as to
secure value from the background of white. In Example 184 the heads and
subheads are pleasingly contrasted by the use of capitals in some cases
and small capitals in others. Each item is grouped, and the technical
details are kept orderly by being placed in a line with the price. No
period is used after the item number.
[Illustration:
EXAMPLE 186
An automobile catalog page in which the type matter was prominently
treated. The original page (about twice this size) was printed in
dark-gray and orange inks on white antique paper. By the Robert L.
Stillson Company, New York
]
[Illustration:
EXAMPLE 187
Unusual treatment of an automobile catalog page. The original was more
than twice this size. The matter is liberally supplied with
headings, the arrangement in the panel at the left taking care of
most of them. By the Cadillac Printing Company, Detroit, Mich.
]
[Illustration:
EXAMPLE 188
Page in reduced size from a wine list designed by T. M. Cleland for
the Oswald Press. Interesting use of rules in tabular style
]
EXAMPLE 185.—Scotch Roman type is used to excellent advantage in this
book-catalog page. The title in each case is in large capitals, the
sub-title and the name of the author are in smaller capitals, the
explanatory matter in roman lower-case and the technical details in
small italic. It will be seen that the advertising points have been
carefully considered. A rule border and two ornaments add decorative
quality. The closeness of the border to the type matter merges it with
the page in an attractive manner. As in this case, decorative treatment
should be a part of the general design and not something separate.
EXAMPLE 186.—On automobile catalogs typography seldom receives the
attention it deserves. Illustration and decoration are given great
attention, and what type matter is used seems to be like a guest invited
at the eleventh hour. However, this example is from a catalog in which
type acts an important part. In its original form this page was about
twice the size of the reproduction and was printed in dark gray and
orange on white antique paper. It will be seen that beginning with a
colored initial the reader can without effort or eyestrain read the
descriptive matter, which is followed by technical details in smaller
type and a line illustration of the car. Scotch Roman was used, and it
was not found necessary to introduce italic.
EXAMPLE 187.—The treatment of this page is uncommon for catalog
purposes. A Goudy type-face was printed in dark brown (border rules in
light brown) on an Italian hand-made paper. The size was more than twice
that shown here. Sub-headings have all been grouped in the panel at the
left, each so placed as to be opposite the paragraph to which it
belongs. The effect was one of richness and suggestive of quality.
Illustrations of the cars were of page size printed by the gravure
process.
EXAMPLE 188.—Few printers would use rules in tabular form for a
high-class wine list; tabular work is supposed to offer no opportunity
for art expression. We know of the stone rejected by the builder which
became the headstone of the corner. We have also heard of Michelangelo
carving a masterpiece from an ill-shaped block of stone that had been
discarded by other sculptors. Mr. Cleland did an equally interesting
thing when he selected rules to give decorative quality to this wine
list, supplementing characteristically drawn head- and tail-pieces.
Caslon Oldstyle was used and the paper was hand-made. A pleasing effect
was obtained by letterspacing the capitals in the headings.
[Illustration:
EXAMPLE 189
German treatment of a wine list, showing neat typography and
attractive decoration
]
EXAMPLE 189.—We usually expect strong, masculine effects from German
typographers and decorators, and when we come across a wine list as
dainty as this one we are surprised and pleased. There is remarkable
harmony of type-face, decoration and illustration. The type-face is
uncommonly legible for so ornamental a letter, and the light decorative
lines of the illustration and border reflect the qualities of the
type-face. In the original there was an additional border around the one
here shown, and it was printed in a very light gray-brown tint. The tint
also appeared in parts of the illustration.
[Illustration:
EXAMPLE 190
]
[Illustration:
EXAMPLE 191
Title-page of a catalog of exhibits, and a page showing the use of
capitals and italic for the descriptions. By D. B. Updike
]
EXAMPLES 190 AND 191.—These pages are from an exhibition catalog. D. B.
Updike is responsible for the typography, hence the pages afford an
interesting study. The catalog is printed in four sizes of type, altho a
cursory view of the pages would lead to the impression that a less
number is used. There are three sizes of capitals and one size of
italic. A fact that makes the catalog unique is the absence of roman
lower-case. It is difficult to visualize an eighty-two-page book without
roman lower-case, but here is one. The title-page (Example 190) is
composed in three closely related sizes of capitals, corresponding to
the sizes used on the inner pages. The important words, “Catalogue,”
“Memorial Exhibition” and “Augustus Saint-Gaudens,” are set a size
larger than the minor words “of a” and “of the works of,” altho the
difference is but a point. The small woodcut is an appropriate
accompaniment of the classic style of the type composition, and the
harmony is further enhanced by printing in a clear black ink on thin
white antique paper. Example 191 shows a page from the body of the
catalog, the features of which are worth noting. All lines excepting the
exhibit number are set flush at the left, and the paragraphs or groups
are separated by space. The title of the exhibit is set in the larger
capitals, the descriptive matter in italic lower-case, and quoted words
in the smaller capitals. Punctuation at the ends of lines is sometimes
omitted and sometimes used. The rule adopted by modern typographers—to
omit punctuation points at the ends of display lines—leads to nice
distinctions when a page such as this one is to be treated. As a help in
deciding on proper marginal distribution on work of this sort, it is
well to mention that the size of the leaf of this catalog was 4¾ × 7¾
inches, the type pages measuring 2⅝ × 5½ inches or less, the type pages
not being of regular length. The margin at the head was ⅝ inch; at the
binding edge, ⅞ inch; at the outer edge, 1¼ inches; at the foot, 1⅝
inches or more.
[Illustration:
EXAMPLE 192
Interesting page from a sewing-machine catalog. By Matthews-Northrup
Works, Buffalo, N. Y.
]
EXAMPLE 192.—This shows a page from a catalog of sewing machines and
sewing-machine parts. The workings of the machine were pictured in such
a realistic manner that the effect was almost equivalent to a
demonstration on the machine itself. The border did not force itself on
the attention, yet furnished the decorative element to the page. The
type matter, in Caslon roman, was stylishly arranged in harmony with
illustration and border, and was notable because it was probably given
as much consideration as the designing and plate-making.
[Illustration:
EXAMPLE 193
Neat typography on an attractive background. Glove catalog by the
Hall-Taylor Company, Milwaukee, Wis.
]
[Illustration:
EXAMPLE 195
Clever treatment of tabular matter in a catalog page. By the
Chasmar-Winchell Press
]
[Illustration:
EXAMPLE 194
An artistic treatment of a commercial catalog showing what is possible
in typography. By Taylor & Taylor, San Francisco, Cal.
]
EXAMPLE 193.—This firm has gloves to sell and in a particularly pleasing
and artistic manner catalogs them for the information of the buying
public. By means of the four-color process the gloves are shown in their
natural colors, and placed in the “spotlight,” as it were, by the
gradual fading away of the dark background about them. A general talk on
the subject of gloves is carried from page to page, while the number and
description are placed in smaller type directly beneath the articles.
EXAMPLE 194.—In commercial catalog work the illustration of the article
to be sold is of the same importance as the article on the counter in
the salesroom. The usual method of selling is to show the customer the
article and then by giving information about it and telling of its good
qualities to persuade the customer to buy. The illustration, then, is
important, and by looking on Example 194, we can see how one printer
recognized this fact. The roll of yarn is prominent in the page and the
name of the yarn is second in seeking attention. The goods are displayed
attractively in surroundings that are interesting. The decorative border
(made of rule) has merged with it the name of the manufacturer.
EXAMPLE 195.—It requires the skill of a typographer and the talent of an
artist to make a good-looking page from tabular matter. Where this
combination is lacking the result is commonplace and unsatisfactory. It
was not lacking on this example, for one seldom sees a tabular page so
attractively arranged.
[Illustration:
EXAMPLE 200
Program cover page in ecclesiastical style
]
[Illustration]
PROGRAMS
“Let all things be done decently and in order.” These words of Paul,
while possible of wide application, have peculiar significance applied
to the program. The program exists because of recognition of the
necessity of orderly procedure “where two or three are gathered
together.” Historically, the program has come to us from the early
times, when all knowledge was transmitted by word of mouth. Church
services are the result of evolution from ancient ceremonies, and other
exercises for which programs are used originated in the far past.
Programs familiar to printers could be divided into four classes:
Programs of sacred services, dance programs, banquet programs, and
programs for various entertainments. In this order they will be
considered.
[Illustration:
EXAMPLE 201
Excellent arrangement for economizing space on a program containing
numerous small titles
]
The historical side of the program of sacred services should not be
overlooked. It is a mistake for printers to produce church programs in
the same style of typography employed on secular forms. Church programs,
more than any other line of printing, offer opportunity for artistic
treatment, and their production is pleasure to the artist-printer who
believes significance is an important element in good typography.
[Illustration:
EXAMPLE 202
An almost perfect specimen of church-program printing, showing the
missal style
]
The key to the proper treatment of ecclesiastical printing lies in the
old manuscript books written in the monasteries. Black ink was commonly
used for the main portion of books, and vermilion, a red earth
(_rubrica_), for titles and important parts of the text. In the writing
of Missals (containing services of the celebration of mass), of Psalters
(containing the psalms), and of Books of Hours (containing prayers and
offices for the several hours of the day), maltese crosses and uncial
capitals were written in vermilion. Uncial capitals are now made by
several type foundries as Missal initials, Caxton initials, Sylph
initials, etc., and maltese crosses are easily procured. As black text
letters were also used on these missals and psalters, the type-faces now
known as Caslon Text, Cloister Black, Flemish Black, etc., being copies
of these early text letters, are appropriate faces for display portions
of church programs. Text letters were long ago discontinued for body
purposes in English printing, hence they have become unfamiliar to the
general reader and it is not desirable to use them for such purposes. A
roman letter such as Caslon is the best companion for these black text
letters.
[Illustration:
EXAMPLE 203
Classic treatment of church-program page. By D. B. Updike, Boston,
Mass.
]
The Church of England, the American branch of which is known as the
Protestant Episcopal Church, deserves much credit for the modern
development of an ecclesiastical style of printing. Because of the
custom of using red ink in forms of service, for the parts giving
direction as to the conduct of the services, these parts have become
known as “rubrics.” It is necessary to mention to printers generally
that when colors are used on programs or books of service the “rubrics”
should be in red. This treatment is illustrated in the page from the
marriage service shown as Example 146 in the chapter on “Books” which
also shows an uncial initial. When only black is used it is customary to
set the rubrics in italic.
[Illustration:
EXAMPLE 205
Generous margins on a church program are pleasing
]
EXAMPLE 200 (Insert).—This title-page presents a modern interpretation
of the historic ecclesiastical treatment. The black type-face is Caslon
Text, and is a copy of one of the early manuscript letters, as before
mentioned. As pointed Gothic is usually accepted as the style of church
architecture, so pointed Gothic type-faces have been adopted for church
printing by typographers who know. Uncial rubricated initials as used on
this title-page are known commercially as Caxton initials. The red lines
which are a prominent part of the page have historic significance. Now
grown to possess decorative value, they originated thru the necessities
of writers of manuscript books, and were originally guide lines for
writing. They designated the position of the page and the lines of
letters. With the ancient churchmen the maltese cross was the symbol of
Christ, and today also these crosses have that significance, altho to a
great extent they are now considered merely as ecclesiastical
decoration. The square device in the center is in the Celtic style of
ornament. The significance of the design lies in the decorative cross
and the letters I. H. S. (_Iesus Hominum Salvator_, Latin, meaning
“Jesus Saviour of Men”). It may be well to suggest that treatment of
church printing should be varied sometimes with the denomination for
which the work is done. The majority of clergymen will be pleased with
printing treated in the accepted ecclesiastical style, yet there are
some, prejudiced against “high church” liturgies and emblems, and others
with individual ideas of what is appropriate, who must be considered.
The writer recalls an instance in which the customer, an Episcopal
clergyman, objected to what he called a “Latin” cross, used as an
ornament on a title-page, and was satisfied when a maltese cross was
substituted for the purpose. Many church programs which now appear
commonplace would take on a churchly aspect if rubricated, even tho that
be possible only on the title-page.