page all in capitals, nor should he use many rules in its composition;
but when the typographic designer has skill and artistic taste in
addition to a developed sense of fitness and refinement, the warnings
and “thou-shalt-nots” that apply to most printers are not for him. Mr.
Nash, with the use of Fred W. Goudy’s Forum type-face and rules that
suggest the guide lines of old manuscript books, has produced an
announcement that is classic in composition, pleasant to look upon, and
a page that carries the message in an especially effective and
appropriate manner. The original was printed on hand-made paper. This
type-face has been modeled on ancient Roman lettering and for that
reason has a classic character that makes it suitable for announcements
and other printing having to do with art, architecture, literature and
music.
EXAMPLES 230 AND 231.—These are the first and third pages of an
announcement originally printed in black ink on brown-tinted hand-made
paper. The type-face, Caslon, was sharply impressed into the stock. It
may be advisable to state here that all Caslon romans are not alike. The
face usually sold by typefounders has the descenders shortened, that the
letters may conform to the system of alignment adopted some years ago in
America. This shortening of descenders, seemingly a trivial matter,
affects the general appearance of the type-face. Attempts to “improve”
the Caslon face are apt to end disastrously to the effectiveness of the
letter. It has characteristics that are essential to its beauty, and
shorn of any of those characteristics it loses attractiveness
proportionately. This announcement folder is of a quality seldom
attained in printing, depending as it does upon detail in typesetting
and presswork. The reproduction cannot present these points, because the
finish of the paper, the clearness of the print, the spacing, the
apportionment of margins, the tone, all counted in the finished result.
EXAMPLE 232.—This circular announcement in its original form was 9½ ×
12½ inches in size, the paper upon which it was printed being gray-green
laid hand-made. The positions of the groups of type matter and the sizes
of margins are features worthy of study. Other points of interest are:
the treatment of heading and initial, the use of florets at the
beginning of each paragraph, and the committee signatures. The
last-named lines are set in italic lower-case with roman capitals, Aldus
style. The border was printed in dull red, close to the edge of the
paper.
EXAMPLE 233.—This meeting announcement is of the same series as the
preceding example, but, set all in black text letter without border, the
effect is totally different. The peculiar black and gray tones of the
Caslon ornaments blend well with similar characteristics presented in
the massed black letter. The page was printed in vermilion and black on
buff laid hand-made stock. The effectiveness of this style of
announcement is due not alone to the typography and stock, but to the
generous size of the sheet used—good paper and plenty of it. This
announcement was mailed without envelops, the double sheet being folded
into thirds and the lower end inserted into the upper end.
[Illustration:
EXAMPLE 234
]
[Illustration:
EXAMPLE 235
These specimens are lettered in a style that suggests the sturdy
masculine character of the lettering developed with the new German
decorative poster art. Designed by Oswald Cooper, Chicago
]
[Illustration:
EXAMPLE 236
A classic arrangement based upon the architectural inscription plate.
By Benjamin Sherbow, New York
]
[Illustration:
EXAMPLE 237
Ornaments as eye-attracters. An idea that could be adapted to many
jobs of printing. Designed by Will Bradley
]
[Illustration:
EXAMPLE 238
Postal-card announcement, the typography of which is attractive, not
because of what is put on, but because of what is left off
]
[Illustration:
EXAMPLE 239
Good advertising typography. Type groups and blank space well
proportioned, and an interesting decorative spot of color
]
EXAMPLE 234.—This announcement page is lettered in a style that suggests
the sturdy masculine character of the lettering that has been developed
with the new German decorative art. Typographers should not make the
mistake of assuming that a page set in the so-called gothic types of the
typefounders would give this effect. While the letters are without
serifs, as are the gothic types, yet they have not the mechanical
perfection of those types. Type-faces, lettering and drawing of any kind
seem to be better liked when they possess the human quality of
imperfection. I once called on Boardman Robinson, then cartoonist of the
New York _Tribune_, and found him at work on a cartoon for the day. I
noticed that he had considerably altered the picture on which he was
working, and I asked him about it. With a smile, he stated that he had
been working on the cartoon for several hours in order to make it look
as if it had been drawn in fifteen minutes. German typefounders have
made type-faces that carry the qualities of this poster style of
lettering. The young printer should not infer from this that careless
and unfinished typographic work is preferable to a careful, finished
product. It will be found that the artist or printer who can best give
this little touch of human nature to designs is one who first learned to
do the work as perfectly as possible.
EXAMPLE 235.—This design was the first page of a folder of which Example
234 was the third page. Oswald Cooper, who lettered this announcement,
used the figure of a dog that had been drawn by the German poster artist
Hohlwein, but gave him due credit in the upper left corner. This style
of lettering, as has already been mentioned, is appropriate to the
subject of German posters and in harmony with the poster illustration
used. Heavy treatment of this kind offers a rich opportunity for the use
of strong and harmonious colors. Light-faced type is very unsatisfactory
as a carrier of color, but the broad strokes of this style of lettering
make possible a liberal showing of color on the page. An extra color has
been introduced, altho the original announcement was entirely in brown
on a brown-tinted card.
EXAMPLE 236.—From the viewpoints of art and dignity an announcement card
such as this one is always in good taste. Its style is classic, being
arranged along the lines of an architectural inscription plate. The
border is the reliable egg-and-dart pattern and the type-face is Caslon.
Capitals are essential to best results in this sort of design.
EXAMPLE 237.—The idea suggested in this page, of using ornaments as
eye-attracters, is a good one. While the design as a whole is decorative
in character, the advertising element is not overlooked. The several
articles of merchandise are prominently displayed, as is also the name
of the store. In the series of type designs of which this was a part,
the designer strongly emphasized ornamentation. There was a reason for
his doing this, as he was engaged in introducing new typographic
decorative material, but printers working for the commercial public are
engaged in a different vocation. In attempting such designs as this,
compositors should decrease the prominence of the ornaments and border
and increase that of the reading portion of the page.
[Illustration:
EXAMPLE 240
Showing the use of roman, italic and spaced small capitals on an
organization announcement
]
[Illustration:
EXAMPLE 241
Unusual division into two groups, providing for fold. By the Calumet
Press, New York
]
EXAMPLE 238.—This announcement was printed in black ink on a Government
postal card. The young compositor will, no doubt, recognize the small
amount of actual typesetting necessary for this page; however, he should
not overlook the fact that the results were really secured by one-tenth
manual labor and nine-tenths brain exercise. A specimen such as this is
good not because of what is put on but because of what is left off.
There are only a rule border, a small silhouette illustration and four
lines of type exclusive of the signature, yet the busy man gets the
message and experiences pleasure in getting it. The type in the original
was no larger than was necessary to be easily read. Compositors
frequently forget that announcements of this kind are read at a distance
of only a foot from the eyes, and that twelve-point type is really large
enough for the purpose. It is usually a mistake to make the type-face
very large or very small. One is an unnecessary size and the other is an
illegible size.
EXAMPLE 239.—This is another announcement set in twelve-point type, with
a liberal distribution of blank space. The personal mark of Mr. Baker
adds a decorative touch of color that attracts attention and helps to
make the page distinctive.
[Illustration:
EXAMPLE 243
Harmony of type-face and decoration
]
EXAMPLE 240 (Insert).—This announcement has typographic interest in that
it shows how variety and advertising emphasis can be obtained by the
proper use of italic and small capitals with lower-case roman,
especially with a type-face such as Cloister Oldstyle. The small
capitals are letterspaced; they usually respond pleasingly to such
treatment. Typographers who have studied the matter of spacing have
found that capitals and small capitals can be letterspaced with good
results, and that roman and italic lower-case seldom look well if the
letters are separated by spacing. It is probably an exaggeration to say
that lower-case should never be spaced, as typographic artists such as
Will Bradley have produced very effective results with letterspaced
lower-case; but the average compositor had better adhere to the rule of
never letterspacing lower-case letters. It will be noticed that on this
announcement the name of the organization, the words “Dinner” and
“Exhibit” and the name of the guest, are set in capitals and small
capitals with letterspacing. The names of the books, the title of the
talk, and the request to return a card, are in italic. Only one size of
type has been used, excepting for the committee group at the foot. In
order that the words “Program Committee” should not look exactly like
the other lines in this group, they were letterspaced.
[Illustration:
EXAMPLE 242
A study in tone values and margins
]
[Illustration:
EXAMPLE 244
Artistic form for brief announcement. By A. F. Mackay, New York
]
EXAMPLE 241.—This announcement form, like No. 240, is conventional in
size, the paper upon which the original was printed measuring 5½ × 7
inches. The arrangement of the type page was designed to provide for the
fold which horizontally crossed the center of the page. The division
into two groups, each in a different type-face, is unusual, and the
manner in which this has been accomplished is instructive to the student
of typography. The use of a large initial gives distinction to the upper
group, and spacing of the Caslon capitals in the lower group maintains a
distinction there. This page illustrates two points recognized by good
typographers—that the printed effect of old-style roman capitals is
usually improved by a slight increase of space between letters, and
that, on the other hand, the printed effect of text letters would be
impaired by increased space between them. There is danger of too great
contrast of tone in a page, and had this example been executed less
skilfully, it would have failed in effect.
[Illustration:
EXAMPLE 245
Colonial treatment of an announcement page. By the Calumet Press, New
York
]
EXAMPLE 242.—This announcement circular affords a study in tone values,
especially in the original size, which was 9 × 12½ inches. The type, Old
Style Antique, was twelve-point, with six-point slugs between lines. The
black tone of the type-face and the liberal spacing found relationship
in the black tone and open lines of the initial letter at the head. This
harmony was carried out in the entire page, the black and white tones
contrasting thruout. No gray lines were used; even the monogram at the
foot was constructed of strong lines. In obtaining an effect like this
it is necessary that the type-face be of medium black tone somewhere
between the gray tone of the Caslon face and the heavy black tone of the
John Hancock or other extra-black faces. It may be well to call
attention to the margins inside the rule border. The artist avoids
monotony in margins. In old books the four margins surrounding a type
page differed. The foot margin was the largest, the others being smaller
in this order: outer side, head, inner side. In this announcement page
the foot margin is larger than the others, and the head presents the
smallest amount of marginal space. The side margins were made equal
because, unlike the paired book page, this page stands alone.
EXAMPLE 243.—Harmony of type-face and decoration is the chief attraction
of this announcement card. Some of the characteristics of Washington
Text in tone and stroke are also found in the initial letter and border,
and to this the harmony is due. Placing of the initial letter so low on
the page was a bit of daring, yet balance is retained, due to the
heading.
EXAMPLE 244.—While only a little folder, 3½ × 4½ inches in size, this
job was exceedingly effective. It was printed in black on white antique
stock. Such a form could well be adapted to many brief announcements.
EXAMPLE 245.—This form was set in type during the Colonial revival that
interested good printers about the year 1900. Caslon type and Colonial
decoration give an individual character to the page. Colonial effects
are not so common just at this time, which fact is quietly digested by
the wise typesetter as he recognizes his opportunity.
[Illustration:
EXAMPLE 246
An announcement literally treated in Colonial typography, even to the
use of the long “ſ”
]
[Illustration:
EXAMPLE 247
]
[Illustration:
EXAMPLE 248
First and second page of an artistic, unembellished announcement
circular. Designed by Benjamin Sherbow, New York
]
EXAMPLE 246.-This announcement demonstrates the possibilities of
typography along the lines of appropriateness. A Colonial organization
wished to announce a meeting at which would be celebrated the founding
of the first American newspaper, and desired something in Colonial
style. The printer looked up a reproduction of an early newspaper and
set the heading in a style such as was given the headings of newspapers
in the early days. The society had an emblem or seal engraved in the
serifless and characterless style of lettering that the average engraver
will give an organization. The printer had the emblem redrawn, giving
instructions to the artist to draw the entire design in freehand and to
be careful that the lines and lettering be not too regular. Instructions
were also issued to have serifs on the lettering and to have it contain
the contrasted light and heavy strokes of the roman type-face of the
Colonial period. As will be seen by the example herewith, the idea was
well carried out by the artist. The society had appropriately phrased
the announcement. The printer carried the idea along by using a small
size of “e” in the word “ye,” and a long “s,” made by cutting a part of
the cross from the “f.” A suitable hand-made paper was selected and the
paper was dampened before printing it. The announcement was then folded
up and sealed in the style of Colonial times, without an envelop.
EXAMPLES 247 AND 248.—These are the first and second pages of a large
circular announcement printed in black and light olive-brown on
buff-tinted laid antique paper. No embellishment is used, nor is any
needed, the treatment being sufficiently artistic. The arrangement of
the first page is uncommon. The lack of margins around the type group
and the absence of print on three-fifths of the page would be counted by
some printers as mere eccentricities, yet to others these things spell
art. Compositors interested in this arrangement should notice how the
type lines fit the phraseology. The advertising element has been
considered by the designer along with æsthetic requirements. The double
line of capitals at the head of the second page was duplicated on the
third. The second page shows simplicity and legibility that are
admirable, the liberal margins and the three-line initial being
noteworthy features.
[Illustration:
EXAMPLE 249
One of four pages of a convention announcement, showing the
attractiveness of rules when properly used with headings
]
EXAMPLE 249.—This is the second page of a convention announcement and is
evidence of the success that is possible with the proper use of a
well-designed type-face, an appropriate initial, and rules to separate
the headings. A combination of a heavy- and light-faced rule has always
looked well with the Caslon style of type-face.
[Illustration:
EXAMPLE 250
Announcement designed by an artist who believes in the liberal leading
of type lines
]
[Illustration:
EXAMPLE 252
Blotter announcement in rugged Colonial style
]
EXAMPLE 250.—This announcement, originally printed on hand-made paper,
all in black ink, was designed by a famous New York artist-typographer,
who believes that there is greater legibility when the lines are
separated by a liberal use of leads than when they are “set solid.” The
arrangement is unusual in several respects—the placing of the name in
the far-off upper corner, the use of the initial “A” in the midst of a
sentence, the setting of the names of the officers in italic and their
titles in roman, and the liberal leading previously referred to.
[Illustration:
EXAMPLE 251
Announcement in black and gray on gray fabric-finished stock,
illustrating harmony of type-face and decoration
]
EXAMPLE 251.—This specimen also has the feature of an initial in the
midst of a sentence, and it may be well to suggest to young compositors
that it is better not to use an initial in this manner. This page would
probably be even more effective if the entire word “announces” were in
lower-case. The announcement was printed in black and gray on a
light-gray stock. The foundry that made this series of type also made
ornaments that would harmonize with it and thus enabled the printer to
produce an artistically pleasing page. This letter is one of a few that
closely suggest good hand-lettering. The selection of type sizes and the
arrangement and apportionment of margins help to make a result that
reflects credit on the printer’s art.
EXAMPLE 252.—A blotter was the vehicle that carried this announcement,
which is in the rugged Colonial style of typography of the year in which
this piece of work was produced. The tone is pleasing, as is also the
contrast of white and black. The ornament blends in shape and style with
the accompanying typographical treatment.
In the production of his own announcement forms the printer is not
hampered by the requirements of customers. He works with the
unrestricted freedom of a Michelangelo and there is little reason why
his work should not be of the best, if he will read and study books and
trade magazines.
[Illustration:
EXAMPLE 257
The historic Gothic, or pointed style
]
[Illustration:
EXAMPLE 258
Strong treatment, the motive of modern origin
]
[Illustration:
EXAMPLE 259
A striking effect that should please the college student
]
[Illustration]
TICKETS
It is said of printers who make no attempt to learn the principles
governing art typography, that once or so in a lifetime they produce an
artistic job of printing. They become much elated at the phenomenon, not
realizing that it was brought on by the unconscious introduction into
their product of art principles. The experience may be likened to that
of a child who accidentally touches an electric button, causing the room
suddenly to be illuminated. The child knows the light is there, but does
not comprehend how it got there.
Now instead of being the cause of an oriental handshake, a good job of
printing ought to be an everyday occurrence, and the stirring of the
waters should be left for the bad job of printing when, unfortunately,
it happens along.
Lack of interest is the reason for the non-development of many printers
in the art side of typography. Because, to many compositors, printing is
merely a means of making a living, only enough knowledge is acquired to
enable them to “hold their jobs,” or, in the cases of employers, to
retain their customers. Time spent in the printshop is considered
drudgery and the pleasures of life come after the whistle has blown.
There are young printers who know comparatively nothing about good
typography, yet are authorities on the rules of pinocle, baseball, or
other pastimes. And there are older printers, too, who could write a
book about chicken-raising, yet do not know when type-faces harmonize.
Any man who is not interested in his vocation is to be pitied. Unless
his heart is in his work, a lawyer, preacher, editor, ad-writer, artist
or printer will not be successful.
Interest may be developed. If the typographer will devote a portion of
the time now spent on outside matters to the study of his craft, and
especially the art side of printing, his work will become lighter and
the hands on the clock will chase each other. The same concentration of
thought now devoted to unimportant side interests would bring large
dividends if invested in the study of typography. Efficiency is a
guarantee of steady work and good pay to the employee, and an assurance
of steady customers and better prices to the employer.
[Illustration:
EXAMPLE 256
Classic, refined treatment, for art and literary purposes
]
The typographer who prefers freedom from care, and the blissfulness of
ignorance, is a poor member of society. He should line up among the
world’s workers and accept some of the responsibilities. The first
things he observes, should he become a student, are the imperfections of
his own product. Work that before looked good to him, now, viewed in a
new light, is defective, and finally the old verdict is reached, “There
is none perfect, no, not one.” While to the experienced art-printer
expectations of absolutely perfect results are known to be futile, he
tries for one hundred per cent just the same. A man lacks something in
his make-up when he is satisfied to be rated as a twenty-five or fifty
per cent printer.
* * * * *
Tickets, altho only a minute part of the printing-office product, afford
opportunity for the practice and development of art printing. In
typography there are many themes and styles and their incorporation into
type-designs is an interesting and instructive study. The compositor or
layout man should know and understand these various styles, that he may
be able to adapt himself to any demand made for “something different.”
Resourcefulness is a valuable characteristic for any printer to possess,
and close examination of the nineteen ticket forms, and careful reading
of what follows, should serve to develop that quality. These forms were
designed by the author especially for this chapter.
EXAMPLE 256.—It is fitting, in commencing a series of type arrangements,
first to show one based upon a classic motive. The design is old to
students of art, yet may be new to printers in general. The arrangement
has been used for many years by leading architects on inscription
tablets, and the idea itself comes from ancient Rome. The egg-and-dart
border is a standard embellishment in architectural designing. The roman
type-face is historically proper, especially the adherence to capitals,
as originally there was none but what we call capitals, the small
“lower-case” or minuscule letters having been evolved during the Middle
Ages. The letters of roman type-faces usually set very close together
and to get certain results the capitals should be slightly spaced.
One-point spaces have been used in this example. White cardboard is
preferable to a colored one on which to print this design.