motive for the treatment of this ticket. Both border and type-face
possess characteristics peculiarly Gothic—notably the pointed form of
the letters and floret. There is also blend of tone, and similar
contrast of heavy and light strokes in letter and border. Ancient
features are consistently carried out in the arrangement. The lines are
set close to the border and made full length. Contrast is obtained by
the use of color and the emphasis in type size of two important phrases.
This style of treatment is appropriate for tickets used by churches or
kindred organizations.
[Illustration:
EXAMPLE 260
Modern treatment based upon the Colonial
]
EXAMPLE 258 (insert).—The style of this ticket is a modern conception
and originated in the art revival of the latter part of the last
century. The motive is masculine and its features are contrast of tone,
massing of lettering, and liberal blank space. It will be noticed that
while in this specimen the margin inside of border is wide, on the
previous specimen (Example 257) there is practically no space inside of
the border. These features are necessary in the correct interpretation
of the respective styles. The motive of the specimen under consideration
is particularly applicable to tickets for minstrel performances,
smokers, club outings, and other affairs in which men are interested.
EXAMPLE 259 (Insert).—The color border on this specimen suggests a means
of varying the treatment of tickets, the extension of the border into
two of the corners adding distinction. Such a design as this is likely
to meet approval among college students, as they welcome odd and
striking effects. The strong italic lower-case is a relief from the many
more familiar roman faces used on such tickets. Emphasis of important
parts is obtained by increasing the type sizes until proper contrast is
obtained.
[Illustration:
EXAMPLE 262
Daintily appropriate in type-face and illustration
]
[Illustration:
EXAMPLE 263
The secession or mission style applied to ticket composition
]
EXAMPLE 260.—The treatment of this example may be described as modern
based upon the Colonial. The Caslon type-face furnishes a Colonial
atmosphere, and the border treatment of color inside surrounding rules
blends with the type-face. Only two sizes of type are used and
lower-case is consistently adhered to. The shape of the main group gives
a pleasing symmetry to the arrangement, the floret serving well to
complete this result. The effect as a whole is bookish, and may be
adapted to various literary and art purposes. White or buff stock would
be suitable, antique finish preferred.
[Illustration:
EXAMPLE 261
Suggested for course tickets. Coupons should be attached
]
EXAMPLE 261.—There may be an idea here for course tickets in which a
number of lectures are listed. The form as shown is not complete, the
idea including the attachment at one side of coupons containing the
names and dates of the lectures. Only capitals are used and the three
main lines are aligned at each end of the measure. The narrow border
gives a finish to the general design, which is well suited for printing
in black ink on white stock.
[Illustration:
EXAMPLE 264
The ecclesiastical or missal style well adapted
]
EXAMPLE 262.—Here we have a ticket of peculiar interest to women and the
treatment is daintily appropriate. Caslon italic is an admirable letter
for the purpose, as it is graceful and neat. Bold treatment and large
type have been avoided, the main portion of the copy being grouped in
the center and surrounded by liberal blank space. The outline
illustration underprinting the type group gives added interest to the
ticket and may have advertising value in the suggestion it presents of
the evening’s pleasure. White card would be proper, and a buff or
gray-blue stock might also look well.
[Illustration:
EXAMPLE 265
Perhaps Morris would have set a ticket this way
]
EXAMPLE 263.—This ticket presents the geometric, or so-called secession
style; a mild example, tho. Because straight lines form its motive, some
call it the mission style. There are possibilities in it for the
typographer looking for fresh ideas with which to vary his work. Right
here it may be well to warn compositors against becoming enthusiastic
over every new style of type arrangement that may come to his notice.
There are men who in their endeavors to do something to win fame—
something astonishing and entirely original—set out on unknown seas
without rudder or compass. The result usually is shipwreck. The printer
who starts out to produce typography not founded on some proved and
tried base builds a house in the sands that may come tumbling down at
the first test of endurance. A type-face of squared shape such as the
capitals of lining gothic is best fitted to accompany the squares and
angular ornaments of the mission or secession style. A gray stock on
which to print this example would be a wise selection.
[Illustration:
EXAMPLE 267
Modern application of classic type effects
]
[Illustration:
EXAMPLE 268
Patterned after Colonial treatment of title-pages
]
EXAMPLE 264.—This specimen will be recognized as an adaptation of the
missal or mass-book style of treatment, mentioned in a previous chapter.
It is an accepted ecclesiastical arrangement, and proves as pleasing on
a ticket as on a title-page. Uncial initials (as are here shown in
color) may be had of typefounders in slight variations. White or buff
card admirably supports missal treatment.
EXAMPLE 265.—Inspiration for ticket designs may even be drawn from the
work of William Morris and the Italian printers who used the black-toned
decorative border, altho this style should not be undertaken unless the
proper border is available. The one here adapted carries out the idea
fairly well. Old Style Antique set snugly to fill the panel gives the
proper results, the capital lines also being necessary to this style.
Tickets for educational and art functions especially lend themselves to
this treatment and white card should be used.
[Illustration:
EXAMPLE 266
The medieval art worker furnished a motive for this ticket
]
EXAMPLE 266.—The motive for this ticket form came from observing that
art workers during the Middle Ages frequently engraved inscriptions
around the margins or borders of plates, slabs, doors, and like objects.
This suggested the adoption of the idea to carry a few pertinent words
on an entertainment ticket. Cardboard of almost any color could be used.
EXAMPLE 267.—Perhaps this arrangement could be described as a modern
application of classic type effects. The display lines are in
Cheltenham, a face that approximates some of the ancient Roman
lettering, and the treatment of the ticket as a whole is chaste. The
ornaments, surrounded as they are by blank space, emphasize the classic
simplicity of the ticket. The type group is tapered to give proper
symmetry.
[Illustration:
EXAMPLE 269
A dainty, refined effect suited to many occasions
]
EXAMPLE 268.—This is purely a Colonial effect and closely follows the
arrangements found on title-pages of the seventeenth and eighteenth
centuries. Hair-line rules well separated by space were common in those
days. The type here used is Caslon, a letter cut in the eighteenth
century, and one especially suited to Colonial typography.
Antique-finished card in white and buff is appropriate.
EXAMPLE 269.—Dainty, refined effects are demanded by certain customers.
This specimen demonstrates the effectiveness of such treatment on a
ticket. Two sizes of type (Pabst), all capitals and slightly spaced,
give the proper results. The ornaments are used as symbolic decoration.
[Illustration:
EXAMPLE 270
Robust treatment of an outing ticket
]
EXAMPLE 270.—The typography of this ticket is distinctly masculine. This
result has been obtained by the use of capitals of a robust type-face,
so distributed in size as strongly to emphasize the important phrases.
Had this form been printed in one color, the two type lines now in color
should have been reduced a size. It is well for compositors to keep in
mind that when orange is used in combination with black, the portion
printed in orange will be lighter in tone than that in black, unless the
difference is provided for by bolder or larger type-faces. Any color of
stock excepting dainty tints would do for this ticket.
[Illustration:
EXAMPLE 272
Treatment that should prevent easy counterfeiting
]
[Illustration:
EXAMPLE 273
Corner decoration suitable to the subject
]
EXAMPLE 271.—This unusual arrangement was dictated by the nature of the
cab ornament. The shapes of the type groups are built about it. Were the
cab ornament not used, another arrangement would be necessary. There are
social clubs of all kinds in every city, and balls are frequently held
for which tickets are needed. An element of interest such as is given by
the cab ornament would surely be appreciated by such customers.
[Illustration:
EXAMPLE 271
The cab ornament dictated the type formation
]
EXAMPLE 272.—Occasionally there comes to the printshop a customer
wanting a ticket which cannot easily be duplicated by any one with a
press and a few fonts of type. Instead of referring the customer to a
lithographer the printer should ascertain if he is not in a position to
produce such a ticket. The style of the one here shown is suggested for
such emergencies. A type border printed in color forms the background.
Over this print the reading matter, and for the display lines use a
type-face that happens not to be possessed by other printers in the same
city. In providing a border for this ticket a rule with double lines has
been used, thus blending it with the double lines of the type-face.
White stock should be selected for this ticket.
EXAMPLE 273.—The corner decoration is in keeping with the subject of
this ticket, and the arrangement as a whole is suggested for similar
purposes. Any color of cardboard is suitable.
[Illustration:
EXAMPLE 274
This arrangement has an old French motive
]
EXAMPLE 274.—The decoration of early French books furnished the motive
for the typographical treatment of this ticket. It is submitted simply
to demonstrate that ideas for arrangement can be picked up in many
quarters, and as a suggestion that typographers go thru the world with
eyes open.
[Illustration:
EXAMPLE 275
Neat, conventional treatment of a letterhead containing a large amount
of copy. The bold-face type lends variety to the heading and brings
out important points
]
[Illustration:
EXAMPLE 276
Professional stationery must be treated with dignity and refinement.
The type should be small
]
[Illustration:
EXAMPLE 277
Suggested treatment for church stationery of the conventional kind. A
text letter is appropriate and is usually satisfying
]
[Illustration:
EXAMPLE 278
As a change from the style shown in Example 276, professional
stationery could be treated in this manner in one body size of a
modern job type
]
[Illustration]
LETTERHEADS & ENVELOPS
Is there a standard size of letter sheet and envelop for commercial
correspondence? A look thru the letter files of any business house will
reveal the interesting fact that most of the letters are on sheets
measuring 8½ × 11 inches. Letter sheets of about this size have been in
use for many years. From De Vinne’s Price List of 1871 we learn that 10
× 16 inches (8 × 10 folded) was the favorite size of letter sheet, and
that for commercial letters the size 10¾ × 17 inches (8½ × 10¾ folded)
was sometimes required.
Note sheets were then in two sizes: Commercial note, 8 × 10 inches (5 ×
8 folded); and packet note, 9 × 11¼ inches (5⅝ × 9 folded).
The typewriter and modern commercial requirements have since developed
use of the single leaf, altho for personal correspondence and certain
refined business purposes the folded note sheet is proper.
In passing it might be noted that in the price list above mentioned the
printer is urged to charge an increased price when “brass or French
flourishes are used in excess.” The composition of “one plain heading,
of not more than four straight lines,” was to be charged at seventy-five
cents; “one ornamental heading with curved lines,” twenty-five or fifty
cents additional.
[Illustration:
EXAMPLE 279
This elaborate border continued around the entire sheet. In the
original the colors were subdued and harmonious and on a brown-gray
hand-made paper
]
[Illustration:
EXAMPLE 280
A suitable type-face symmetrically arranged, with a harmonious
decorative device
]
As has been stated, the standard size of the present-day commercial
letterhead is 8½ × 11 inches. Strange to say, the standard size of
envelop (known as No. 6¾ Government) used for the carrying of these
letter sheets measures 6½ × 3⅝, tho if a snug fit were required the
envelop would be about 5¾ × 3 inches. The standard size, however, should
usually be selected, as all sorts of enclosures are made to fit it.
The large “official” envelop is also used extensively for business
purposes, the most common size (No. 10 Government) measuring 9½ × 4⅛
inches. It takes a letter sheet of two parallel folds, and also provides
for business and advertising enclosures larger than those planned for
the standard envelop of smaller dimensions.
Distinction is given business stationery by folding the standard letter
sheet twice so that, folded, it measures 5½ × 4¼ inches, and by using an
envelop (Baronial) that measures an eighth or a quarter of an inch
larger each way. For private or semi-private purposes this kind of
envelop is preferred, especially if the letter sheet is used as a double
note sheet. The heading is frequently printed on the fourth page of the
double note sheet, so that when the message is written on the fourth and
first pages and the sheet is opened, the letter appears as two pages in
a book.
Another size of men’s personal correspondence sheet measures 5 × 8
inches folded once. After being written upon the sheet is again folded,
and it then measures 5 × 4 inches. When the customer is willing to pay a
price for which the best quality of stationery may be furnished, the
printer should secure from houses specializing in society stationery
envelops that are made with a more stylish flap than those commonly used
for business purposes.
Another size of letter sheet, used for men’s personal correspondence and
for giving an exclusive appearance to commercial stationery, measures
about 7¼ × 10½ inches. The paper is given two parallel folds and fits in
an envelop that measures about 7½ × 4 inches.
[Illustration:
EXAMPLE 281
Artistic treatment in squared effects
]
[Illustration:
EXAMPLE 282
A simple treatment of a heading with little copy. Capitals have been
letterspaced a trifle
]
Since the typewriter is in such general use, ruled letter sheets are
seldom called for; in fact, ruled correspondence sheets of any kind are
now in poor taste.
The old-time notehead is also little used, the half-letter sheet (8½ ×
5½ inches), and the two-thirds letter sheet (8½ × 7⅓ inches), printed
the broad way, taking its place for brief business messages.
[Illustration:
EXAMPLE 284
The heavy border effect of the Colonial style of typography gives
character to this heading. By Arthur Nelson
]
The typographical treatment of letterheads and envelops should have some
relation, and it is now generally conceded that the paper should be the
same in both cases. A good grade of paper is now considered essential
for bona-fide correspondence, a cheaper grade being allowed for form
letters. A light-weight paper of a high grade is preferable over a
heavy-weight paper of a low grade. Quality isn’t a matter of weight,
altho if it can be afforded the heavier weight is not in the least
objectionable. Twenty-pound folio (17 × 22) seems to be most easily
obtained in the various papers.
As to the style of typographic treatment, the printer must in all cases
consider the tastes of his customers, and especially the business or
profession for which the stationery is to be used. As an instance, the
style of typographic treatment of doctors’ and lawyers’ stationery
seldom changes.
It should be kept in mind that simple, neat, refined typography is
appropriate for almost every order of stationery, while elaborate
typography in many cases is inappropriate.
Color is seldom well used on stationery. Most letterheads that the
writer has seen which have been treated in three or four colors would
have been more pleasing if given but one printing. A test of typographic
skill is to design a letterhead that in one printing will look
attractive and distinctive. The heading should usually be printed in
black or some darkened color, and if another impression is desired a
very small part of the design printed in orange or vermilion will add a
touch of bright color.
All the reproductions shown are reduced in size, those on the inserts
being only slightly smaller.
[Illustration:
EXAMPLE 283
There is a great deal of character in this simple letterhead design.
The lantern is really a monogram. By Charles R. Capon
]
EXAMPLE 275 (Insert).—Lithographers and steel-die printers really
furnish the styles for the conventional arrangement of letterheads. They
work along standardized lines and usually produce well-balanced,
appropriate headings. Typographical printers should study stationery
produced by these processes and observe how the parts of headings are
grouped and the advertising points emphasized; for a letterhead is one
form of advertising. There are limitations, however, in the copying of
such letterhead arrangements. Only plain designs should be studied for
this purpose. Imitations of shaded and ornamental lettering are seldom
successful. Example 275 demonstrates how a good letterhead can be
designed along lithographic lines. The effectiveness of this heading
depends a great deal upon the use of both light- and dark-faced type.
Where there is a great deal of matter, as in this instance, the heading
would likely appear flat and uninteresting and would lose some of the
advertising qualities it possesses if the light-faced type were used
thruout. This is no argument for bold-faced type on stationery headings
as a usual thing, but refers to the kind of heading here shown. The
parts in the dark-faced type include the firm name, the nature of its
business and the city in which the firm is located. The names of the
officers are arranged in the upper part of the heading, and this
position of the names seems to be satisfactory in most instances. The
telephone number and cable address are in the center near the date line.
The type used in this heading is Card Litho and Card Light Litho.
EXAMPLE 276 (Insert).—Professional stationery must be treated with
dignity and refinement, and the type should be small. Treatment such as
this would undoubtedly meet with approval from the professional
customer. It would be a mistake to apply to professional stationery the
variety of attractive and interesting arrangements that are applicable
to stationery used for many business and advertising purposes. The
printer would save resetting of the work and more surely please his
customers if, in filling orders for doctors, lawyers, architects,
engineers and other professional men, he attempted nothing but the
conventional dignified treatment illustrated by this example. The type
is an imitation engravers’ gothic slightly letterspaced to give the
effect usually found on steel-die work.
EXAMPLE 277 (Insert).—Ministers, included as they are in the
professional class, like to have their stationery dignified and neat. At
the same time they do not object to the use of text type, as it has a
churchly suggestion. This type, too, must be small, that used here being
eight-point in size.
[Illustration:
EXAMPLE 287
Suggestion of the ecclesiastic in the design of a letterhead for a
church printer
]
EXAMPLE 278 (Insert).—Stationery for a lawyer, like that for a doctor,
should be dignified and refined. It is well to give him the professional
customer’s style of typography such as that of the doctor’s heading, but
if a departure is to be made from the imitation steel-engraved
lettering, it is possibly well to use a modern style of type such as the
Bodoni, and letterspace the capitals, as was done in this example. But
one size of type-face has been used here (eight-point), capitals,
italic, and small capitals being utilized.
EXAMPLE 279.—Practically never should a letterhead be treated with the
elaborateness of this one unless the customer expressly desires such
treatment and is willing to pay for it, or the letterhead is the
printer’s own, as in this instance. The reproduction, unfortunately,
does not present the rich qualities of the original, which was printed
in green-gray and red-gray on a gray hand-made paper. The typography was
merged with the paper stock, and there was not the contrast found in the
reproduced specimen.
[Illustration:
EXAMPLE 285
On which a meeting is advertised
]
[Illustration:
EXAMPLE 286
A panel, when well treated, gives distinction to stationery. By Arthur
Nelson
]
[Illustration:
EXAMPLE 288
Artistic yet simple arrangement, the feature of which are the three
lines of equal length. By Leon I. Leader
]
EXAMPLE 280.—Old-Style Antique, as this heading shows, is a good
type-face for the letterhead of an art publication company. Capitals
have been used thruout and grouped so as to form a symmetrical
arrangement that harmonizes well with the decorative device placed under
it. A feature of this heading is that all matter is included in the one
group, excepting the name of the city, which is placed to receive the
date line.
[Illustration:
EXAMPLE 289
Letterhead for a storekeeper selling a general line of goods
]
[Illustration:
EXAMPLE 290
Panel treatment that suggests the business. By Arthur Nelson
]
[Illustration:
EXAMPLE 292
Unique arrangement of a distinctive heading. By Harry A. Anger
]
EXAMPLE 281.—Successful treatment of a heading like this depends upon
the typographer’s ability so to arrange the copy, without resorting to
letterspacing, that all lines are the same length. It is necessary also
to use all capitals of an old-style face of dark tones in which the
letters set fairly close together, a result such as can be had with
Old-Style Antique or Cloister Oldstyle. The decorative device in its
shape harmonizes with the formation of the group of type lines above it.
The liberal blank space that surrounds this heading is an important
factor in its attractiveness. The original was on brown paper.
EXAMPLE 282.—When the printer receives copy as brief as that used for
this letterhead he experiences difficulty in producing an effect that
will be attractive. With the customary engravers’ type-faces nothing
very satisfactory is possible, but by using a type-face of character,
such as Caslon Oldstyle in its original form, as was done here, artistic
interest can be added. Two sizes of capitals, spaced, were used for the
firm name. Italic was selected for the word “Grocers,” with a swash or
decorated capital that accompanies the old Caslon type-face. Capitals
and small capitals were utilized for the date line. A touch of
decorative interest was added to the heading by the use of a rule, on
each end of which was placed a dagger, such as is usually a part of book
fonts. This treatment could be made even more effective by printing the
letterhead on a white bond paper of good quality.
EXAMPLE 283.—This letterhead is offered as a suggestion for artistic
treatment when not much copy is furnished and it is possible to use a
small decorative device. The type-face should have old-style qualities
of an artistic nature and should be slightly letterspaced. The lantern
device on this heading is really a monogram, cleverly designed. The
original was in black and orange on buff-tinted paper, and as shown by
the reproduction, the heading was placed very high on the sheet.
[Illustration:
EXAMPLE 291
Dignified yet novel treatment
]