one harmonizes with the type matter in Caslon Oldstyle, especially when
liberal blank space separates the type and the border, as in this
instance. It is well usually not to have the border darker in tone than
the type matter, but on this heading it would be a mistake to lighten
the border, which, however, would look well printed in vermilion or
orange ink. A buff-tinted paper of an antique finish would blend with
the Caslon typography. It is a departure from conventional methods to
place the names of the firm members in the lower part of the panel. This
was probably done so that the name of the bindery would stand out
without interference from type matter above it, but as a concession to
conventionality it would probably be well to place the names in the
upper part of the panel.
EXAMPLE 285.—The printer is frequently called upon to arrange for an
organization a letterhead which contains an announcement of the next
meeting of the society. The example under consideration shows how this
may be done; the meeting announcement is presented plainly, yet a
letterhead appearance is retained. The name of the society crosses the
letter sheet and is joined on each end by a group of officers. The
reference to the meeting occupies the space directly under the name of
the society. In the original the main part of the heading, which now
stands out so strongly, was subdued by the use of gray ink.
EXAMPLE 286.—There is suggestion of the architectural panel about the
arrangement of this heading. The suggestion is continued by the use of a
classic Roman type-face mainly in capitals. Panels are not as successful
on letterheads as they would be if more judgment were used in forming
them. This heading should prove helpful in working out the panel idea.
Its proportions could be smaller with good results. The original was
printed with green-black ink on a primrose color of bond paper, but
would also look well on white stock.
EXAMPLE 287.—A letterhead is successful if by its treatment it suggests
the line of business for which it is used. This one measures up in that
respect. By the use of the old text type and Maltese crosses an
ecclesiastical touch is given. The old church missal books of the
manuscript days were brilliant in rubrication, a feature of which were
ruled lines, crosses and initials in vermilion. The arrangement of this
heading is also one that could be used for many purposes. Some of the
facts about the business are blended with rules in a decorative band
that gives breadth to the heading.
[Illustration:
EXAMPLE 295
Neatness and dignity in letterhead designing
]
EXAMPLE 288.—Letterheads arranged so that all lines are the same length,
especially if such arrangement allows proper emphasis of the firm name,
usually look well and have artistic interest. This heading is one such
as almost any printer with a good old-style type-face could produce.
Like Example 281, this treatment requires the use of capitals.
Lower-case in square or block formation does not shape up harmoniously.
Capitals exclusively should be used when such effects are planned.
EXAMPLE 289.—A letterhead for a general store invariably presents a
problem to the printer who wishes to produce a harmonious and
well-balanced heading. It is difficult properly to display copy which
includes such a variety of articles as furniture, jewelry, stoves and
coffins. The typographer responsible for this letterhead set it in
Caslon Oldstyle, grouped it as well as he could, and introduced
decorative value by means of florets printed in color. The name of the
merchant was given the most prominence, and “Furniture” was featured for
the reason that it seemed to constitute the principal part of the
business. The printer who objects to this arrangement should try his
hand at resetting it. As copy, this heading is in strong contrast to
that supplied for Example 282.
[Illustration:
EXAMPLE 293
Individuality obtained by means of decorative initials
]
[Illustration:
EXAMPLE 294
Just a neat typographical arrangement
]
[Illustration:
EXAMPLE 296
A heading in two groups. By Harry A. Anger
]
EXAMPLE 290.—This example is a resetting of a letterhead on which the
printer had imitated bricks by using oblong border units printed in red.
His effort was too literal, and in rearranging the heading the purpose
was merely to suggest bricks and tiles in a light-printing border.
Spaced Caslon capitals completed an effect that is unusual and
distinctive. The line “Brick and Tile” could be printed in color.
[Illustration:
EXAMPLE 297
A neat letterhead and uncommon distribution of color. By Leon I.
Leader
]
[Illustration:
EXAMPLE 298
Double-panel treatment that is unusual
]
EXAMPLE 291.—There is a dignified yet novel attractiveness about this
heading. The light cross-rules give shape, and individuality is injected
by slightly spacing the letters and confining the color to three small
initials. Gothic (_sans_-serif) type looks well treated in this manner.
As will be seen, liberal blank space is necessary for a right effect.
The original was printed in black and vermilion ink on gray bond paper.
[Illustration:
EXAMPLE 300
A letterhead in Caslon roman capitals and italic lower-case, with
touch of color in the distinctive shop mark
]
EXAMPLE 292.—The designer of this letterhead planned to get something
different and succeeded. He did it, too, with the good old Caslon
type-face. This type has proved its worth in commercial job work, and
there seems to be no limit to its usefulness. By spacing the letters in
this heading a peculiar tone has been obtained which gives the
letterhead much of its character. The position of the lamp ornament is
odd. Black and orange ink and white paper were used.
EXAMPLE 293.—While it is safer to print club stationery in the
conventional style of professional stationery, there are clubs which
will appreciate any individuality and attractiveness the printer may
introduce on the letter sheet. This heading is a suggestion of what
might be done in this direction. Washington Text has been combined with
decorative initials.
EXAMPLE 294.—The problem here was to produce a letterhead for men who
appreciate typographic neatness, and the problem was met by setting the
heading in Caslon lower-case and introducing italic in several places
where it would be of the most value. As will be seen, the names of the
officers were grouped on the left, and balanced on the right by a group
that tells of the things the store has to sell. It is likely that copy
such as this would meet with different treatment from the average
compositor, who would be inclined to distribute the copy over all parts
of the letterhead. The lesson to be learned is that the several parts of
copy should be orderly apportioned to positions on the letter sheet, as
in this instance.
EXAMPLE 295.—This is an excellent example of a good letterhead,
originally produced by the incised copperplate method. Study of its
details would benefit the typographic printer for the reason that, as
mentioned in the beginning of this chapter, designers of letterheads
produced by lithographic and intaglio processes have given much thought
to letterhead arrangement. The main part of the heading is symmetrically
arranged in a group in which attention has been given to spacing. The
illustration is disposed of at the left, and an added line has been
placed in the upper right corner and printed in red. The neatness and
dignity of this letterhead are an inspiration.
[Illustration:
EXAMPLE 299
Distinction in letterhead design. The rule border, which extended
around the entire sheet, was in a shade of ink lighter than that
used for the type
]
EXAMPLE 296.—The copy of this letterhead presented a problem which was
solved by making two distinct groups of the type matter. In the main
group were placed the matters of national importance, and in the upper
group in smaller type such copy as refers to the state organization.
Compositors should observe how the “Y” at the end of the main line has
been extended into the margin so that the group alignment might be
retained. The printing combination was black ink and white paper.
EXAMPLE 297.—Perhaps the use of italic capitals exclusively would have
been more consistent, yet the one line of roman capitals does not
detract from the pleasure the neatness of this heading affords the
admirer of good printing. The distribution of color is uncommon. The
italic short-and (_&_) adds a touch of decoration to the heading.
Typographers will find that these old-style italic short-ands look well
in display lines substituted for the spelled-out “and.” The roman
short-and (&) is severe in character and is not so pleasing.
EXAMPLE 298.—Occasionally it is advisable to inclose type matter in a
panel, altho in most instances the typographer will find that a
letterhead is neater if no rule panel is used. However, there is
something attractive and different about the panel treatment of this
letterhead. Without the rules the heading would be neat, but would lose
a distinction that is now given it by the rules. The type-face, Packard
Oldstyle, possesses a quality found in hand-lettering and looks well on
this heading.
EXAMPLE 299.—A line border finishing off the edges of the letter sheet
adds a quality to the appearance of the stationery that makes it worth
while when the printer uses the idea on his own stationery or a customer
is willing to pay the increased cost necessary for such an effect. On
the Fell letterhead the border was in a shade of ink lighter than that
used for the type. The arrangement of the heading is worthy of study,
especially the disposition of the officers’ names, which are placed one
under another instead of being conventionally arranged in a line at the
top of the sheet. While this heading is hand-lettered, it is suggestive
of similar effects that could be produced with good type-faces of an
old-style design.
EXAMPLE 300.—Another letterhead in the Caslon type-face, roman capitals
and italic lower-case being used. Much of the attractiveness of the
heading is due to the spot of decorative color made by the shop device,
which in design blends well with the type-face and because of its
position brings the eye to the title of the press. The names of the
officers are placed above the center, and the service rendered by the
press is outlined in the end groups.
[Illustration:
EXAMPLE 303
Type arrangement as used by a noted typographer. Printed on the fourth
page of a folded note sheet
]
EXAMPLE 301.—The cross-line panel is here adapted to letterhead purposes
with some success. The decorative border is a suitable one for such
arrangement and affords relief from the plain brass rule. However, it
only departs from the plain rule sufficiently to add an interesting
touch of irregularity to the lines. Text type has been used for the
center, and where Caslon capitals are found in the panel they are
letterspaced.
[Illustration:
EXAMPLE 301
The crossed-line panel successfully adapted to letterhead purposes. By
Adams-Brander Company
]
[Illustration:
EXAMPLE 302
A German idea in letterhead treatment
]
EXAMPLE 302.—While German treatment in advertising design and typography
is usually thought to be strong and forceful, yet certain classes of
work are produced in a dainty yet characteristic style. This letterhead
is presented because of the interest it will doubtless have to American
printers.
[Illustration:
EXAMPLE 304
Humor in a notehead is exceptional
]
EXAMPLE 303.—This notehead printed in two sizes of capitals is
interesting in that it is the work of a noted book typographer. The
larger capitals are not letterspaced, but the smaller ones are. A
triangular formation of periods adds a touch of decoration between
groups. This notehead was printed on the fourth page of a folded sheet
in dull-finished black ink on white bond paper.
[Illustration:
EXAMPLE 305
Conventional treatment of an envelop corner
]
EXAMPLE 304.—Humor in a notehead is questionable and should be used only
in exceptional cases. Mr. Glover, however, has used it to good
advantage. Printing has always been such a serious business that
customers may welcome a printer who can smile even on his note sheets.
* * * * *
[Illustration:
EXAMPLE 307
Envelop corner prominently treated in a decorative letter
]
[Illustration:
EXAMPLE 308
Harmony of device and type treatment. By Ray Greenleaf
]
The envelop is an acknowledged convenience in correspondence. It not
only protects the letter from being soiled or tampered with, but is a
convenience to the post-office and a means of advertising. The first use
that the printed part of an envelop has is to inform the postal
authorities of the name and address of the sender so that if a letter
cannot be delivered it can be returned. On government-printed envelops
this information is given in the briefest and plainest possible way.
However, the greater number of business men recognize the advertising
possibilities of the envelop, and not only have the paper match that
used for letterheads, but see to it that the typographic treatment is
also in accord with that on the letter sheet. The treatment of the face
of the envelop should be neat. It is not only in poor taste to cover the
envelop with printing, but is against the post-office regulations. There
are those who prefer to print the type matter on the flap of the
envelop, and others who print the type matter in the usual corner and
the trademark on the flap.
EXAMPLE 305.—This is a specimen of a conventionally treated envelop
corner in imitation steel-engraved lettering. The old-fashioned “After
five days return to” as here used is not much in vogue, and printers
would do well to omit it unless the customer insists upon its inclusion.
This envelop corner is in the same style of typography as the letterhead
that accompanied it.
[Illustration:
EXAMPLE 306
Distinctive and artistic treatment
]
EXAMPLE 306.—Artistic interest of a medieval character has been given
this envelop corner by the use of Old-Style Antique, and especially by
the decorative device in color. The design of this envelop is
distinctive, and mail from this source would easily be recognized after
one or two letters had been received.
EXAMPLE 307.—Occasionally it is good policy to bring out the name of the
business in a prominent way, especially if it can be treated in a
decorative letter such as the one used in this instance. Not every
business will allow of such prominent treatment, and in this matter the
printer needs to use judgment. The type has been aligned at the left.
EXAMPLE 308.—It is seldom that an envelop corner is treated so
harmoniously and artistically as the one under consideration. The
general character of the decorative device is matched by the style of
the type-faces used. The squaring of the type group also adds shape
harmony. This corner card, designed some years ago, is proof of the fact
that good work is always good.
[Illustration:
EXAMPLE 309
An elaborate envelop corner
]
EXAMPLE 309.—Seldom should an envelop corner card be as elaborate as
this one, but when such an arrangement is allowable, as in this case,
the design shown is worthy of consideration. The type-face is Caslon
with Caslon Text, and the bands are made by using square ornaments with
alternating blank space inside of rules.
[Illustration:
EXAMPLE 312
The non-stock-ruled type of billhead, with a panel in which name, date
and other items are recorded. Showing use of roman lower-case
]
[Illustration:
EXAMPLE 313
Remove the words “Sold to” and the rule work, and this could be used
as a letterhead. Showing use of italic lower-case with spaced roman
capitals
]
[Illustration]
BILLHEADS & STATEMENTS
The printer called on to produce a billhead has a responsibility seldom
fully realized. He has a duty to himself, to his customer and to those
who come after, which is best carried out by suitable and dignified type
composition. A business house has been known to use the same design of
billhead for fifty years, and it is a fact that many merchants cannot be
persuaded to change the style of the billhead, no matter how homely it
may be.
Billheads and statements should correspond in style to that of
letterheads and other forms of stationery, and in changing the design it
must not be forgotten that these other forms should also be altered to
harmonize. The paper should be of the same finish and color, and the
main features of type arrangement similar. The type-face must be the
same on all.
The standard sizes of billheads for commercial purposes are:
8½ × 5½ inches, 8 out of a sheet 17 × 22.
8½ × 7 inches, 8 out of a sheet 17 × 28.
8½ × 9⅓ inches, 6 out of a sheet 17 × 28.
8½ × 14 inches, 4 out of a sheet 17 × 28.
Professional billheads are usually an inch or two smaller than the
smallest size of commercial billheads.
There is a variety of sizes in statements. Popular sizes are those cut
out of folio (17 × 22 inches), which then measure 5½ × 5⅝ inches, and 5½
× 8½ inches.
[Illustration:
EXAMPLE 310
In which are presented the principal features of the average
commercial invoice, or billhead. The customer’s name is placed in
the lower left corner
]
[Illustration:
EXAMPLE 311
How a letterhead may be converted into a billhead. The upper portion
is also shown as Example 283 in the chapter on letterheads
]
Whether ruled or not, it is customary to allow about 2¾ inches for the
printed heading on both billhead and statement.
Because of the extensive use of “window” envelops, the heading should be
so arranged that the name and address of the customer can be placed in
the lower left part of the billhead. The exact position can be
ascertained by placing a billhead over such an envelop and jogging the
two at the head and left side. When held to the light the opening in the
face of the envelop can be traced on the billhead. The billhead is
folded to fit the envelop and inserted so that the name and address can
be seen.
Use of the typewriter and window envelops has brought a change in the
arrangement of billheads, and printers, whenever they have opportunity,
should alter the old billhead arrangement to conform to the new
requirements.
Most billheads a quarter of a century ago contained in the upper right
corner in script (usually) a date line, and under it at the left was a
dotted line beginning with a large script _M_. Immediately following
came the firm name (usually rather large) flanked on the left by the
word “To,” and on the right by the abbreviation of debtor, “Dr.” So the
apprentice boy was taught, and he would then be further instructed to
place the words “Dealers in” (or their equivalent) in small type,
centered; then to display the words indicating the line of goods
carried. In a small line at the lower right corner was the street
address, and aligned opposite were the mystic words “Terms Cash.”
Sometimes the words “Bought of” were substituted for “To” and “Dr.” The
older printers will remember the logotypes in various fancy designs of
the phrase “Bought of” that the typefounders furnished in those days,
which logotypes were set against type lines of double great primer caps.
Now “Bought of” has been supplanted on billheads by “Sold to,” which
directs attention to the fact that John Smith has sold goods to Thomas
Brown, rather than that Thomas Brown has bought goods of John Smith—a
distinction without a difference, one might say, yet there is interest
in noting the change.
[Illustration:
EXAMPLE 314
A billhead, or statement, in a classic non-display style of typography
that suggests early printing. By D. B. Updike
]
The probable reason for the “M” being discarded in recent years on
commercial billheads is that many business houses are now corporations,
which fact makes “Mr.” and “Messrs.” no longer suitable as forms of
address.
[Illustration:
EXAMPLE 316
A suitable billhead with interesting border treatment. No guide lines
have been used
]
EXAMPLE 310.—This specimen presents the main features of the average
commercial invoice, or billhead. Usually there are conditions of sale
which can be placed at the top of the heading with a rule underneath,
altho they are sometimes arranged at the side or at the foot of the
invoice. The name of the company is given most prominence, followed by
mention of the commodity or product. The number, street and city
naturally should be displayed so that the customer’s location can be
referred to quickly in correspondence. “Sold to” precedes the space left
blank for the customer’s name, and this, as has been explained, should
be in the lower left corner. Blanks for the date, terms, invoice number,
ledger number, customer’s order number and other notations of record may
be grouped in convenient open spaces.
EXAMPLE 311.—The composition of a billhead really begins with the
composition of a letterhead. It should be possible to take any
letterhead and by adding a few lines convert it into a billhead. The
specimen under consideration shows how this is done. The original of
this billhead was exhibited as Example 283 in the preceding chapter. The
conventional phrase “Sold to” is placed in its customary position and
the other phrases added at suitable spots. Printers should keep this
suggestion in mind and, when laying out a billhead, design the upper
part as they would a letterhead.
[Illustration:
EXAMPLE 315
Typographic art and good taste, as demonstrated by this specimen, have
a place on billheads as well as on books
]
EXAMPLE 312 (Insert).—This is an interesting representative of the
non-stock-ruled heading, and it also illustrates the changes the
typewriter has wrought in billhead printing. When bills were written in
by hand, script type and dotted rule prevailed, but because of the use
of typewriters, script and horizontal guide lines are gradually
disappearing from the face of billheads. The example under consideration
also demonstrates the effectiveness of Caslon lower-case for billhead
purposes. When every line is in roman lower-case there is harmony, but
sometimes there is also monotony. In this instance, however, the
introduction of italic and small caps would alter the plan of the
heading and detract from its distinction. The rule border and the panel
for the insertion of customer’s name and address give distinction.
EXAMPLE 313 (Insert).—There is here another demonstration of the
transformation of a letterhead into a billhead. Remove the words “Sold
to” and the ruling at the foot and the form is ready for the letter
sheet. Kennerley type, altho primarily a book face, is also usable on
stationery where neat, distinctive effects are desired. Capitals are
spaced (as in the old books of Aldus), and italic is used with the
capital lines, this use of italic also being suggested by the work of
the Aldine Press. However, the specimen is not intended to be in the
classic spirit of Aldus; it is merely a modern commercial suggestion.
EXAMPLE 314.—Here is a billhead, or statement, in classic typography
that suggests the style of the fifteenth century. The heading is
practically in one size of type. Advertising distinction is obtained by
using capitals for the name, capitals and small capitals for the
business name and address, and italic for “In account with.” There is
not much that is striking about this billhead, yet, printed on a fine
quality of writing paper, it would make one really glad to receive a
bill of this kind.
[Illustration:
EXAMPLE 318
Invoice with lower portion divided into columns, as sometimes used in
business
]
EXAMPLE 315.—D. B. Updike makes plain by this specimen, as well as by
the preceding one, that typographic art and good taste can be used in
the designing of a billhead as well as in the designing of a book. The
woodcut device has the same good quality as the typography. The
old-fashioned “M” and “Dr.” are used, and blend well with the old
dignity of the heading. The ruling on the lower part of both of these
headings was printed from rules. There are other good printers who
prefer brass rule to the ruling machine for billhead purposes. Machine
ruling is convenient, but is not in good taste for billheads, statements
and letterheads of really fine quality.