character—that is, the typography should be inspired by the same skill
and taste evinced in the treatment of a good book. A well-designed
type-face should be selected, and there should not be a great contrast
in the sizes used. When it is possible to have two printings, the extra
impression could take the form of a simple rule border in color, as on
this specimen. The first type line runs almost from border to border at
the head, and another portion of the copy is arranged directly under it
in three even lines. The “Sold to” occupies its approved position. No
guide lines are provided for the accountant’s part of the bill, as with
a typewriter the various items can better be filled in without them, and
a billhead really looks neater without the rules.
EXAMPLE 317.—For printing on colored stock strong treatment is sometimes
advisable—treatment such as has been given this heading. On white paper
the type sizes should be kept small, as the light background illuminates
the print. White and black form the greatest contrast. There is not much
contrast between blue ink and blue paper, for instance, and it is
necessary to strengthen the print by the use of a larger or bolder
type-face. The arrangement shown is unconventional. A full line has been
made of the business title, the name itself being slightly emphasized by
printing it in color and giving an initial effect to the first letter.
Other parts of the copy are grouped at suitable points, “Sold to”
occupying the usual lower left corner.
[Illustration:
EXAMPLE 317
Large treatment that would look well in harmonious colors on colored
paper
]
[Illustration:
EXAMPLE 319
Decorative type treatment suitable for the business of painting and
decorating
]
EXAMPLE 318.—Many invoices and billheads now have the lower part divided
into columns for taking care of the various items peculiar to the
business, as in this instance. The customer usually decides when he
wishes to depart from the conventional ruled effect, and it is just as
well for the printer not to suggest a change of this sort, as it means
extra composition for which the customer may be disinclined to pay. The
type-face on this well-arranged example is a good one for plain
commercial headings. It would be well, for convenience, to place the “M”
in the lower left corner and move the building address to the right
corner, over the street address.
EXAMPLE 319.—A decorator’s stationery seems to offer opportunity for
effects away from the customary plain treatment of the average heading.
This statement, in the same style as a letterhead that accompanied it,
shows a decorative type-face and an arrangement that could possibly be
called decorative. The upper two type groups are joined by the uncial
initial, and the two groups at the left are connected by the flower
ornament.
[Illustration:
EXAMPLE 320
An uncommon arrangement. The main type line tells the story, as the
company’s title describes the business
]
[Illustration:
EXAMPLE 321
Credit bill made from the preceding billhead by adding a line at the
head and changing “Sold to” to “Credit”
]
EXAMPLE 320.—This is an unusual arrangement for a billhead. As the
business is stated in the firm name, there is not the usual necessity
for a second display line. While this arrangement could be carried out
in some other type-face, the serifless “block” letter as here used is
not displeasing. The grouping of the branch houses is good, and other
groups are also well placed.
EXAMPLE 321.—Most business houses find need for credit bills, to be used
when goods are returned or some error has been made in billing. Such
forms are easily provided by using the billhead, adding the words
“Credit Memorandum” at the head and changing “Sold to” to “Credit.” In
order that credit bills may look unlike regular bills, they should be
printed in color as is here shown.
EXAMPLE 322.—All professional stationery should be refined. The sizes of
paper and type should be small and the whole effect restrained and
polite. Such work seldom changes in style, and consequently there is
little variety. The form shown here would probably prove acceptable for
many years to men of the medical and similar professions.
It may not be out of place to remind the reader that an invoice (or
bill) is a list sent to a purchaser or consignee, containing the items
and charges of merchandise that have been forwarded to him.
As to the statement: It is a common practice to send each customer at
the first of the month a statement showing the debit balance of his
account to date, whether it is due or not, enabling him to compare the
statement with the ledger account. In order to call the attention of
customers to the fact that payment is desired, many business houses send
a statement whenever a bill is due (when goods are purchased on January
10, as an instance, at ten days, a statement is sent January 20).
There are numerous other forms used in business, such as checks, deposit
slips, drafts, promissory notes, bills of lading and the like, but there
is not space to show them here.
Such forms, if possible, should be in harmony with the style of the
letterheads, billheads and other stationery. The same type-face should
be used and the arrangement of display parts should have similarity.
[Illustration:
EXAMPLE 322
On professional bills the paper and type should be small and the
treatment restrained and polite
]
[Illustration:
EXAMPLE 323
A label that catches the attention at a distance and looks well on the
background of wrapping paper
]
[Illustration:
EXAMPLE 324
A label of classic simplicity for small packages and a business that
emphasizes daintiness and delicacy
]
[Illustration]
PACKAGE LABELS
The effect of an attractive package is recognized to be of such
importance that a widely known manufacturing concern recently sued a
competitor for imitating the appearance of its packages and labels.
However, not all business men feel this way about it.
After spending time and money in the production of merchandise of high
quality, it is more than foolish to economize on the packing.
It is possible, with good clothes well selected, to make an unattractive
person attractive, and it is also possible to make an attractive person
unattractive by poor clothes ill selected. Apply this.
The wrapping paper should be strong, and of color and finish suited to
the article to be wrapped. Some stylish city dry-goods houses use paper
with distinctive stripes or small monograms printed over its surface. A
well-known haberdasher wraps his hats in soft black paper.
The selection of the wrapping stock should of course be governed by the
character of the business and the class of customers, but as in similar
instances, it is dangerous to underestimate the taste of one’s
customers. The persons who lack appreciation of a neatly wrapped and
attractive package are very few indeed.
Among merchants, druggists are known to wrap the neatest packages. This
seems to be due in part to their professional training. Not many
printers give their product a similar attractiveness at the time of
delivery.
[Illustration:
EXAMPLE 325
A hand-lettered design for typographic study
]
[Illustration:
EXAMPLE 326
Another label rich in suggestion
]
The art of making a good impression also includes the fastening of the
wrapper. Cord and twine are commonly used, and interest is sometimes
added by selecting appropriate colors. Linen tape for a business of an
exclusive nature gives distinction.
Gummed-paper tape, while convenient, seldom looks well, and when printed
on looks worse.
Corrugated board when properly used adds both neatness and protection to
the package. Some printers have cartons made from this board, in which
their product is packed and delivered.
The printed label is of the most interest, as it affords a spot of
attraction and furnishes information needed in the delivery of packages.
All labels should be planned with the wrapping paper as a background. A
label may look well alone, yet when placed on the package may appear
weak and uninteresting.
In order to test this, two labels of contrasting treatment are pictured
mounted on a sheet of conventional wrapping paper.
It will be admitted that the stronger label is more striking and catches
the attention. There are those who will prefer the weaker label because
of its neatness and beauty, yet we must not lose sight of the fact that
labels, unlike business cards and letterheads, are not usually seen at
close range when on packages. A business card is examined a few inches
from the eyes, while a label on a package is frequently viewed from a
point several feet away.
[Illustration:
EXAMPLE 327
Ruled lines for the address, in panel
]
[Illustration:
EXAMPLE 328
A mass of black lettering with contrasts
]
[Illustration:
EXAMPLE 329
Artistic quality and interest through typography
]
There does not seem to be any standard size for labels. They vary from
four, five and six inches wide to three, four and five inches high. When
_The American Printer_ conducted a label competition it specified the
size as five by four inches, and this seems to be a good average size.
The paper on which the label is printed should be stock that pastes
easily. White is used to the greatest extent, altho a cream-tinted color
such as comes in Japan vellum is preferred by some persons of good
taste.
EXAMPLE 323 (Insert).—As has been said, this label shows the
effectiveness of heavy effects. A design such as this has advertising
value. It can be seen and read at some distance, yet is not offensive in
appearance. The red border is attractive, and merges the label with the
wrapping background. The type-face has decorative quality. The
combination of black, red and cream in strong contrasts is worthy of
study. As will be noticed, all capitals have been used, and there is not
much space between the lines or between border and type-face.
EXAMPLE 324 (Insert).—For small packages and for a business that places
emphasis on daintiness this label treatment would be just the thing. The
classic simplicity of its design and the mere touch of color should
appeal to many. The main line is set in fourteen-point capitals and the
other three lines in twelve-point small capitals. Letterspacing adds
decorative interest and merges the letters with the background by
allowing the paper to show thru. The type-face is Goudy Oldstyle. The
dots between the words are hyphens slightly cut. The border is arranged
to suggest an architectural panel. This label and the preceding one have
been composed merely to suggest possible effects. It would not be
difficult to adapt most label copy to the styles shown.
EXAMPLE 325.—This and other hand-lettered labels included in this
chapter are presented as studies for the typographer. Hand-lettered
designs by good artists are usually arranged with much thought, and the
details give many ideas to those who have trained themselves to grasp
them. It will be noticed that the border of this label is composed of
three lines, a heavy and light line close together and a light line a
trifle removed. At the head are two lines of roman capitals and one of
italic. Do not overlook the smaller capitals “M” and “O,” and the close
spacing of the words in italic. The device is small and in color. The
use of roman lower-case, capitals and small capitals and italic in the
lower group should be examined carefully. While it is not possible to
obtain exactly these same results with type, they can be approximated
effectually. It is well, however, to emphasize at this point that in
approximating the effects of any good piece of lettering it makes a
difference what type-face is used. It will be noticed that the italic
capitals in this specimen have a decorative quality. Such an effect can
be imitated in a small way by the use of the swash letters that are
furnished with some old-style italics.
EXAMPLE 326.—This is another lettered design that is rich in suggestion.
No border is used, and the lettering is arranged close to the edges of
the paper. Contrary to the treatment of the preceding example, the
lettering is all slightly spaced. While it is well for the young
compositor not to letterspace lower-case, such practice is allowable
when the results are good. The effect here is one of antiquity,
especially since the letters are not perfectly formed (note the “m” in
the word “Amsden”). Caslon Oldstyle should be used in planning this
style of work. An unusual feature is that a part of the copy is placed
at the foot of the label so that the address is written between two
groups of lettering. The same plan is found in the preceding example.
EXAMPLE 327.—There is suggestion of Italian art in this label. Similar
effects could be closely approximated with typefounders’ material.
Attention is called to the manner in which the letters are treated so as
to avoid an excess of blank space in such groups as the “ATA” in
“catalogue.” Rule guide lines in a panel are provided for the address.
This space is usually left blank on modern labels, altho conservative
houses are inclined to retain the rules. In line with old ideas, the “M”
is included in the address portion. This letter is usually omitted on
labels for the same reason that it is left off of billheads.
EXAMPLE 328.—Closely spaced black-toned lettering is still liked by some
persons, and there is no use denying that when it is well rendered the
effect is pleasing. This example presents a mass of black lettering in
three lines of equal length, the lines merging with one another to
preserve the mass effect. The border, formed of a heavy and a lighter
line, is drawn with human irregularity that is in keeping with the
character of the design as a whole. The “For” in italic affords contrast
in both form and color. Also note the treatment of “St.,” which is made
small and placed in a position above the base of the other letters. This
treatment is typical of antique typography.
EXAMPLE 329.—That artistic quality and interest may be put in a label
form by means of typography is proved by this example. The lacelike
border, the spaced Kennerley types and the words and rule in red blend
attractively. Advertising value is present, yet it is so merged with the
general composition and the label that it is not offensive. In fact, it
adds decorative qualities. This label form would look well clearly
printed on a rough-finished paper of good quality—a hand-made paper if
possible.
EXAMPLE 330.—Another typographic label of character, a study in black
and white. The border (a combination of a heavy and a light rule) was
made intensely black to contrast with the white background, an effect as
of color. A type-face (Bodoni Bold) with similar strong contrasts was
then selected, arranged with liberal margins in the upper part. A
suitable ornament in dark tones added the picture element, and the words
“Deliver to” were widely letterspaced, as they were used decoratively.
This and the other typographic specimens indicate the possibilities that
are present in the everyday tools of the printer and the material that
is available. Many printers feel that they are not able to produce
typographic work of real quality, assuming that special equipment is
needed. The truth is that many are not able to produce good printing
because their type equipment and decorative material have not been well
selected. The fact that there is a lack of suitable type-faces usually
reveals itself to them after they have learned that one type-face is not
so good as another. In the finished work there is nothing seen of the
presses, of the imposing stones, or of the composing frames, but the
print of the type-face is on every sheet.
[Illustration:
EXAMPLE 330
A typographic study in black and white
]
[Illustration:
EXAMPLE 331
A Caslon specimen, with decorative interest
]
[Illustration:
EXAMPLE 332
Harmony of border, decorative device and lettering
]
[Illustration:
EXAMPLE 333
Possible of typographic improvement
]
[Illustration:
EXAMPLE 334
Freedom of treatment that is distinctive
]
[Illustration:
EXAMPLE 335
Label used for a special list
]
EXAMPLE 331.—A specimen in Caslon, in which roman capitals and italic
lower-case (the Aldine combination) make up an interesting label. The
swash italic capitals add a specific decorative quality. The large
lower-case “f” gives a graceful touch to the “for.” Dotted rule inside
the black border is a change from the conventional continuous line. This
form was printed on Japan vellum.
EXAMPLE 332.—This is another hand-drawn label with qualities that can be
approximated in typography. Border, decorative device and lettering are
in the same key, and the harmony is agreeable. There are those who
thoughtlessly condemn black borders as funereal, a judgment that is
based on prejudice and not on an understanding of their use. It is well,
however, to caution the young compositor against abuse of the black
border; it would be well if he were to use no black borders until he had
developed taste in the practice of typography.
EXAMPLE 333.—An unusual label design that could probably be improved
with careful typography. The initials of the text lettering are not
exactly harmonious, and the space between words in the lower group is
excessive. Printers should practice on the improvement of the design.
EXAMPLE 334.—A characteristic Goudy type arrangement, with a freedom of
treatment that is distinctive. How many printers would give the
prominence to “From” that it has here? This suggests the custom of
printers of the sixteenth century in starting a title-page with a large
size of type regardless of the importance of the word or words.
EXAMPLE 335.—This label was used in mailing to a special list some fine
pieces of printing. The name of each addressee was printed in with type
as shown by the reproduction, and, needless to state, attracted
attention. The treatment of this label is uncommon in another respect—
the modest inconspicuousness of the phrase, “From the Bartlett-Orr
Press, New York.”
It would do no harm if printers also studied the stock labels
manufactured by certain stationery houses. They will find much that is
poor and commonplace and little that should be directly copied, but
there are many suggestions in label making that could be adapted. The
“reverse-plate” idea is one. The label is set in type and a proof sent
to the photo-engraver, who makes a plate in which the letters show white
and the background black. This plate can then be printed in color on
gummed paper and the paper trimmed so as to “bleed” the edges of the
printed background.
[Illustration:
EXAMPLE 338
Forceful business-card treatment exemplified by band-lettering
]
[Illustration:
EXAMPLE 339
Gray-brown stock is suitable for unconventional effects of this kind
]
[Illustration:
EXAMPLE 340
The black monogram has much to do with this card’s attractiveness
]
[Illustration]
BUSINESS CARDS
Polite society requires that a visitor shall be announced by a card
bearing his or her name, and the courtesies of business call for this
same formality. The man called on unexpectedly is placed at a
disadvantage if he has not understood the visitor’s name and has no idea
of his business. A card that clearly tells both name and business
prevents embarrassment and misunderstanding.
The card makes it unnecessary for the caller to explain who he is.
Without the printed information he would likely need to introduce
himself thus: “I am James Johnson. I am president of the Johnson
Manufacturing Company. We manufacture machinery for the making of
paints. Our office is at 320 Broadway. Our telephone number is Worth
4653.” But with all this neatly printed or engraved on a card, dignity
is maintained and embarrassment avoided.
The sizes of business cards are far from being standardized. Examination
of about one hundred business cards showed a range of sizes from 3 × 1½
to 4 × 2½ inches. The size of which there were most and which gave an
indication of standardization was 3½ × 2 inches. Fully one-quarter of
the cards were of that size. From this investigation it would seem
logical for printers to use that size unless the customer orders
otherwise.
White cards predominated in the lot examined, and this suggests that it
is in good taste for the printer to use white stock on most of the
business cards that he is called on to print.
[Illustration:
EXAMPLE 336
The probable result of an attempt to standardize the contents and
arrangement of a business card
]
[Illustration:
EXAMPLE 337
Dignified treatment for the card of a well-known house. The firm name
and address are subordinated to the name of the person using the
card. No business is mentioned, an omission open to discussion
]
EXAMPLE 336.—If an effort were made to standardize the contents and
arrangement of a business card, the plan presented by this example would
probably result. The customer’s name is placed at the point of greatest
prominence, a trifle above the center of the card. The words describing
the business are second in position under the customer’s name. The
street and number are taken care of on the next line, and under the
street and number is the name of city or town. In the lower left corner
is provision for the representative’s name. The telephone number, for
which a business card is frequently preserved, finds place in the upper
part of the card. A variant for the position of the street and number
and the name of the city or town is in the lower right corner.
EXAMPLE 337.—Here is a card that is a model of dignity and of simple
business-card treatment. A good word can be said in favor of using the
individual’s name in the center of the card and the firm name in a less
prominent position. When a card is handed to a business man, he looks at
it first for the purpose of finding out who it is that wishes to see
him. A card of this kind tells him instantly. In many cases the
individual’s name alone would be sufficient. No business is mentioned,
as it is one of those cases in which it is assumed that the name of the
firm provides sufficient identity. In omitting mention of the business,
one should make sure that the firm is as well known as he assumes it is.
If the name is not familiar to the person receiving it, he will be
perplexed, not knowing if the visitor desires to sell him books, insure
his life, or buy a bill of goods. In the typographic treatment of this
card Cloister Oldstyle, capitals, has been used for the smaller line and
Cloister Bold, capitals, for the larger line. This slight contrast in
the strength of lettering in many instances gives quality and legibility
to steel-engraved and lithographed business cards and stationery. The
printer by having a well-designed type-face in two strengths will be
able to introduce similar good qualities in his work. The spacing
between words on this card is closer than that usually allowed by
compositors. Close spacing between words is a quality found in good
lettering and in good typography.
EXAMPLE 338 (Insert).—While the main purpose of this chapter is to
encourage the use of typography on business cards, a specimen of
hand-lettering is used to point out forceful treatment that, aided by
good printing, liberal blank space and high-class card stock, may
sometimes be effective for business-card purposes. The printer using a
card of this kind would see to it that it was not presented to a
prospective customer who had a dislike for anything unconventional.
[Illustration:
EXAMPLE 341
The monogram in color adds distinction
]
EXAMPLE 339 (Insert).—Conceding that a conventional arrangement on a
white cardboard is best for most purposes, it cannot be denied that a
design of the strength and interest of this one would often be received
with pleasure by the man in the business office. It is not unlikely that
the thought would occur to him that the printer who can produce a card
of this kind is qualified to design and print publicity matter equally
attractive for other purposes. Bewick Roman is the decorative type-face
shown. The border and ornaments used are essential to the good results
in this design. The card would not be as pleasing with the ornaments or
the border taken off. This card, by the way, is one of the good things
arranged by Will Bradley back in 1905.
[Illustration:
EXAMPLE 343
High-hat-and-frock-coat treatment
]