EXAMPLE 344
A business card in blocked capitals, with monogram of harmonious shape
]
EXAMPLE 340 (Insert).—Quality is added by an attractive black monogram
on a background of white supplemented by the gray formed by the type
group. This is an interesting specimen of business-card typography,
suggestive of architectural panel treatment. The lines (in Cloister
Title) are graded in size according to their importance, the telephone
line occupying an unusual position between the street address and the
name of the city. Because of its position, it also adds a bit of
legibility and prominence to both of these lines.
EXAMPLE 341.—This treatment is similar to the preceding example, with
the decorative device in color.
[Illustration:
EXAMPLE 342
An uncommon typographic effect
]
EXAMPLE 342.—This card is an interesting contrast to those that have
just been considered.
EXAMPLE 343.—Here is a card French in motive and of a style that emits
exclusiveness. It almost pictures the high hat and frock coat of the man
who would probably use it. All the formalities are observed, the
abbreviation “Mr.” preceding the name. The man who uses a card of this
kind would no more think of mentioning his business on a card than he
would of putting a business sign on his residence. The open-face type is
College Title and the italic is Caslon.
EXAMPLE 344.—An unusual arrangement in blocked Caslon capitals slightly
letterspaced. Arrangements of this kind are difficult for the compositor
and should not be attempted unless he is not hurried and can experiment
with the details of the composition. The shape of the monogram lends
itself to the general arrangement.
[Illustration:
EXAMPLE 345
Arrangement as suggested in Example 336 with an underprinting
decorative device
]
EXAMPLE 345.—This is a compact arrangement built somewhat after the
scheme outlined in Example 336. The decorative device in the original
was printed in a tint so like the stock that it suggested a watermark.
[Illustration:
EXAMPLE 346
Roman capitals with italic lower-case
]
EXAMPLE 346.—This card would better please the average person if italic
capitals were substituted for the roman. However, there was a historical
motive for treating it in this manner. When Aldus Manutius introduced
the slanting style of type we know as italic, only lower-case letters
were cast, and roman capitals were used with them.
EXAMPLE 347.—The Germans in the designing of business cards seem to have
abolished conventionality, as they endeavor to have each card in its
design possess distinct advertising value. This example is
representative of such effects.
[Illustration:
EXAMPLE 348
Decorative treatment suggested by the business
]
EXAMPLE 348.—The designer of this business card took his cue from the
word “decorators” and endeavored to form a card with decorative values.
This was the reason for the selection of Bewick Roman for the type-face
and the Italian ornament to occupy space that is usually left blank on
business cards.
[Illustration:
EXAMPLE 349
Italic is pleasing on some cards
]
EXAMPLE 349.—When dainty effects are desired, Caslon italic, as used on
the greater portion of this card, almost always looks well.
EXAMPLE 350.-A strong ornamental effect, such as appears on this card,
is liked by some people, but the printer would make a mistake to use it
unless he was sure that the customer would care for it. The typographic
treatment is simple and compact and lacks nothing in legibility. The
shape of the border corners fits into the space left by the contour of
the type group.
[Illustration:
EXAMPLE 347
Modern German business-card treatment
]
EXAMPLE 351.—An arrangement that has a suggestion of the classic. All
lines are in one size and in capitals. This treatment should not be used
excepting in special cases, as it would not meet the approval of most
customers.
EXAMPLE 352.—In the amount of matter it contains this card contrasts
strongly with Example 343. Some small business men find it good
advertising to give as much information on their cards as the size of
the card will allow. This example shows how a great deal of copy was
treated so that the general effect was not displeasing. In order to
accommodate this amount of copy, it is usually necessary to enlarge the
size of the card a trifle. Bodoni was used for all excepting two lines,
the firm name and address, which were set in Bodoni Bold.
EXAMPLE 353.—A decorative card that could be merged in color treatment
with an antique-finished stock of some suitable tint.
[Illustration:
EXAMPLE 350
A strong design for special purposes
]
EXAMPLE 354.—Horizontal lines crossing the face of a card are rarely
successful because they usually separate connecting phrases, but in this
instance the lines are a necessary part of the design and divide the
type matter at a suitable place.
[Illustration:
EXAMPLE 351
Classic arrangement in one size of type
]
[Illustration:
EXAMPLE 353
Highly decorative, with possibilities for harmonious color effects
]
[Illustration:
EXAMPLE 354
The horizontal lines are well employed
]
EXAMPLE 355.—This card in Bodoni and Bodoni Bold capitals, letterspaced,
with the use of a few rules, has distinction that could be successfully
carried to other forms of stationery. The contrasting heavy and light
rules blend with the heavy and light lines of the Bodoni Bold.
These specimens will convince both printer and user that there is more
than “one right way” to design business cards. Typography is the
interesting study that it is because, to paraphrase the words of
Shakespeare, age cannot wither nor custom stale its infinite variety.
Some style of typographic treatment is available to meet the likes and
dislikes, preferences and prejudices, of every one using business cards.
The strictly conventional person can be supplied with a strictly
conventional card, proper in all details. The artistic person, he of the
flowing tie, can obtain a card with sympathetic qualities. The noisy
huckster can be supplied with a typographic effect that almost shouts
the message it contains. In fact, character and personality can be
expressed typographically on the business card, and the printer will
find this matching of typography with human nature an interesting study.
A large city wholesale house cannot afford to circulate the
cheap-looking, inharmonious cards that some owners of small shops on
side streets seem pleased to use.
[Illustration:
EXAMPLE 352
A business card with a large amount of copy
]
More than an ordinary amount of thought should be given to the physical
construction of a business card. Because of the present great interest
in all forms of advertising, more individuality is permissible than
formerly. As typography can give distinction and attractiveness to
business cards, printers should study the use of type on this class of
printing, and give their customers the best possible service.
[Illustration:
EXAMPLE 355
Distinctive treatment adaptable for general stationery
]
Printers are producing cards in imitation of intaglio work to satisfy
customers who do not consider that a truly typographic design “looks
like a business card.” There is no use denying that copperplate
engravers set the style for much of the business-card printing. Shops
doing this imitation work should have samples of the best card work done
by engravers, so that their imitations may be as accurate as possible,
so far as concerns style, face and arrangement. There is little pleasure
in being an imitator unless you are a good one, and here is opportunity
to gain a reputation for the clever printing of imitation engraved work.
Good stock, a dense-black ink and perfect types are means to this end.
Pleasing results have also been obtained by using green-black ink or
dull gray-black ink, which assists in conveying the soft, pleasing
effects of lithography.
[Illustration:
EXAMPLE 356
This size of blotter will cut twelve out of a sheet of standard
blotting stock. The copy includes a calendar and is representative
of the conventional copy usually supplied for blotters. The calendar
is arranged without rules. The initial furnishes a spot of
attraction, separates the two groups and carries the eye to the
beginning of the message
]
[Illustration]
THE BLOTTER
Blotters have a place in modern business which, while not so important
as that of business cards, is fairly well established.
Business cards are left with customers as reminders, and altho blotters
are sent for the same purpose, they have the added quality of
usefulness. The treatment of a blotter should be as well thought out as
that of a business card. In a sense the blotter represents the business
house sending it, and while it may show less restraint and dignity than
the business card, coarseness should be avoided in the handling of both
type and illustration.
[Illustration:
EXAMPLE 357
A modest amount of copy and neat treatment
]
The blotter as a means of publicity much used by advertisers is no
longer an experiment; it is a familiar form in the printshop.
The advertising value of a blotter seems to lie in its ability to do one
of two things—strongly and favorably to attract attention when received,
or thru attractive simplicity to grow in favor during use. The former
may be likened to a rocket which compels attention and pleases for a
moment, and the latter to a star whose beauty attracts forever.
In planning a blotter it is well to keep in mind its utilitarian
character and make it as useful as possible.
The size is determined by the sheet of stock out of which blotters are
cut. As the stock measures 19 × 24 inches, most printers cut blotters a
trifle less than 9½ × 4 inches, thus securing twelve blotters to a sheet
of stock. There are others who prefer the blotters not so wide and make
them 8 or 8½ inches.
Another reason for the blotter size of a trifle less than 9½ × 4 inches
is that it fits nicely in a standard No. 10 Government envelop, which
measures 9½ × 4⅛ inches.
A size of blotter that is also much used measures about 6 × 3¼, and fits
in a No. 6¾ Government envelop, which measures 6½ × 3⅝. This size is
most convenient for inclosing with everyday business mail, and it is
possible that most of those actually using blotters prefer the smaller
size.
The blotter with an enameled surface on one side is probably the best
for use. A person naturally rubs his hand over the blotter to absorb the
wet ink, and an enameled surface feels more pleasant to the touch. When
not many blotters are on hand in a business office those with absorbent
surfaces on both sides render the greater service, but usually
advertisers keep offices well supplied.
From a printing point of view the blotter stock with one side
enamel-finished is better for illustrations or small type, while
rough-finished stock is suited to typographic treatments that require
antique effects.
[Illustration:
EXAMPLE 358
Blotter used in the writing room of a convention hall
]
EXAMPLE 356 (Insert).—This blotter represents not only the size of a
great many blotters but the contents, as it is customary to include a
monthly calendar. Too frequently forms of this character are made
inharmonious because stock calendar plates are utilized and are
accompanied by type-faces of another design. This lack of harmony is
seldom necessary, as the printer in his typography should match the
style of type used for the stock calendar plate. Sometimes in addition
to the calendar plate a stock illustration is also introduced, with
consequent duplication of spots of attraction. Either the calendar plate
or the illustration should be used; not both. The typographic
arrangement of blotters oftentimes is of a poor kind because the copy is
separated into numerous display parts. In so far as it is possible, the
treatment should be simple, and in order to suggest such treatment this
example has been prepared. It will be noticed that the entire blotter
has been set in one design of type-face—all roman, and mostly
lower-case. This manner of handling the typography will give good
results in almost every instance in which it is tried. The message of
the advertiser is presented in a plain, legible paragraph introduced by
an initial in color. The blank space liberally distributed is restful,
and the dark-printing qualities of the heavy-and-light-line border
contrast with the blank background, the rubricated initial and the mass
of gray in the type matter. No rule lines appear in the calendar
section, and the result is an appearance of natural freedom.
[Illustration:
EXAMPLE 359
Simple typographic arrangement with strong but pleasing contrasts
]
EXAMPLE 357.—Most blotters contain too much type matter. The business
man would probably appreciate a modest little announcement and consider
it a relief from the sledge-hammer advertising that too often forces
itself on his attention in an unwelcome way. As one rubs over the
average blotter he finds it almost necessary to close his eyes because
of the strong character of the design or color treatment. The
arrangement of this example is a suggestion for a little blotter that
would doubtless be welcomed by many. It could be of a size that would
fit in the personal checkbook. Because of the intimate character of its
use the typography should be confined to a simple paragraph or to a
group arrangement as shown. Both the message and the treatment here
given are in good taste for such a purpose, and, as has been suggested,
it is likely that similar treatment on a larger blotter would win
approval.
EXAMPLE 358.—This blotter was used in the writing room of a convention
hall and was prepared for a state meeting of a church organization. It
will be noticed that only the week of the convention is given in the
calendar, and that it begins on Thursday and ends on Wednesday. Some of
the factors that make this blotter pleasing are the liberal blank space,
the black lines of the rules, and the ornament in color. Text type is
used because of the religious character of the convention, and it is
letterspaced. As a general rule it is well not to letterspace text type,
but here in order to obtain a certain distinctive effect it has been
done with good results.
EXAMPLE 359.—Here is a suggestion for a simple typographic arrangement
with strong but pleasing contrasts. The color of the rule border
contrasts with the white of the background and the black of the
illustration. The gray effect of the type group is a harmonizing factor
that softens the contrasts. Only one face of type—Cloister Oldstyle—is
used, and that of a size that makes it possible for the business man to
read the message as he blots his signature. The treatment is masculine
and will please a great many because of its style.
[Illustration:
EXAMPLE 360
A blotter arrangement suggestive of an architectural panel
]
[Illustration:
EXAMPLE 361
Blotter treatment that survives the test of time
]
[Illustration:
EXAMPLE 362
Neat, refined arrangement of type matter and illustration
]
[Illustration:
EXAMPLE 363
In which the type matter fills the blotter
]
[Illustration:
EXAMPLE 364
A decorative blotter arranged the narrow way
]
EXAMPLE 360.—This blotter has the character of an architectural panel, a
motif that is adaptable to many forms of typography. The general gray
effect of the Forum Title and the architectural border is satisfying,
especially as the type group and border are separated by a liberal
amount of blank space. The shape of the type group suggests a keystone.
This is one of those blotters that the business man should find pleasure
in using and looking at frequently. It will be noticed that the spacing
between the words is less than the en-quad which the typographer would
customarily use in capital lines. It would be a mistake to separate
these Roman capitals with more space than that used here.
EXAMPLE 361.—It has been said that two important factors in good
typography are the material that is used and the material that is not
used. Horace Carr has done many good things with the Caslon type-face,
but none more pleasing than this blotter. It is a model of good taste in
blotter typography and the sort of treatment that has proved to be good
blotter advertising. This particular example was received by the author
some years ago and was then reproduced. Testing it with careful
examination after all this time, it looks as well as ever.
EXAMPLE 362.—Here is suggested a neat, refined arrangement, in which
type group and illustration are placed practically in the center of the
blotter and surrounded with blank space that accentuates its neatness.
EXAMPLE 363.—This blotter—one that was submitted several years ago in a
blotter competition—shows treatment which calls for the use of large
type that occupies almost the entire surface of the blotter. While an
effect such as that of the previous example is preferable for most
purposes, there are times when it is desirable to have the typography
arranged on a large scale.
EXAMPLE 364.—It is customary to design a blotter the broad way, but
occasionally printers desire for the sake of novelty to arrange it the
narrow way, as is done on this example. The blotter has decorative
quality because of the use of the gray border and the lower-case of
Kennerley Oldstyle. Lower-case properly used is usually attractive.
[Illustration:
EXAMPLE 365
Appropriate trademark and harmonizing typography
]
EXAMPLE 365.—A touch of appropriateness is given to this blotter by the
use of the scroll decorative piece, and the harmony is further carried
out by the selection of Bodoni Book for the type portion.
[Illustration:
EXAMPLE 366
Typographic poster in Roman capitals by Frederic W. Goudy
]
[Illustration]
POSTERS, CAR CARDS, WINDOW CARDS
Poster printing is a specialty in large cities, where plants are
equipped for the economical and effective production of such work.
However, consideration of the subject in this chapter will be confined
to the interest it may have for the general commercial printer, he who
is called upon at one hour to print a business card and at another to
produce a window card, car card or other form of poster printing.
The type equipment of the poster specialist includes strong gothic and
Clarendon faces, of a variety of widths that enable him to make a full
line of almost any word or combination of words. When such
strong-printing capital letters are used, most of the lines should be
full, as the general effect should be one of compactness. A very little
amount of spacing is sufficient. No extended reference will be made here
to the conventional poster that carries these heavy types, as its
arrangement is merely one that emphasizes in a plain manner the various
important parts of the copy. Skill is necessary, but not the skill of an
artist.
The wood-type equipment of the general commercial printer need not he
elaborate, but it should be well selected. There should be a blending of
styles in type-faces from the smallest size of metal type to the largest
wood letter. The wood-type makers duplicate most of the standard job
faces, so that harmony in this respect need be no idle dream.
[Illustration:
EXAMPLE 367
A lettered poster by Harvey Hopkins Dunn that should be studied by the
typographer
]
Among poster printers a sheet 29 × 39 inches is taken as a unit and is
known as a “one-sheet.” “Four-sheet,” “twelve-sheet,” etc., are terms
designating the number of units or “one-sheets” in the whole display. On
the other hand, the commercial printer’s “sheet” poster is generally the
full 25 × 38-inch paper, a “half-sheet” being 19 × 25 inches and a
“quarter-sheet” 12½ × 19 inches.
The size of car cards—the advertisements used in trolley, elevated and
subway cars—is usually 11 × 21 inches.
The most common sizes of window cards—advertisements placed in store
windows by courtesy of the merchants—are quarter-sheets (11 × 14 inches)
and half-sheets (14 × 22 inches), the unit of which is the standard
sheet of cardboard (about 22 × 28 inches).
Posters in their most attractive form are designed in pleasing
combinations of decorative illustration, lettering and harmonious
coloring. The printer with type alone cannot give the picture element,
but he can give color and lettering.
What a poster authority has said of the pictorial poster can to some
extent be said of the typographic poster: “The poster should be simple,
clever, attractive, perhaps sparkling, spontaneous, appropriate,
sometimes humorous, but in good taste, and should tell the story at a
glance. It should not be elaborate in detail or labored; the designer
should know where to stop. The coloring should be brilliant, yet simple;
when many colors are used most of them are wasted, as the eye does not
see them all. As detail in a poster is lost at a distance, it is
unnecessary. The best posters have no background and not much lettering,
as small lettering cannot be seen across the street, which is the test.”
It is assumed that the typographic poster is viewed at closer range, as
in its smaller sizes it is usually hung in stores and offices or posted
in convenient locations that permit of easy reading; yet the printer who
sets the work, as well as the man who writes the copy, should keep
before him the manner in which the poster, car card or window card is to
be used. A person sitting on the opposite side of the car should be able
to read the car card, and the person passing a store window should find
it possible to obtain the principal points of information from the
window card. On store cards, such as used during special sales, the
price should be prominently displayed.
[Illustration:
EXAMPLE 368
A lettered arrangement that has suggestion
]
[Illustration:
EXAMPLE 369
A few words of copy and strong contrasts
]
[Illustration:
EXAMPLE 370
A typographic style unique among insurance advertising in cars
]
[Illustration:
EXAMPLE 371
Simplicity that is worthy of adaptation
]
EXAMPLE 366 (Insert).—The possibilities of typographic effects in poster
printing are to be seen in this example, arranged by Frederic W. Goudy.
Forum Title, designed by him, was selected as the type-face. In order to
obtain the larger sizes, the type was set in a smaller size, a clear
proof pulled and a photo-engraving made. This poster measures up to the
qualities outlined by the poster authority previously quoted. It is
“spontaneous, appropriate, simple, clever, attractive.”
EXAMPLE 367.—Altho this design is lettered, it should prove of great
value to the typographer as a study of composition. In the production of
this effective poster Mr. Dunn has given of his talent as an illustrator
as well as of his skill as a letterer. The apportionment of blank space
in the margins and at the head is pleasing, and it helps to make
effective the black masses of lettering and the octagonal illustration.
The border of thick and thin lines ties the design together.
EXAMPLE 368.—Most cards in urban cars are made up greatly of design and
illustration, but in this one we find the illustration taking a minor
position. The lettering is the main feature, and it should suggest
treatment with type that could be almost as effective.
EXAMPLE 369.—The strong contrast of black, red and white in this car
card could be approximated with bold, well-designed wood type. The trade
name is given most prominence, altho the remainder of the copy is also
strongly presented. A suggestion of decoration is to be found in the
ruled lines at the head and foot.
EXAMPLE 370.—Seldom is copy such as this furnished for car cards, yet
its conversational style probably caused it to be read more than other
cards. As an advertisement it is an improvement over the common method
of merely stating name and business. It presented opportunity to the
printer to use types in a sane, simple manner, and he did so. A two-line
initial letter starts the reading pleasantly, and the name in capitals
has sufficient prominence.