]
Notwithstanding the cumbersome size of the acorn, the Sparrell Print
device is not unattractive.
With a decorative quality that suggests the sixteenth century, the Ginn
device is appropriate in its use of the horn book, an old-time teaching
help.
Rather clever is the manner in which Goudy has hung the ampersand
decoratively on the double-T monogram that is part of the Taylor &
Taylor mark.
The diamond-shaped Wright & Joys device, with its conventionalized tree,
is also interesting.
* * * * *
It is possible to construct really creditable decorative imprints with
typefounders’ ornaments and suitable type-faces. Example 548 presents
several such designs as demonstrations of what can be done in this
respect. In building these imprints the author has kept in mind the
rules that govern combinations of type and ornament, as explained in the
chapters relating to harmony, appropriateness, tone, contrast and
ornamentation. In the Church Press design the border is made in outline
to reflect the ornament. The types used in the Smith-Brown, Willis Works
and Gothic Shop imprints harmonize with the ornamentation in both tone
and shape. Italic type and the fleur-de-lis are French in motif. The
Caslon type-face and the old-style parentheses go well together. The
block, or gothic, type-face in its plainness of stroke suggests early
Greek letters, and blends with the plain illustration. The money-bag
ornament is an attempt at a pun, in the Stuff imprint. The pleasing gray
tone of the Horner & Wilburn device is due to harmony of ornament and
type-face.
* * * * *
The printer will more often be called on to use a small, inconspicuous
type-imprint than the prominent decorative device, and it is just as
desirable to have distinction in these small type lines as in the
elaborate devices. There are grouped in Example 549, a variety of
effects suggested for this purpose. The type used in an imprint should
harmonize and blend with the typography of the work on which it is used.
An imprint in old-style type would not blend with a page set in modern
type. It was the custom at one time to electrotype imprint lines so that
they could be easily handled, but now the linotype furnishes a
convenient method of casting them. It is well, tho, to strengthen the
face by having the slugs copper-faced, which work is done by
electrotypers.
APPENDIX
Holiday Greetings
[Illustration:
HOLIDAY GREETINGS _furnish opportunity for expression of the art of
printing. The more than one hundred specimens reproduced in
miniature in this section (received by the editors of “The American
Printer” from friends) contain many suggestions of typographic
interest_
]
[Illustration:
“Everybody in our house
wishes everybody in your house
a Merry Christmas
and a Happy New Year”
]
[Illustration:
“Volumes of good wishes
to friends of ours
from friends of yours”
]
[Illustration:
“CHRISTMAS:
A time for giving and for getting
and forgiving and forgetting”
]
[Illustration:
“May all that thou wishest
and all that thou lovest
come smiling around
thy sunny way”
]
[Illustration:
“At Christmas be merry
And thankful withal,
And feast thy poor neighbors,
The great with the small”
]
[Illustration:
“GLORIA IN EXCELSIS
DEO
ET IN TERRA PAX
HOMINIBUS BONAE
VOLUNTATIS”
]
[Illustration:
“Ule! Ule!
Three puddings in a pule—
Crack nuts and cry Ule!”
]
------------------------------------------------------------------------
TRANSCRIBER’S NOTES
1. Many illustrations may appear to be out of order. The book was in
two columns of text. The text read top to bottom then left to
right as normal. However, the illustrations were usually numbered
left to right then top to bottom. The illustrations were inserted
as close as possible in the normal flow of the text. Some
illustrations were out of order, e.g. Example 16.
2. The illustrations are displayed in direct proportion to their size
in the original.
3. Added ‘the’ between ‘of’ and ‘customer’ on p. 119.
4. Silently corrected typographical errors.
5. Retained anachronistic and non-standard spellings as printed.
6. Enclosed italics font in _underscores_.