Chapter XV: Section C: shows a plain letter of modern cut known erroneously as (4)

Dignified style for menu page. By the De Vinne Press, New York
]

Pyrography could be blended with typography in producing odd effects in banquet programs. One way of getting results by this method is to print the menu page on a piece of soft wood, say a quarter of an inch thick, and then, by means of the pyrographic writing tool, burn a decorative border around it. Type ornaments and borders could be printed on the wood as a guide for burning the designs.

Many effective menu forms could also be evolved with the assistance of the bookbinder. Pulp board covered with an artistic cover paper makes a handsome background for mounting the menu page, which should be printed on a harmonizing stock. Italian and Japanese hand-made papers are particularly suitable for such work, and when the style of typography is made to blend with the stock the effect is rich. Domestic manufacturers, too, make a large line of artistic papers applicable to the purpose.

EXAMPLE 209.—This page is from a booklet program, and is companion to Example 125 inserted in a preceding chapter. It sets forth the value of the decorative border on programs. The arrangement of the type matter is the customary one. The minor dishes are set in small type, while the damp stuff from the wine cellar is represented at the left in rubricated text letters.

EXAMPLE 210.—A halftoned decorative background in olive was a feature that lent value to this page, which is one of a number of similarly treated pages in a booklet program. The classic panel design makes a good background for a menu page. The idea is applicable in many other ways.

EXAMPLE 216

A menu program used by master printers. By Charles Edward Peabody,
Toronto, Ont.
]

EXAMPLE 218

Treatment simulating woodcut decoration
]

EXAMPLE 211.—This chapter would be incomplete without one or two Bradley specimens. Here is an idea in menu printing born while he was with the American Type Founders Company in 1905. It took the form of a small booklet 2¾ by 4¾ inches, eight pages and cover, and each page was devoted to one of the dishes on the menu. Below the name of the dish was a chap-book ornament. Altho the small booklet has been little used as a form for menu purposes, it has possibilities for development that should not be overlooked by the printer.

EXAMPLE 219

The missal style adapted to a menu program. By Will Bradley
]

EXAMPLE 212.—Here is a novel banquet program. Each dish on the menu was presented in the form of a check on the “Printers’ Bank of Dyspepsia,” and the “bank” was ordered to pay to the order of the guest a portion of food or drink, in this instance oysters on the half-shell. The checks were signed by appropriate names, “A. Shellgame” in this instance. The entire lot of checks was bound in the customary checkbook style.

EXAMPLE 213.—In this program the menu is termed “Hash” and the toasts “Rehash.” The treatment is unique, especially in the arrangement of the list of palate ticklers.

EXAMPLE 220

Unique treatment of a menu page in which the minor dishes are arranged
at the right
]

EXAMPLE 214 (Insert).—Suggested for a menu page in two colors. Banquets are occasions of gayety and enjoyment, and humor is appreciated. Displaying choice drinks prominently, and then in a note at the foot calling attention to the fact that they can be had at the bar at regular rates, is a bit of fun that has not been widely perpetrated. Typographically the page is refined, yet is sufficiently decorative to appeal to a large class of customers.

EXAMPLE 215.—A classic menu page by Updike. Roman capitals and italic lower-case only are used. Perhaps this is the way Aldus would set the page were he alive today. The page as a mass is symmetrical.

EXAMPLE 216.—This page is from a program used at a master printers’ banquet, all pages being treated in a style appropriately humorous. The word “Stock” tops the page instead of the usual “Menu.” “Make-up” heads the list of officers, and in this manner were the guests’ funny-bones agitated.

EXAMPLE 217.—Here is a program for those accustomed to eat in a foreign language. The typographic treatment is refined and dignified, the roman capitals and the italic blending classically. Little side hits such as those to the right are always appreciated, especially when carefully selected.

EXAMPLE 222

Refined entertainment program page. Design by D. B. Updike, Boston,
Mass.
]

EXAMPLE 221

Excellent typographic treatment. By Harry Haime, Boston, Mass.
]

EXAMPLE 218.—An artistic treatment simulating woodcut decoration suitable for many occasions is presented by this page. The four initial letters give the appearance of a decorative heading and blend well with the border. It is appropriate that capitals should be used thruout the page and that the type-face should be Old-Style Antique. The florets dividing the dishes distribute the color pleasingly. The fact that this program was used by an organization of mechanical engineers explains the queer wording of the list of good things to be eaten.

EXAMPLE 223
]

EXAMPLE 224

These two pages are from an entertainment program by Bruce Rogers,
Cambridge, Mass., and furnish interesting material for study
]

EXAMPLE 219.—Bradley suggests another good arrangement in this page. It is simply constructed, yet possesses interest and style. The original was in black and light-brown inks on buff antique stock.

EXAMPLE 225

A program page in lower-case. By Stetson Press, Boston, Mass.
]

EXAMPLE 220.—This page has the merit of being unique while containing elements of the artistic. The important dishes are set forth prominently, the minor dishes appearing in small type grouped at the right. Uncial initials blend with the Old-Style Antique type. The horizontal rule and the large flower ornament play necessary parts in obtaining a balance.

EXAMPLE 226

The decoration was in color. By Fred S. Lang, Los Angeles, Cal.
]

EXAMPLE 221.—The treatment of the titles at the left side and the symmetrical arrangement at the foot of this example are highly commendable. The details of the entire page denote the finished typographer. The combination of capitals and small capitals is pleasing, and the manner in which variety has been secured in a design of orderly arrangement is commendable.

EXAMPLE 227

Program in the Gothic style. Designed by Merrymount Press, Boston,
Mass.
]

* * * * *

Programs for entertainments and exercises, while not allowing the unrestrained workings of the fancy that those for banquets do, are yet proper vehicles for carrying artistic ideas. The program should be artistic. The commonplace program is a disappointment to the intelligent auditor and an evil in that it influences the public taste towards mediocrity. The printer who cannot produce a good entertainment program has need to study art principles and observe the artistic programs being produced by others.

EXAMPLE 222.—A refined program page by Updike. In the original the border was printed from a copper intaglio plate on smooth-surfaced hand-made paper, the reading portion being printed clearly and sharply from type. Updike’s work is noted for the clearness of the print. Just enough ink is carried to prevent the print being called gray. Of course the type must be clean and unaffected by wear, the ink well ground and the impression firm. This specimen is almost entirely in italic, with “swash” or decorative capitals that add interest to a page of dignified typography. Swash italic capitals properly used are valuable aids in securing attractive yet refined typographic effects.

EXAMPLES 223 AND 224.—These two pages by Bruce Rogers should have interest for every printer who loves good typography. The zinc reproductions of these pages, also that of the preceding example, fail to present the sharp print of the originals. Roman lower-case is absent from this program. Rogers and Updike, with Aldus, have demonstrated that roman lower-case is not essential to typography. Perhaps that is why their work has distinction—other printers set most of their type from the roman lower case.

On the title-page the features of particular interest are the long s in the word “music,” the swash italic capitals and the woodcut ornament.

The program page is interesting in its construction and its details should be studied closely. Unless suitable ornamentation is available, program pages had better be treated plainly as here, with such attention to the details of the type arrangement as will obtain finished results. It is a test of typographic ability in the production of a program page to compose work that, without the friendly aid of decoration, is pleasing to look upon.

EXAMPLE 225.—This page shows admirable treatment of a brief program. The various sizes of type are well distributed, and the consistent use of roman lower-case is pleasing.

EXAMPLE 226.—The type in this page overprinted the decoration which was in pale orange and pale green. The decoration was appropriate in that the program was for a meeting held on the fruit-growing Pacific Coast.

EXAMPLE 227.—The Gothic style dominates this page. Excepting the two uncial initials, only one size of type has been used. That fact alone is interesting, as the result is remarkably finished. Decoration of quality for similar effects can be obtained by having historic decorative borders from old books photographed and redrawn upon the photograph with such alterations as are desired. The face of the photograph can then be washed away, leaving only the drawing, from which the plate is made.

EXAMPLE 228

A well-arranged page. By Stetson Press, Boston, Mass.
]

EXAMPLE 228.—The list of characters in a dramatic entertainment is here displayed in an unusual manner. It is so easy for compositors to set copy such as this in the conventional type-leader-type method, but this compositor has arranged it to conform to the proportion of the page.

The program containing small advertisements, especially the theater program, is possible of much improvement. Such typography should be given better attention, as theater programs exert large influence in forming public taste.

EXAMPLE 229

Classic capitals combined with rules. Suitable for announcements
having to do with art, architecture, literature and music
]

ANNOUNCEMENTS

Publicity is doubtlessly essential to success in every business and profession. The public is interested in the man who does things, but this interest is obviously confined to the man who it knows does things. The great men are advertised men. The great deeds of history are those advertised by poets and historians. Shakespeare made famous many ancient characters, as did Plutarch before him, and the most famous acts of the American Revolution are those performed near the homes of poets and writers. We would not be familiar with the rides of Paul Revere and “Phil” Sheridan had they not been advertised by means of printers’ ink.

Several years ago in New York an influential art society recognized the work of a mural painter by awarding him a medal. In accepting it the artist sadly remarked that the recognition came too late in life for him to “use it as a help to live with,” which proves that in the heart of the most proud and sensitive artist or professional man there is a feeling that he needs publicity—recognition, if that word is less offensive—in order that his life work may be successful.

It is fashionable for prominent persons to employ press agents, and goings and comings and doings are told to the public at every opportunity. In the days before the development of newspapers and other typographical mediums for advertising, the people depended upon the public crier to make all sorts of announcements. He would attract a crowd by sounding blasts with a horn or by ringing a bell, and then make known his message.

The modern representative of the crier is the printed announcement. It is not confined to any definite size or shape, often consisting of one page only, printed on card or paper stock.

EXAMPLE 230
]

EXAMPLE 231

Two pages from a dignified, refined and artistic announcement folder,
printed in black ink on brown-tinted hand-made paper
]

The announcement form may be considered the most personal of the printed mediums of publicity. It presents a direct, individual appeal or invitation, and the recipient, influenced by this fact, is likely to give it more consideration than some other form of advertising. Recognition is flattering to all of us, and upon receipt of an announcement we are apt to feel pleased that our patronage or personality is thus recognized.

EXAMPLE 232

Announcement in Colonial style. By A. F. Mackay
]

The printer is depended upon by most customers to furnish suggestions for the physical make-up of the announcement, and he is also frequently asked for advice in regard to the phraseology. This places a responsibility upon him that he cannot well ignore, and he should be able to respond with proper suggestions. Being thus qualified to assist the customer has many times led to further and profitable business. The printer possessing the confidence of his customers has an asset of great value.

The most common form of typographic announcement is that printed from roman, text, gothic or script type-faces in imitation of engraved intaglio printing. The styles of this form of announcement change slightly with the fashions in copperplate effects. Printers desiring to do such work would do well to obtain samples from one of the leading society stationers and follow them closely in arrangement, spacing of words and lines, and size and kind of stock. This class of work allows of little original or decorative treatment. If other forms or treatments are desired a standard type-face, such as Caslon or Cloister, should be used. Many compositors err in combining copperplate-engravers’ faces with rules and borders, or in other ways misusing them; for such results are “neither flesh, fish nor fowl,” as the saying goes.

If the customer requests an imitation copperplate effect, give it to him as closely as you can; that is good business policy, and is in accordance with the sound advice to “Do your best, no matter what the circumstances,” reminding one of the old rhyme:

If I were a cobbler, it would be my pride
The best of all cobblers to be;
If I were a tinker, no tinker beside
Should mend an old kettle like me.

But, whenever possible, get on higher ground. If you must be a tinker, be a good one, but rather be a producer of new things than a builder of patches and something that is “as good as new.” Printers should test their earnestness with tasks that develop their art instincts and, accompanied by proper financial return, bring that satisfaction which comes from work well done.

* * * * *

EXAMPLE 233

Odd treatment of an announcement. By T. M. Cleland
]

EXAMPLE 229 (Insert).—Usually the printer should not set an advertising page all in capitals, nor should he use many rules in its composition; but when the typographic designer has skill and artistic taste in addition to a developed sense of fitness and refinement, the warnings and “thou-shalt-nots” that apply to most printers are not for him. Mr. Nash, with the use of Fred W. Goudy’s Forum type-face and rules that suggest the guide lines of old manuscript books, has produced an announcement that is classic in composition, pleasant to look upon, and a page that carries the message in an especially effective and appropriate manner. The original was printed on hand-made paper. This type-face has been modeled on ancient Roman lettering and for that reason has a classic character that makes it suitable for announcements and other printing having to do with art, architecture, literature and music.

EXAMPLES 230 AND 231.—These are the first and third pages of an announcement originally printed in black ink on brown-tinted hand-made paper. The type-face, Caslon, was sharply impressed into the stock. It may be advisable to state here that all Caslon romans are not alike. The face usually sold by typefounders has the descenders shortened, that the letters may conform to the system of alignment adopted some years ago in America. This shortening of descenders, seemingly a trivial matter, affects the general appearance of the type-face. Attempts to “improve” the Caslon face are apt to end disastrously to the effectiveness of the letter. It has characteristics that are essential to its beauty, and shorn of any of those characteristics it loses attractiveness proportionately. This announcement folder is of a quality seldom attained in printing, depending as it does upon detail in typesetting and presswork. The reproduction cannot present these points, because the finish of the paper, the clearness of the print, the spacing, the apportionment of margins, the tone, all counted in the finished result.

EXAMPLE 232.—This circular announcement in its original form was 9½ × 12½ inches in size, the paper upon which it was printed being gray-green laid hand-made. The positions of the groups of type matter and the sizes of margins are features worthy of study. Other points of interest are: the treatment of heading and initial, the use of florets at the beginning of each paragraph, and the committee signatures. The last-named lines are set in italic lower-case with roman capitals, Aldus style. The border was printed in dull red, close to the edge of the paper.

EXAMPLE 233.—This meeting announcement is of the same series as the preceding example, but, set all in black text letter without border, the effect is totally different. The peculiar black and gray tones of the Caslon ornaments blend well with similar characteristics presented in the massed black letter. The page was printed in vermilion and black on buff laid hand-made stock. The effectiveness of this style of announcement is due not alone to the typography and stock, but to the generous size of the sheet used—good paper and plenty of it. This announcement was mailed without envelops, the double sheet being folded into thirds and the lower end inserted into the upper end.

EXAMPLE 234
]

EXAMPLE 235

These specimens are lettered in a style that suggests the sturdy
masculine character of the lettering developed with the new German
decorative poster art. Designed by Oswald Cooper, Chicago
]

EXAMPLE 236

A classic arrangement based upon the architectural inscription plate.
By Benjamin Sherbow, New York
]

EXAMPLE 237

Ornaments as eye-attracters. An idea that could be adapted to many
jobs of printing. Designed by Will Bradley
]

EXAMPLE 238

Postal-card announcement, the typography of which is attractive, not
because of what is put on, but because of what is left off
]

EXAMPLE 239

Good advertising typography. Type groups and blank space well
proportioned, and an interesting decorative spot of color
]

EXAMPLE 234.—This announcement page is lettered in a style that suggests the sturdy masculine character of the lettering that has been developed with the new German decorative art. Typographers should not make the mistake of assuming that a page set in the so-called gothic types of the typefounders would give this effect. While the letters are without serifs, as are the gothic types, yet they have not the mechanical perfection of those types. Type-faces, lettering and drawing of any kind seem to be better liked when they possess the human quality of imperfection. I once called on Boardman Robinson, then cartoonist of the New York _Tribune_, and found him at work on a cartoon for the day. I noticed that he had considerably altered the picture on which he was working, and I asked him about it. With a smile, he stated that he had been working on the cartoon for several hours in order to make it look as if it had been drawn in fifteen minutes. German typefounders have made type-faces that carry the qualities of this poster style of lettering. The young printer should not infer from this that careless and unfinished typographic work is preferable to a careful, finished product. It will be found that the artist or printer who can best give this little touch of human nature to designs is one who first learned to do the work as perfectly as possible.

EXAMPLE 235.—This design was the first page of a folder of which Example 234 was the third page. Oswald Cooper, who lettered this announcement, used the figure of a dog that had been drawn by the German poster artist Hohlwein, but gave him due credit in the upper left corner. This style of lettering, as has already been mentioned, is appropriate to the subject of German posters and in harmony with the poster illustration used. Heavy treatment of this kind offers a rich opportunity for the use of strong and harmonious colors. Light-faced type is very unsatisfactory as a carrier of color, but the broad strokes of this style of lettering make possible a liberal showing of color on the page. An extra color has been introduced, altho the original announcement was entirely in brown on a brown-tinted card.

EXAMPLE 236.—From the viewpoints of art and dignity an announcement card such as this one is always in good taste. Its style is classic, being arranged along the lines of an architectural inscription plate. The border is the reliable egg-and-dart pattern and the type-face is Caslon. Capitals are essential to best results in this sort of design.

EXAMPLE 237.—The idea suggested in this page, of using ornaments as eye-attracters, is a good one. While the design as a whole is decorative in character, the advertising element is not overlooked. The several articles of merchandise are prominently displayed, as is also the name of the store. In the series of type designs of which this was a part, the designer strongly emphasized ornamentation. There was a reason for his doing this, as he was engaged in introducing new typographic decorative material, but printers working for the commercial public are engaged in a different vocation. In attempting such designs as this, compositors should decrease the prominence of the ornaments and border and increase that of the reading portion of the page.

EXAMPLE 240

Showing the use of roman, italic and spaced small capitals on an
organization announcement
]

EXAMPLE 241

Unusual division into two groups, providing for fold. By the Calumet
Press, New York
]

EXAMPLE 238.—This announcement was printed in black ink on a Government postal card. The young compositor will, no doubt, recognize the small amount of actual typesetting necessary for this page; however, he should not overlook the fact that the results were really secured by one-tenth manual labor and nine-tenths brain exercise. A specimen such as this is good not because of what is put on but because of what is left off. There are only a rule border, a small silhouette illustration and four lines of type exclusive of the signature, yet the busy man gets the message and experiences pleasure in getting it. The type in the original was no larger than was necessary to be easily read. Compositors frequently forget that announcements of this kind are read at a distance of only a foot from the eyes, and that twelve-point type is really large enough for the purpose. It is usually a mistake to make the type-face very large or very small. One is an unnecessary size and the other is an illegible size.

EXAMPLE 239.—This is another announcement set in twelve-point type, with a liberal distribution of blank space. The personal mark of Mr. Baker adds a decorative touch of color that attracts attention and helps to make the page distinctive.

EXAMPLE 243

Harmony of type-face and decoration
]

EXAMPLE 240 (Insert).—This announcement has typographic interest in that it shows how variety and advertising emphasis can be obtained by the proper use of italic and small capitals with lower-case roman, especially with a type-face such as Cloister Oldstyle. The small capitals are letterspaced; they usually respond pleasingly to such treatment. Typographers who have studied the matter of spacing have found that capitals and small capitals can be letterspaced with good results, and that roman and italic lower-case seldom look well if the letters are separated by spacing. It is probably an exaggeration to say that lower-case should never be spaced, as typographic artists such as Will Bradley have produced very effective results with letterspaced lower-case; but the average compositor had better adhere to the rule of never letterspacing lower-case letters. It will be noticed that on this announcement the name of the organization, the words “Dinner” and “Exhibit” and the name of the guest, are set in capitals and small capitals with letterspacing. The names of the books, the title of the talk, and the request to return a card, are in italic. Only one size of type has been used, excepting for the committee group at the foot. In order that the words “Program Committee” should not look exactly like the other lines in this group, they were letterspaced.

EXAMPLE 242

A study in tone values and margins
]

EXAMPLE 244

Artistic form for brief announcement. By A. F. Mackay, New York
]

EXAMPLE 241.—This announcement form, like No. 240, is conventional in size, the paper upon which the original was printed measuring 5½ × 7 inches. The arrangement of the type page was designed to provide for the fold which horizontally crossed the center of the page. The division into two groups, each in a different type-face, is unusual, and the manner in which this has been accomplished is instructive to the student of typography. The use of a large initial gives distinction to the upper group, and spacing of the Caslon capitals in the lower group maintains a distinction there. This page illustrates two points recognized by good typographers—that the printed effect of old-style roman capitals is usually improved by a slight increase of space between letters, and that, on the other hand, the printed effect of text letters would be impaired by increased space between them. There is danger of too great contrast of tone in a page, and had this example been executed less skilfully, it would have failed in effect.

EXAMPLE 245

Colonial treatment of an announcement page. By the Calumet Press, New
York
]

EXAMPLE 242.—This announcement circular affords a study in tone values, especially in the original size, which was 9 × 12½ inches. The type, Old Style Antique, was twelve-point, with six-point slugs between lines. The black tone of the type-face and the liberal spacing found relationship in the black tone and open lines of the initial letter at the head. This harmony was carried out in the entire page, the black and white tones contrasting thruout. No gray lines were used; even the monogram at the foot was constructed of strong lines. In obtaining an effect like this it is necessary that the type-face be of medium black tone somewhere between the gray tone of the Caslon face and the heavy black tone of the John Hancock or other extra-black faces. It may be well to call attention to the margins inside the rule border. The artist avoids monotony in margins. In old books the four margins surrounding a type page differed. The foot margin was the largest, the others being smaller in this order: outer side, head, inner side. In this announcement page the foot margin is larger than the others, and the head presents the smallest amount of marginal space. The side margins were made equal because, unlike the paired book page, this page stands alone.

EXAMPLE 243.—Harmony of type-face and decoration is the chief attraction of this announcement card. Some of the characteristics of Washington Text in tone and stroke are also found in the initial letter and border, and to this the harmony is due. Placing of the initial letter so low on the page was a bit of daring, yet balance is retained, due to the heading.

EXAMPLE 244.—While only a little folder, 3½ × 4½ inches in size, this job was exceedingly effective. It was printed in black on white antique stock. Such a form could well be adapted to many brief announcements.

EXAMPLE 245.—This form was set in type during the Colonial revival that interested good printers about the year 1900. Caslon type and Colonial decoration give an individual character to the page. Colonial effects are not so common just at this time, which fact is quietly digested by the wise typesetter as he recognizes his opportunity.

EXAMPLE 246

An announcement literally treated in Colonial typography, even to the
use of the long “ſ”
]

EXAMPLE 247
]

EXAMPLE 248

First and second page of an artistic, unembellished announcement
circular. Designed by Benjamin Sherbow, New York
]

EXAMPLE 246.-This announcement demonstrates the possibilities of typography along the lines of appropriateness. A Colonial organization wished to announce a meeting at which would be celebrated the founding of the first American newspaper, and desired something in Colonial style. The printer looked up a reproduction of an early newspaper and set the heading in a style such as was given the headings of newspapers in the early days. The society had an emblem or seal engraved in the serifless and characterless style of lettering that the average engraver will give an organization. The printer had the emblem redrawn, giving instructions to the artist to draw the entire design in freehand and to be careful that the lines and lettering be not too regular. Instructions were also issued to have serifs on the lettering and to have it contain the contrasted light and heavy strokes of the roman type-face of the Colonial period. As will be seen by the example herewith, the idea was well carried out by the artist. The society had appropriately phrased the announcement. The printer carried the idea along by using a small size of “e” in the word “ye,” and a long “s,” made by cutting a part of the cross from the “f.” A suitable hand-made paper was selected and the paper was dampened before printing it. The announcement was then folded up and sealed in the style of Colonial times, without an envelop.

EXAMPLES 247 AND 248.—These are the first and second pages of a large circular announcement printed in black and light olive-brown on buff-tinted laid antique paper. No embellishment is used, nor is any needed, the treatment being sufficiently artistic. The arrangement of the first page is uncommon. The lack of margins around the type group and the absence of print on three-fifths of the page would be counted by some printers as mere eccentricities, yet to others these things spell art. Compositors interested in this arrangement should notice how the type lines fit the phraseology. The advertising element has been considered by the designer along with æsthetic requirements. The double line of capitals at the head of the second page was duplicated on the third. The second page shows simplicity and legibility that are admirable, the liberal margins and the three-line initial being noteworthy features.

EXAMPLE 249

One of four pages of a convention announcement, showing the
attractiveness of rules when properly used with headings
]

EXAMPLE 249.—This is the second page of a convention announcement and is evidence of the success that is possible with the proper use of a well-designed type-face, an appropriate initial, and rules to separate the headings. A combination of a heavy- and light-faced rule has always looked well with the Caslon style of type-face.

EXAMPLE 250

Announcement designed by an artist who believes in the liberal leading
of type lines
]

EXAMPLE 252

Blotter announcement in rugged Colonial style
]

EXAMPLE 250.—This announcement, originally printed on hand-made paper, all in black ink, was designed by a famous New York artist-typographer, who believes that there is greater legibility when the lines are separated by a liberal use of leads than when they are “set solid.” The arrangement is unusual in several respects—the placing of the name in the far-off upper corner, the use of the initial “A” in the midst of a sentence, the setting of the names of the officers in italic and their titles in roman, and the liberal leading previously referred to.

EXAMPLE 251

Announcement in black and gray on gray fabric-finished stock,
illustrating harmony of type-face and decoration
]

EXAMPLE 251.—This specimen also has the feature of an initial in the midst of a sentence, and it may be well to suggest to young compositors that it is better not to use an initial in this manner. This page would probably be even more effective if the entire word “announces” were in lower-case. The announcement was printed in black and gray on a light-gray stock. The foundry that made this series of type also made ornaments that would harmonize with it and thus enabled the printer to produce an artistically pleasing page. This letter is one of a few that closely suggest good hand-lettering. The selection of type sizes and the arrangement and apportionment of margins help to make a result that reflects credit on the printer’s art.

EXAMPLE 252.—A blotter was the vehicle that carried this announcement, which is in the rugged Colonial style of typography of the year in which this piece of work was produced. The tone is pleasing, as is also the contrast of white and black. The ornament blends in shape and style with the accompanying typographical treatment.

In the production of his own announcement forms the printer is not hampered by the requirements of customers. He works with the unrestricted freedom of a Michelangelo and there is little reason why his work should not be of the best, if he will read and study books and trade magazines.

EXAMPLE 257

The historic Gothic, or pointed style
]

EXAMPLE 258

Strong treatment, the motive of modern origin
]

EXAMPLE 259

A striking effect that should please the college student
]

TICKETS

It is said of printers who make no attempt to learn the principles governing art typography, that once or so in a lifetime they produce an artistic job of printing. They become much elated at the phenomenon, not realizing that it was brought on by the unconscious introduction into their product of art principles. The experience may be likened to that of a child who accidentally touches an electric button, causing the room suddenly to be illuminated. The child knows the light is there, but does not comprehend how it got there.

Now instead of being the cause of an oriental handshake, a good job of printing ought to be an everyday occurrence, and the stirring of the waters should be left for the bad job of printing when, unfortunately, it happens along.

Lack of interest is the reason for the non-development of many printers in the art side of typography. Because, to many compositors, printing is merely a means of making a living, only enough knowledge is acquired to enable them to “hold their jobs,” or, in the cases of employers, to retain their customers. Time spent in the printshop is considered drudgery and the pleasures of life come after the whistle has blown. There are young printers who know comparatively nothing about good typography, yet are authorities on the rules of pinocle, baseball, or other pastimes. And there are older printers, too, who could write a book about chicken-raising, yet do not know when type-faces harmonize.

Any man who is not interested in his vocation is to be pitied. Unless his heart is in his work, a lawyer, preacher, editor, ad-writer, artist or printer will not be successful.

Interest may be developed. If the typographer will devote a portion of the time now spent on outside matters to the study of his craft, and especially the art side of printing, his work will become lighter and the hands on the clock will chase each other. The same concentration of thought now devoted to unimportant side interests would bring large dividends if invested in the study of typography. Efficiency is a guarantee of steady work and good pay to the employee, and an assurance of steady customers and better prices to the employer.

EXAMPLE 256

Classic, refined treatment, for art and literary purposes
]

The typographer who prefers freedom from care, and the blissfulness of ignorance, is a poor member of society. He should line up among the world’s workers and accept some of the responsibilities. The first things he observes, should he become a student, are the imperfections of his own product. Work that before looked good to him, now, viewed in a new light, is defective, and finally the old verdict is reached, “There is none perfect, no, not one.” While to the experienced art-printer expectations of absolutely perfect results are known to be futile, he tries for one hundred per cent just the same. A man lacks something in his make-up when he is satisfied to be rated as a twenty-five or fifty per cent printer.

* * * * *

Tickets, altho only a minute part of the printing-office product, afford opportunity for the practice and development of art printing. In typography there are many themes and styles and their incorporation into type-designs is an interesting and instructive study. The compositor or layout man should know and understand these various styles, that he may be able to adapt himself to any demand made for “something different.” Resourcefulness is a valuable characteristic for any printer to possess, and close examination of the nineteen ticket forms, and careful reading of what follows, should serve to develop that quality. These forms were designed by the author especially for this chapter.

EXAMPLE 256.—It is fitting, in commencing a series of type arrangements, first to show one based upon a classic motive. The design is old to students of art, yet may be new to printers in general. The arrangement has been used for many years by leading architects on inscription tablets, and the idea itself comes from ancient Rome. The egg-and-dart border is a standard embellishment in architectural designing. The roman type-face is historically proper, especially the adherence to capitals, as originally there was none but what we call capitals, the small “lower-case” or minuscule letters having been evolved during the Middle Ages. The letters of roman type-faces usually set very close together and to get certain results the capitals should be slightly spaced. One-point spaces have been used in this example. White cardboard is preferable to a colored one on which to print this design.

EXAMPLE 257 (Insert).—The historic Gothic or church style furnished the 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.

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.

EXAMPLE 262

Daintily appropriate in type-face and 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.

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.

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.

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.

EXAMPLE 267

Modern application of classic type effects
]

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.

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.

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.

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.

EXAMPLE 272

Treatment that should prevent easy counterfeiting
]

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.

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.

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.

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
]

EXAMPLE 276

Professional stationery must be treated with dignity and refinement.
The type should be small
]

EXAMPLE 277

Suggested treatment for church stationery of the conventional kind. A
text letter is appropriate and is usually satisfying
]

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
]

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.

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
]

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.

EXAMPLE 281

Artistic treatment in squared effects
]

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.

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.