Chapter XVII: Section C: shows a plain letter of modern cut known erroneously as (6)

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.

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.

EXAMPLE 343

High-hat-and-frock-coat treatment
]

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.

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.

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.

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.

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.

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.

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.

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.

EXAMPLE 351

Classic arrangement in one size of type
]

EXAMPLE 353

Highly decorative, with possibilities for harmonious color effects
]

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.

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.

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.

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
]

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.

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.

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.

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.

EXAMPLE 360

A blotter arrangement suggestive of an architectural panel
]

EXAMPLE 361

Blotter treatment that survives the test of time
]

EXAMPLE 362

Neat, refined arrangement of type matter and illustration
]

EXAMPLE 363

In which the type matter fills the blotter
]

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.

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.

EXAMPLE 366

Typographic poster in Roman capitals by Frederic W. Goudy
]

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.

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.

EXAMPLE 368

A lettered arrangement that has suggestion
]

EXAMPLE 369

A few words of copy and strong contrasts
]

EXAMPLE 370

A typographic style unique among insurance advertising in cars
]

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.

EXAMPLE 371.—At an exhibit of German modern-art posters the design that stood out most strongly was one which contained only a name lettered and an article illustrated. There was no detail to detract, and the effect was altogether pleasant. This shoe card is planned along similar lines, and the idea could well be put to further use.

EXAMPLE 372 (Insert).—This is a presentation of a three-sheet poster which attracted the attention of the writer a few years ago because of its simplicity. For such effects as this, which carry but little copy, lower-case letters are appropriate. It is seldom, however, that the commercial printer is provided with so few words for his posters. Lower-case display, to look well, requires plenty of surrounding blank space, while capitals accommodate themselves to close quarters.

EXAMPLE 372

Refinement in theatrical printing. Was a large three-sheet poster
]

EXAMPLE 373

A border such as this blends with gothic type-faces
]

EXAMPLE 373 (Insert).—The “Secession” style of border and ornament blends well with monotone type-faces without serifs, such as the type commonly known as gothic. As the wood-type equipment of most printshops very likely includes gothic faces, the style of treatment shown by this specimen may be produced successfully. A border such as this is easily procured, or can be made by the printer if he desires.

EXAMPLE 374.—Printers seldom take advantage of the opportunities offered for unusual effects. This copy did not suggest anything to the compositor who first set it and the result was commonplace, with nothing to excite anything but ordinary interest. The fact that the birth of Franklin was to be celebrated should have been sufficient to suggest an arrangement such as is here presented, but it did not. Benjamin Franklin purchased his type in England, some of it at the old letter foundry of the Caslons; and what is more interesting than a poster announcement of a Franklin dinner set in the style of type-face that Franklin himself used? This has been done in the example under consideration. Roman, italic, capitals and lower-case have been blended in the interesting manner in which this was done in the eighteenth century. The long _s_ (ſ) of Franklin’s time is also used, to carry along the interest; it appears, as will be noticed, in all cases excepting at the end of words. A Caslon ornamental band is at the head and foot.

EXAMPLE 375.—This is another instance where the copy furnished a motif that could be developed typographically. Reproductions from the First Folio of Shakespeare’s works were available and from them an initial and two decorative bands were enlarged to the desired size. The typography of Shakespeare’s time was then studied and worked into the poster. The Caslon type-face is not exactly the same as that used in the seventeenth century, but there is sufficient similarity to make it suitable. Many persons of the present day will shy at the use of a single capital letter immediately following the initial, but that is the way it was done in the old days. Typographers should early begin to accumulate a library of books. They should frequent the second-hand bookstores, and occasionally purchase some old volume that shows the style of typography of fifty, one hundred or more years ago. The best printers do this.

EXAMPLE 376.—It should be an easy matter to produce attractive window cards or paper hangers in this style. Selections from the many artistic and odd cover papers obtainable, supported by harmonizing color combinations, make possible any number of attractive effects. Only one size of type should be used, and the border should be one that reflects the character of the type-face. Plain rules for border purposes are more successful in obtaining harmony than is decoration. As most letters contain two widths of line, a rule border matching the wider line, or both lines, is pleasing.

EXAMPLE 374

Type treatment that suggests Franklin’s time
]

EXAMPLE 375

Poster in Shakespearean typography
]

EXAMPLE 377.—The Colonial style of type arrangement is here adapted to window-card purposes. The window card has the same advertising reason for its existence as the paper poster, and is printed on cardboard to enable it to stand upright. The treatment of this card is such that the word “Pinafore” and the decoration stand out most prominently, taking for granted that a person interested by the sight of this word will come close to the card and read it. Such an arrangement should not be attempted unless the copy is suitable. Forcing unsuitable copy in full-line Colonial arrangements results in illegibility and dissatisfaction.

EXAMPLE 376

A simple typographic treatment that offers possibilities for
attractive posters or window cards
]

EXAMPLE 378.—Sunday-school excursions furnish copy for many window cards. The printer may appreciate this suggestion for an arrangement of such a job. It is sufficiently unconventional to attract attention, at the same time providing a simple way of arranging the matter that usually comes in with such orders. The arrangement has merit from an advertising point of view, the information being given concisely and legibly.

It is probably true that the majority of printers have given no thought whatever to the arrangement and treatment of posters. It is even likely that there are job printers who feel that poster composition is beneath their dignity. In view of these conditions, it is to be hoped that what has here been written regarding the poster will serve to create new interest in that line of work.

Years ago the author knew an old printer who had the reputation of being the best sale-bill compositor in the county. His work was confined almost entirely to the setting of posters announcing sales of farm goods, yet he did it so carefully and efficiently that residents of the county traveled miles to place an order with the concern for which this man worked.

EXAMPLE 377

The Colonial style used on a window card
]

Poster printing should not be attempted unless the equipment is such that the work can be done profitably. Lack of sufficient wood type will result in poor printing and makeshift arrangements. However, absence of equipment did not worry a certain printer who did business some years ago. He had no wood type at all, yet he accepted orders for posters and, taking advantage of the craft courtesies of those days, borrowed all the type lines from a competitor. It frequently happened that when the competitor desired to set up a bill he found that the type was mostly in the possession of the borrowing printer.

EXAMPLE 378

Suggestion for an excursion window card
]

The large two-sheet and three-sheet posters look very big indeed to the printer in the small shop whose product is confined to the output of his platen presses, yet poster printing is merely printing on a larger scale. The builder of the New York subways was once asked how he found it possible to put through such a large undertaking. He replied that he knew he could build a cellar, and a subway was merely a multiplication of cellars. The printer who learns how effectively to produce a small piece of printed advertising matter should be able, by developing and enlarging on his ideas, to produce good poster work.

EXAMPLE 381

A city department-store advertisement of the good kind
]

ADVERTISEMENTS

Not every business man can write an advertisement well. Not every printer can set an advertisement well.

Of the poor advertisements that mar newspapers and periodicals, fifty per cent of the ineffectiveness should be blamed on those who write them and fifty per cent on those who set them.

EXAMPLE 379

Newspaper advertisement arranged without thought. See 380
]

In this chapter we are interested not in writing the advertisement, but in properly treating it typographically after it has been written.

Some day advertising typography may become so standardized that a compositor can be told in a few words just how he shall arrange it. Meanwhile as there is more than one way to set type for advertisements, we must for the present depend on the study of good type work, the advice of those who have theories, and our own judgment.

EXAMPLE 380

Easier to read and more pleasing to look at than 379
]

It is possible, however, to learn something about advertising typography by giving thought to the ways of the orator, who swayed human beings long before printing was invented. We have all listened to oratory in the church pulpit, the public square and the Chautauqua tents, and in halls on the occasion of political gatherings and organization conventions. Our most agreeable recollections are of those moments when we were so pleased and impressed with what the speaker was saying that we did not think of his manner of saying it. Probably the most successful printed matter is that which pleases and impresses without one’s being immediately aware of the cause.

A good speaker will enunciate clearly and speak in a moderate tone that can be heard.

A good typographic advertisement will be set in a legible type-face and in a size that can be easily read.

Print can be too small or too large, too gray or too black.

If a speaker is addressing an exclusive group of persons, he lowers his voice and talks in polite diction.

If he addresses a large crowd, many of whom are of less fastidious tastes, he raises his voice, perhaps using all his power, and most likely mixes with his English a little popular slang.

Thus advertising printing of the exclusive kind would likely be set in type smaller and in design more classic than that used for publicity matter that has wide and promiscuous circulation.

The typographer must keep in mind that while bluntness and forcefulness are liked by some, they give offense to others.

There are orators so eloquent and flowery that one is led away from the message by pleasure and admiration for qualities that should merely carry the message.

There are advertisements so attractive in decorative beauty that one sometimes forgets to read them.

And then there is the heavy-voiced orator who emphasizes every statement. He startles and he tires, and is as unsuccessful as the speaker who croons his audience to sleep with uninteresting monotones. How like such speakers are the excitable, over-displayed advertisement, and the large advertisement monotonously set without emphasis, in one size of type!

EXAMPLE 382

The conversational style of page advertisement
]

The speaker who gracefully accentuates his talk at important points has the same good judgment as the typographer who neatly displays or emphasizes significant parts of his copy—not forgetting the orator who gets applause at the wrong time, and the printer who by carelessness in arrangement suggests the wrong thought.

Many speakers use the same words that Shakespeare used, but “they phrase them differently,” just as printers arrange type differently.

The orator has a message, and he tries to “get it over.” The advertiser has a message too, and he calls on the typographer to assist him in gaining customers. The problems are not unlike.

EXAMPLE 384

One word is thoroly advertised
]

EXAMPLES 379 AND 380.—These two advertisements picture the difference between setting type with a stick and setting it with the head. It would be illogical to assume that any thought at all was given to the type composition of Example 370. It not only is unpleasant to look at, but is difficult to read, notwithstanding the size of type used for the text. Benjamin Sherbow, who has given much time to the training of type to act for the advertiser, took the same material the newspaper compositor had to work with, and at the crack of his whip the words assumed a new formation. Keep in mind that Mr. Sherbow was not attempting to improve the looks of the advertisement; he did improve the appearance, but what he started out to do was to make the message easy to read. He labored from the viewpoint of the reader and not from that of the advertiser or printer. The difficulty usually is that the merchant and typographer are too close to the details of their own daily occupations and fail to view the advertisement as does the prospective customer.

The important first sentence was emphasized by subordinating the type below. The smaller type is nevertheless easier to read than the same words as originally arranged. The border serves to catch the reader’s attention, as in the newspaper this little advertisement dominated the page.

EXAMPLE 381 (Insert).—The department-store advertisement as represented by this example is really a multiplication of small advertisements. It is necessary for the writer and printer to give attention in detail to each of the small paneled advertisements, but someone must assemble them into a harmonious whole. This is usually done by first making a layout in actual size. Such a layout as planned for the Lord & Taylor page under consideration probably looked just as this advertisement would look if everything but the panel borders, headlines and illustrations were removed. Each panel was numbered, and the copy in each instance contained a corresponding numeral.

EXAMPLE 383

The name and the trademark depended on to sell goods
]

The style of lettering used for the firm name (Caslon italic) is a sort of trademark, as it is to be found on the store’s stationery, on its building and on its delivery cars. The ornamental border, especially the festoon effect at the head, is used in all the newspaper advertising. It will be noticed that two of the panels have been accentuated with stronger borders, larger headlines and with decorative illustrations. They are so placed in the general group as to balance pleasingly. Prices are emphasized, but not as they usually are by department stores that appeal more to the class of people who for economical reasons find it necessary to take advantage of bargains. The names of articles in the Lord & Taylor advertisement are set in a neat, bold type-face.

EXAMPLE 385

Interesting use of white space
]

EXAMPLE 382.—This is one of those easily read, conversational styles of advertisement set in Caslon Oldstyle. The first paragraph, in type a size larger than the rest, invites the attention of the reader. The ornament in the upper left corner adds attraction at the introductory point.

EXAMPLE 387

A study in advertising values
]

EXAMPLE 383.—Like the house of Tiffany, the makers of Knox hats do not have much to say in their advertisements. The name and the trademark are depended on to sell the hats. Cloister Oldstyle, the type-face, surrounded by liberal blank space, is effective.

EXAMPLE 384.—The purpose of this advertisement is to popularize zinc, and for this reason that word stands out so prominently. The rule band at the head and foot attracts the attention, and the Caslon type-face makes the advertisement readable.

EXAMPLE 385.—An easily read advertisement, due to the size and kind of type and the use of blank space. Hart, Schaffner & Marx appreciate the value of good typography. The two-line initial at the head guides the eye to the beginning of the message. The signature at the foot is so placed that it is not forced on the attention, yet it cannot be missed after the two large paragraphs have been read.

EXAMPLE 386

A bordered advertisement
]

EXAMPLE 386.—This arrangement of an advertisement shows a style liked by the Mellin’s Food Company. The decorative border confines the attention to the reading matter it contains, which is presented in Old-Style Antique, a dark-toned, interesting, legible type-face. The display lines are emphasized just enough to make them stand out from the main portion of the text.

EXAMPLE 388

This pictorial department-store advertisement attracted a great deal
of attention in New York newspapers during the holidays
]

EXAMPLE 389

The store name does not appear in this large department-store
advertisement published in the New York City newspapers
]

EXAMPLE 390

Four country-newspaper advertisements, showing slight variation in
border treatment
]

EXAMPLE 387.—The principal points in this advertisement are the name of the company (which is accentuated to catch the eyes of the many who know this house) and the three lines at the head (which are informative to those who may not know the Gorham company). This advertisement serves well as a study in advertising typography. Careless handling of it in the composing-room would have spoiled its effectiveness. The border has probably been used to attract attention, yet it does not interfere with the reading of the advertisement, as the typographer has maintained a liberal margin around the type matter.

EXAMPLE 388.—This is one of the many clever advertisements that are inserted in newspapers by John Wanamaker, and is different from most others because it is a picture-story of the goods on sale. The type matter is secondary thruout excepting in the introductory panel at the head, which is displayed merely to call attention to the style of the advertisement and to the name of the advertiser.

EXAMPLE 389.—Few printers have seen a department-store advertisement just like this one. It does not contain the name of the advertiser, and there is practically no display. It looks more like a story in a general magazine. A few circular illustrations are so placed as to relieve the monotony of the columns of text, and a decorative piece is placed on both sides of the heading. The page is also made interesting by the use of space between paragraphs.

EXAMPLE 391

A good-looking page advertisement that was easily read
]

EXAMPLE 392

Typography and shape of this four-column advertisement suggested by
the architecture of the tall building pictured
]

EXAMPLE 390 (Insert).—The most difficult copy to arrange well is probably that supplied country newspapers by their advertisers. There is seldom much to the copy, and it is almost always necessary to use display unsupported by the solid paragraphs of text that soften the contrast in advertisements that appear in city dailies. Here are four advertisements different in size and representative of small-town business. Some one has urged that fancy borders be not used in the small-town newspaper, and that the rules for borders be the same thruout. This advice is probably wrong, as it was tried in this instance and the effect was found to be monotonous and uninteresting. The same rule border is used around each advertisement, but to obtain contrast an additional rule has been added to the coal advertisement and a holiday border and another rule to the general-store advertisement. These slight variations in border treatment add a great deal of interest to the page. Each advertiser is entitled to an individual hearing, and this is only possible when there is some distinct feature found in his advertisement alone. In the city newspapers each department store usually has a distinctive type-face which appears in no other advertisement. In the small-town newspaper it may not be possible for the publisher to render such service, but an effort in the same direction can be made by varying the border treatment. The type-faces used in this example are Bodoni and Bodoni Bold. With the use of the Bold, emphasis is given at proper points in each of the four advertisements. In the largest one it is used for the name of the firm, in the smallest one it sets forth the name of the café, and in the other two advertisements it emphasizes the name of the business. There may be another way to arrange the names of the articles in the general-store advertisement, but it is doubtful if any other arrangement would make reading easier. Typographers who are inclined to treat lightly the problems of the small-town printer should attempt to improve these advertisements.

EXAMPLE 393

A page in which attractive typography was possible in spite of a long
list of agents
]

EXAMPLE 391.—The style of treatment of this trade-journal advertisement is influenced to some extent by the article advertised, yet there is no reason why this treatment would not be suitable for many advertisements of another kind. The heavy-and-light-line rule border is of a darker tone than the type page and for this reason adds color and interest. There is sufficient blank space between the border and type matter to allow for the text being read without interference. The capitals in the headings are letterspaced, the letterspacing not only giving them character, but making them more legible. The text matter is introduced with an initial that extends upward from the first line instead of downward as most initials are placed. This advertisement is of the conversational style, arranged for easy reading.

EXAMPLE 392.—Some one has decreed that text types shall not be used in advertisements, but fortunately those responsible for the planning of this advertisement paid no attention to the decree. The advertisement was inserted in newspapers for the purpose of calling attention to the new building in the Gothic style of architecture erected for the Hampton Shops. Any one who has studied the details of a Gothic structure such as this or the Woolworth Building has felt the influence of the long, narrow lines found in Gothic architecture. The shape of this advertisement and the thin, pointed character of the text type used are in splendid harmony with the general idea.

EXAMPLE 393.—There was presented to the designer of this advertisement the problem of including in legible size a long list of cities and agents and yet reserving sufficient space in which to give due prominence to the text matter. The solution of the problem was the long, narrow panel at the left. While the entire advertisement is easily read, especially in its larger form, and probably has the approval of those who insist on legibility in advertising composition, there is yet something about it that will also interest those who maintain that typography should be built on art principles. The border, trademark and name of the article advertised blend in tone, while the remaining type matter shows a pleasing gray. Inserting the trademark in the space left by the shorter words of the heading makes the effect unusual.

EXAMPLE 394

An advertisement planned to sell high-priced cars
]

EXAMPLE 394.—This is one of a series of newspaper advertisements prepared for the Locomobile Company by T. M. Cleland. Planned to sell automobiles costing five or six thousand dollars, it naturally is treated differently from an advertisement that would sell cheaper cars. The decorative crest is a factor in the effectiveness of this advertisement, and the italic with the swash capitals helps to give a touch of exclusiveness. It is an advertisement that will stand out on the average newspaper page.

EXAMPLE 395

Roman lettering and Roman architecture
]

EXAMPLE 395.—This advertisement has qualities similar to those of Example 392, the typography of which was suggested by the architecture of a building. Here we have an illustration of a building in Roman architecture, hence it is suitable that the type should be Forum, which is based on Roman carved lettering, and that the border should contain lines that suggest an architectural panel. Of course, this matter of harmonizing the plan of an advertisement with the architecture of a building can be overdone. An advertisement is not necessarily a good advertisement because of such harmony, yet if an advertisement is readably presented, harmonious type selection and arrangement should add effectiveness.

EXAMPLE 396.—This advertisement in a way suggests Example 385, and in contrast with that example furnishes a study in the use of blank space. In the Hart, Schaffner & Marx advertisement the margin is equal on both sides, and monotony is avoided by having the margin at the foot of the type group more than on the sides. In this Kodak page the text group is courageously pushed to the extreme upper right corner, and all of the blank space is assembled at the left and at the foot. The use of so much space is probably for the purpose of attracting attention, which it undoubtedly does. Nevertheless, it is possible that the advertisement would look better if the text group were treated as in Example 385.

EXAMPLE 396

Uncommon placing of blank space to attract attention
]

EXAMPLE 397

The modest display of a large magazine advertisement
]

EXAMPLE 397.—This advertisement has been reduced considerably, as it originally occupied a large magazine page. For effectiveness the typographic treatment was depended on, and, as will be seen, it is unusually neat. The headline and the name of the company are the only suggestions of display on the page. The illustration, of course, is to catch the reader’s attention.

EXAMPLE 398

The blank space emphasizes the illustration
]

EXAMPLE 398.—Altho this is a lettered advertisement, it is a good example of blank space used to attract attention not only to the advertisement, but to the illustration, which here is really of the most importance. It should be noticed how the blank space in the upper right portion clears the way for a view of the automobile. Many advertisers are using a strip of white space in their advertisements, at the right or at the left.

EXAMPLE 399.—The treatment of this advertisement proves that it is not absolutely necessary to have the typography of country-newspaper advertisements as formal as that presented in Example 390. For general newspaper use Bodoni modern might have preference over the more interesting Cloister Oldstyle, yet a newspaper treated entirely in old-style type-faces would be likable. If this advertisement were placed on the average newspaper advertising page, it would stand out strongly because of the blank space used around the type group, the restful and pleasing type-face and the dark-toned border.

EXAMPLE 400.—The manner in which this page of advertisements is treated should have suggestion for newspaper and periodical publishers who wish to make their classified-advertising sections more interesting. This page, from a trade publication (_The American Printer_), was set in eight-point type instead of the six-point that some publications usually use. It is a mistake to use type smaller than eight-point for matter that is supposed to be read. The expense and the time necessary to put in initials at the beginning of each advertisement are avoided by capitalizing the first word and setting it flush with the end of the line. Instead of using the stereotyped “Help Wanted” and “Situations Wanted” headings, human interest was introduced by phrasing each heading as a question, as would likely be done on a larger advertisement.

EXAMPLE 399

A country-newspaper advertisement
]

EXAMPLE 400

Suggested for treatment of classified ad. sections
]

EXAMPLE 403

The neat typography and well-balanced make-up of a suburban newspaper
]

NEWSPAPERS

We are all familiar with the modeling clay with which children amuse themselves. They take a portion of gray clay, mold it into some shape, and decorate it with small portions of red, yellow and blue clay. After they tire of their production they knead it with their fingers and lo! the bright colors disappear and there remains only the neutral gray.

EXAMPLE 401

The first and only number of America’s first newspaper
]