LIST OF REPRODUCTIONS
The first printed Declaration of Independence,
frontispiece
PART ONE
WHEN BOOKS WERE WRITTEN
Page
1
The scribe at work, opp. p.
1
Assyrian clay tablet, p.
1
Ancient Roman reading manuscript, p.
2
Roman waxed tablet, p.
3
The Egyptian “Book of the Dead,” p.
3
Evolution of the alphabet, p.
4
Capital letters of the ancient Romans, p.
4
Uncial letters of the sixth century, p.
5
Half-uncial letters, p.
5
Gothic letters of the fifth century, p.
5
Page from the “Book of Kells,” p.
6
THE ORIGIN OF TYPOGRAPHY
Page
7
Portion from Fust and Schœffer’s Psalter of 1457, opp. p.
7
French playing card, a block print, p.
7
Image print of 1423, p.
7
Bible of the Poor, from block book, p.
8
Text page from the block book “Ars Moriendi,” p.
8
Page from an engraved wood block, p.
9
Page from separate metal types, p.
9
Two pages from the Huntington copy of Gutenberg’s Bible, p.
12
Decorated page from Gutenberg’s famous Bible of Forty-two Lines, opp. p.
12
THE SPREAD OF TYPOGRAPHY
Page
13
The Venetian style of typography and decoration, opp. p.
13
The spread of typography (table), p.
13
Page printed by Koburger, p.
14
The first displayed composition, p.
14
A page from the famous Bamberg Missal, opp. p.
14
The first italic, a page by Aldus, p.
15
Specimens from Plantin’s Polyglot Bible of 1569, pp.
16
,
17
Gothic ornamental pieces, from a “Book of Hours,” p.
16
Page by England’s first printer, p.
17
Page in English by John Daye, p.
18
The first Psalter in English, p.
18
TYPOGRAPHY IN COLONIAL DAYS
Page
19
A title-page of 1655, with much type display, opp. p.
19
First book printed in English America, p.
19
Title-page of a Shakespeare book, p.
20
First edition of “Pilgrim’s Progress,” (reset by Whittingham), p.
21
First issue of the London “Times,” p.
21
Page from a chap-book, p.
22
Page from “Description of Trades,” p.
22
French specimen of 1742, p.
23
Caslon types and ornaments, p.
23
First edition of “Paradise Lost,” p.
24
Two pages from “Poor Richard’s Almanack,” p.
25
Italian specimen of 1776, p.
26
Pages from Bodoni books of 1789 and 1806, p.
26
TYPOGRAPHY IN THE NINETEENTH CENTURY
Page
27
A Morris title-page and text page, opp. p.
27
Page from a “Book of Common Prayer,” p.
27
A design of the rule-curving period, p.
28
Title-page of 1810, p.
28
Title-page of 1847, p.
28
Title-page of 1872, p.
28
Title-page of MacKellar’s “American Printer,” p.
29
A banquet program of 1865, p.
29
From a type-foundry specimen book of 1885, p.
30
A business card of 1865, p.
30
A business card of 1889, p.
31
Stationery composition of 1870, p.
31
The panel as used in 1893, p.
31
A neat letterhead of 1897, p.
31
Title-pages by Charles Whittingham, p.
32
Bradley’s adaptation of the Colonial style, opp. p.
32
A Jacobi page of 1892, p.
33
A Bradley page in lower-case, p.
33
A Bradley page in Caslon capitals, p.
34
A De Vinne page, p.
34
PART TWO
(
The index figures refer to the number of the example
)
THE “LAYOUT” MAN
Page
35
Booklet cover-page laid out with pencil and crayon,
1
Anticipating the appearance of the printed page,
2
,
3
Ascertaining color combination with crayons,
5
,
6
Laying out copy for machine composition,
4-a
,
4-b
Table for ascertaining the number of words to square inch,
7
Notehead set without instructions,
8
Business card set without instructions,
9
Label set without instructions,
10
Notehead laid out for compositor,
11
Business card laid out,
12
Label laid out,
13
Layout of a cover-page,
14
Cover-page as set from instructions,
15
Layout sketch for a cover,
16
(insert)
The cover printed as indicated,
17
(insert)
HARMONY AND APPROPRIATENESS
Page
41
Harmony by the use of lower-case,
18
Harmony of type-faces and borders,
19
An architectural subject treated appropriately,
20
(insert)
A booklet cover suggestive of the subject,
21
(insert)
Cover suggested by old lock-plate,
22
An old lock-plate,
23
Inscription on a Roman arch,
24
Cover-page for a catalog of books,
25
A plain page for a plain purpose,
26
Treatment appropriate for a church program,
27-a
Portion of a page of an old manuscript missal,
27-b
Cover-page for a catalog of decorative materials,
28
The Colonial arch,
29
Title-page in semi-Colonial style,
30
TONE AND CONTRAST
Page
47
Contrast in color and tone,
31
Uniform tone and contrast of black and white,
32
Four ornaments, each of a different depth of tone, used in the construction of four pages,
33
,
34
,
35
,
36
,
37
Extremes of tone on book pages,
38
,
39
Blending of illustration and text,
40
Spotted black tone of border and text,
41
Blending of illustration and type-face,
42
Uniform tone in classic typography,
43
(insert)
A study in uniform tone,
44
(insert)
Tone-blending of initial, headpiece and text,
45
Emphasis of parts to be printed in light color,
46
,
47
Display lines should match the border in tone,
48
Uniform tone by equal spacing,
49
PROPORTION, BALANCE AND SPACING
Page
53
One method of determining the page length,
50
Another method,
51
Three widths of type-faces,
52
Type page in which vertical lines predominate,
53
An architectural comparison,
54
The conventional page shape,
55
Type page in which horizontal lines predominate,
56
An architectural comparison,
57
Page in which ornament, border and type-face are in proportion,
58
(insert)
Pages in which the type-face is not in proportion,
59
,
60
Mismated type-faces and borders,
61
Vertical lines proper,
62
(insert)
Horizontal lines not suitable,
63
A display line surrounded by other type lines must be larger,
64
,
65
Type proportionately too large,
66
Type proportionately too small,
67
A proportion that is about right,
68
Out-of-center balance on a card,
69
Type grouped unusually high,
70
Exact center is too low,
71
The point of vertical balance,
72
An architectural example of out-of-center balance,
73
A disorderly arrangement,
74
An ornament that balances with the design,
75
Out-of-center balance on an announcement,
76
The effect of horizontal lines in a type page, and how it is avoided,
77
,
78
Spacing letters to obtain even tone,
79
Emphasis obtained by letterspacing,
80
The obsolete practice of spreading the lines over the page,
81
The modern practice of grouping the type lines,
82
ORNAMENTATION
Page
59
The egg-and-dart ornament,
83
The bead ornament,
84
The egg-and-dart ornament as a typographic border,
85
The bead ornament as a typographic border,
86
Conventionalized papyrus plant,
87
The winged ball,
88
The acanthus leaf,
89
Palm-like Greek ornament,
90
The Doric pillar,
91
The Ionic pillar,
92
The Corinthian pillar,
93
Ornamentation on an entablature,
94
Square-lined, ornamentless furniture,
95
Square-lined, ornamentless typography,
96
Dainty, elaborate rococo ornament applied to furniture,
97
Similar treatment of a program title-page,
98
(insert)
Slightly ornamental furniture,
99
Slightly ornamental typography,
100
Monotony and variety in strokes and shapes,
101
,
102
,
103
,
104
,
105
Roman architectural border and roman type-face,
106
Gothic pointed ornament and Gothic type-face,
107
Natural and conventionalized ornament,
108
Extravagant wall border ornamentation,
109
Roman scroll ornament cut in stone,
110
Type ornament based upon geometric lines,
111
Type ornament based upon foliage,
112
Ornament based upon the inanimate,
113
Ornament based upon the animate,
114
Ornamental hand-lettered effect,
115
Corner ornaments, from bolts on inscription plates,
116
Decoration from a manuscript book,
117
Filling blanks with ornamentation,
118
Semi-ornamental ecclesiastic style,
119
Initials of various kinds,
120
Simple ornamentation applied to letterhead,
121
Appropriate ornamentation on a modern booklet,
122
Effect of alternating colors,
123
An ornament based upon the animate,
124
The significance of ornamentation applied,
125
(insert)
THE TYPOGRAPHY OF BOOKS
Page
67
Two model specimens of book typography,
126
,
127
(insert)
Title-page of a book of classic poems,
128
Title-page with a nineteenth-century motive,
129
Two book pages inharmoniously treated,
130
,
131
Two pages, composite Colonial and modern,
132
,
133
Two pages constructed with care for detail,
134
,
135
A text-page in modern roman,
136
A text-page in old-style type-faces,
137
Title-page with an Italian motive,
138
Page from a children’s book,
139
Harmony in tone of type-face and decoration,
140
A title-page of classic design,
141
Classic feeling in a modern title-page,
142
(insert)
Text-page of a Roycroft volume,
143
Text-page from a book by De Vinne,
144
Two pages from a small ecclesiastical book,
145
,
146
Gothic treatment of a book of poetry,
147
Title-page with a French motive,
148
BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS
Page
75
Title-page by Goudy,
149
Two pages from leaflet in simple typography,
150
,
151
Three easily-read pages by Sherbow,
152
,
153
,
154
Two typographic leaflet pages,
155
,
156
Three pages in which rules are factors,
157
,
158
,
159
Label on a brilliant cover,
160
Admirable treatment for small amount of matter,
161
Adopting a photograph of wrong proportions,
162
Two artistic pages from type and rule,
163
,
164
Rear and front cover designs of unconventional booklet,
165
,
166
A prospectus page by Bradley,
167
Dignified typographic beauty,
168
,
169
Hand-lettered cover page,
170
Representative page from a commemoration book,
171
Unconventional arrangement of a booklet page,
172
CATALOGS
Page
83
Page from an automobile catalog by Cleland,
175
Unusual treatment of a page,
176
Architectural title treatment,
177
Effective results obtained in a simple way,
178
,
179
Inside page and cover of a publication catalog,
180
,
181
German poster type on a catalog,
182
Title-page and inside page of a museum catalog,
183
,
184
Rules on a book catalog,
185
Type matter prominently treated,
186
Unusual automobile catalog page,
187
Tabular rules in a wine list,
188
German wine-list treatment,
189
Title-page of an exhibit catalog,
190
Capitals and italic for descriptions,
191
Page from a sewing-machine catalog,
192
An attractive background,
193
Artistic catalog treatment,
194
Tabular matter in a catalog page,
195
PROGRAMS
Page
91
Program cover-page in ecclesiastical style,
200
(insert)
Economizing space on a program,
201
Missal style of church program,
202
Classic treatment of a church program page,
203
Program page in semi-missal style,
204
Generous margins on a program,
205
A dance card,
206
Page from a booklet program,
207
Unconventional treatment of a dance program,
208
The decorative border on a banquet program,
209
A halftone decorative background on a program,
210
A booklet program,
211
The banquet program in the form of a check book,
212
Humorous treatment of titles and odd arrangement,
213
Suggestion for a menu page, introducing a bit of fun,
214
(insert)
A classic menu page,
215
Program used by master printers,
216
Dignified style for menu page,
217
Treatment simulating woodcut decoration,
218
The missal style adapted to a menu program,
219
Unique arrangement of a menu page,
220
Excellent typographic treatment,
221
Refined entertainment program page,
222
Two pages from an entertainment program,
223
,
224
Program page in lower-case,
225
The decoration was in color,
226
Program in Gothic style,
227
A well-arranged page,
228