ANNOUNCEMENTS
Page
99
Classic capitals combined with rules,
229
(insert)
Two pages from an announcement folder,
230
,
231
Announcement in Colonial style,
232
Odd treatment of an announcement,
233
Announcement in poster art,
234
,
235
Invitation based on inscription plate,
236
Ornaments as eye-attracters,
237
Postal-card announcement,
238
Good advertising typography,
239
An announcement,
240
(insert)
Announcement in two groups,
241
Study in tone values and margins,
242
Harmony of type and decoration,
243
A brief announcement,
244
Colonial style of treatment,
245
Literal treatment in Colonial style,
246
Two pages from an announcement circular,
247
,
248
.
From a convention announcement,
249
Liberal leading of type lines,
250
Harmony in gray tones,
251
Blotter in rugged style,
252
TICKETS
Page
107
Classic, refined treatment for art and literary purposes,
256
The historic Gothic, or pointed style,
257
(insert)
Strong treatment, the motive of modern origin,
258
(insert)
A striking effect for the college student,
259
(insert)
Modern treatment based upon the Colonial,
260
Suggestion for course tickets,
261
Daintily appropriate in type-face and illustration,
262
The mission style applied to ticket composition,
263
The ecclesiastical or missal style well adapted,
264
Perhaps Morris would have set a ticket this way,
265
The medieval art worker furnished this motive,
266
Modern application of classic type effects,
267
Patterned after Colonial treatment of title-pages,
268
A dainty, refined effect suited to many occasions,
269
Robust treatment of an outing ticket,
270
The cab ornament dictated the type formation,
271
Treatment that should prevent easy counterfeiting,
272
Decoration suitable for the subject,
273
Arrangement with French motive,
274
LETTERHEADS AND ENVELOPS
Page
111
A large amount of copy conventionally treated,
275
(insert)
Small type for professional stationery,
276
(insert)
Church stationery of the conventional kind,
277
(insert)
A change in style of professional stationery,
278
(insert)
Elaborate border around letter sheet,
279
Symmetrical arrangement,
280
Squared effects,
281
Simple treatment of little copy,
282
Character in letterhead design,
283
Colonial rule border panel,
284
Advertising a meeting,
285
A well-treated panel heading,
286
Suggestion of the ecclesiastic,
287
Three lines of equal length,
288
For the general store,
289
Treatment suggesting the business,
290
Novel and dignified treatment,
291
A distinctive heading,
292
Decorative initials in heading,
293
Just a neat typographic arrangement,
294
Dignity in letterhead designing,
295
A heading in two groups,
296
Uncommon distribution of color,
297
Double-panel treatment,
298
Distinction in letterhead design,
299
An ornament with a touch of color,
300
A cross-lined panel,
301
A German idea,
302
Note-sheet typography,
303
Humor in a notehead,
304
Conventional treatment of an envelop corner,
305
Artistic envelop treatment,
306
Envelop corner in text letter,
307
Harmony of device and typography treatment,
308
Elaborate envelop corner,
309
BILLHEADS AND STATEMENTS
Page
119
Features of the average invoice,
310
Converting letterhead into billhead,
311
The non-stock-ruled type of billhead,
312
(insert)
Italic lower-case and Roman capitals,
313
(insert)
Billhead suggesting early printing,
314
Good taste on billheads,
315
Interesting border treatment,
316
Large setting of a billhead,
317
Invoice with many columns,
318
Decorative type treatment that is suitable,
319
An uncommon arrangement,
320
Credit bill made from billhead,
321
Professional bills,
322
PACKAGE LABELS
Page
123
Catching attention at a distance,
323
(insert)
Emphasizing daintiness and delicacy,
324
(insert)
Lettering for typographic study,
325
A label rich in suggestion,
326
Ruled line for the address,
327
Black lettering with contrasts,
328
Artistic quality thru typography,
329
Study in black and white,
330
A Caslon specimen,
331
Harmony of border and lettering,
332
Possible of typographic improvement,
333
Freedom of treatment,
334
Label used for a special list,
335
BUSINESS CARDS
Page
127
Standardizing the arrangement,
336
Dignified treatment for a well-known house,
337
Forceful card treatment,
338
(insert)
An unconventional effect,
339
(insert)
A black monogram that is attractive,
340
(insert)
The monogram in color,
341
An uncommon typographic effect,
342
High-hat-and-frock-coat treatment,
343
Business card in blocked capitals,
344
An underprinting decorative device,
345
Roman capitals with italic lower-case,
346
Modern German card treatment,
347
Decorative style suited to business,
348
Italic is sometimes pleasing,
349
A strong design for special purposes,
350
Classic arrangement in one size,
351
A large amount of copy,
352
Highly decorative,
353
Horizontal lines well employed,
354
For general purposes,
355
THE BLOTTER
Page
131
A model blotter,
356
(insert)
Modest amount of copy,
357
A convention-hall blotter,
358
Strong but pleasing contrasts,
359
Suggestive of an architectural panel,
360
Treatment that survives the test,
361
Neat, refined arrangement,
362
Type matter that fills the blotter,
363
A blotter arranged the narrow way,
364
Harmonizing typography,
365
POSTERS, CAR CARDS, WINDOW CARDS
Page
135
Typographic poster in Roman capitals,
366
(insert)
Lettered poster worthy of study,
367
A car card that has suggestion,
368
Little copy and strong contrasts,
369
Unique insurance advertising,
370
Simplicity worthy of adaptation,
371
Refined theatrical printing,
372
(insert)
A strong poster on plain lines,
373
(insert)
Type treatment that suggests Franklin’s time,
374
Poster in Shakespearean typography,
375
Simple typographic treatment,
376
Colonial style on a window card,
377
Suggestion for an excursion card,
378
ADVERTISEMENTS
Page
130
Newspaper advertisement arranged without thought,
379
Easier to read and more pleasing to look at,
380
A city department-store advertisement,
381
(insert)
The conversational style,
382
Name and trademark sell the goods,
383
One word thoroly advertised,
384
Interesting use of white space,
385
A bordered advertisement,
386
Study in advertising values,
387
Pictorial store advertisement,
388
The store name does not appear,
389
Four country-newspaper advertisements,
390
(insert)
A good-looking advertisement,
391
Suggested by building architecture,
392
A long list of agents,
393
Planned to sell high-priced cars,
394
Roman lettering and architecture,
395
Uncommon placing of blank space,
396
Modest display of a magazine advertisement,
397
Blank space emphasizes illustration,
398
A country-newspaper advertisement,
399
Classified advertisements,
400
NEWSPAPERS
Page
147
First number of America’s first newspaper,
401
The first newspaper issued regularly,
402
Make-up of a suburban newspaper,
403
(insert)
Front-page make-up of a Hearst newspaper,
404
Same news story by the “Times,” 405
A four-deck heading,
406
Sporting-page make-up,
407
Pyramid make-up of advertisements,
408
PERIODICALS
Page
151
Decorative treatment of a Thanksgiving number,
409
(insert)
Dignity in make-up and typography,
410
Samples of actual type matter,
410-A
,
422-A
,
424-A
Typographical harmony of heading and text,
411
Advertising the story to the readers,
412
Inserted feature panel,
413
Illustration separated from heading,
414
Headings and text in same face,
415
Use of a small illustration,
416
Box headings on editorial pages,
417
Another way to feature editorials,
418
Excellent editorial typography,
419
Use of rules on editorial page,
420
News photograph on front page,
421
Fine typographic make-up,
422
Attractive first text page,
423
Running around illustration,
424
Feature page of a Christmas number,
425
Convention feature of a trade journal,
426
News headings and make-up,
427
Conservative, readable editorial page,
428
Caslon headings and old-style text,
429
Caslon typography on a magazine,
430
Typography of a pocket magazine,
431
HOUSE-ORGANS
Page
161
Two pages in Kennerley typography,
432
(insert)
Three pages from a quaintly-treated house-organ,
433
,
434
,
435
Distinctive lettering and typography,
436
Interpolated paragraphs in italic,
437
A house-organ in miniature,
438
Another on the same plan,
439
Attractive rule treatment of headings,
440
Contents outlined on cover,
441
Simple, effective typography,
442
Dark-toned typography,
443
Suitable treatment for silverware,
444
Rubricated typography on a house-organ,
445
,
446
Easily read and pleasingly illustrated,
447
A typographic house-organ,
448
Editorial page typographically neat,
449
Attractive use of rules and italic,
450
Elaborate house-organ title-page,
451
A page in Cloister type,
452
Use of paragraph marks,
453
Good specimen of house-organ cover,
454
Blank space used to good advantage,
455
Cover of the “Philistine,” 456
An “almanack” feature,
457
Bodoni typography,
458
Cover of a small house-organ,
459
Suggestions for return post cards,
460
,
461
,
462
TYPE-FACES
Page
169
Comparison of the same type forms on two finishes of paper,
463
(insert)
Roman alphabet from Trajan column,
464-A
Proportions of Roman capitals,
464-B
Evolution of Roman lower-case,
465
Two standard legible type-faces,
466
Six standard representative Roman type-faces,
467
Types of Sweinheim and Pannartz,
468
Roman types of John and Wendelin of Spires,
469
Roman type-face of Nicholas Jenson,
470
Manuscript of the fifteenth century,
471
Type-face used by Paul Manutius,
472
Cloister Oldstyle as a Jenson title,
473
Type-face used by National Printing Office,
474
Comparison of old-styles,
475
Cheltenham Oldstyle in Plantin typography,
476
Type-faces used by Daniel Elzevir,
477
Roman types of Fournier,
478
Capital alphabet drawn by Moxon,
479
Moxon’s lower-case alphabet,
480
Moxon’s alphabets inked in and reduced,
479-A
,
480-A
Earliest Caslon specimen sheet,
481
Two slightly different faces to Caslon fonts,
482
Baskerville types,
483
Possible descent of Scotch Roman,
484
A study in French Oldstyle,
485
Resetting in Bodoni Book,
486
Comparison of original Bodoni with present types,
487
Modern Roman of the nineteenth century in three tones,
488
Modern Roman as used on newspapers,
489
Optical changes by adding serifs,
491
Differences in serif construction,
492
Oldstyle changed to modern,
493
Modern changed to old-style,
494
Comparison of strokes,
495
Thick and thin strokes in the alphabet,
496
Serifs and stroke contrasts,
497
Vertical thick strokes,
498
Diagonal thick strokes,
499
Heavy strokes in the letter “O,” 500,
501
Letters with ascending and descending strokes,
502
Descending strokes long in lettering,
503
Cramped descenders and compressed ends,
504
Descending and ascending numerals,
505
The space between words in good lettering,
506
Lower-case letters grouped according to formation,
507
Legibility and other qualities,
508
Sizes of type set to proper lengths,
509
Ascertaining the proper optical length,
510
Moxon’s Italic capitals of 1676,
511
Italic lower-case of Moxon,
512
Resetting in Cloister types,
513
Decorated capitals or Swash letters,
514
Roman and Italic compared,
515
A few representative Italic type-faces,
516
Complete Roman and Italic Caslon alphabets,
517
Text capitals of Moxon,
518
Text lower-case of Moxon,
519
Two standard German type-faces,
520
A half-Gothic and half-Roman type,
521
Several representative Text types,
522
Block types, serifless and of one thickness of stroke,
523
Modern art poster type,
524
A bold-face from French Oldstyle,
525
A few representative bold types,
526
Eighteenth-century ornamental types of Fournier,
527-A
Early nineteenth-century ornamental types of English founders,
527-B
Recent American types of the ornamental kind,
527-C