HOUSE-ORGANSPage161
HOUSE-ORGANSPage161
HOUSE-ORGANS
Page161
Little brother of the periodical and newspaper—Smallest and largest dimensions—Favorite sizes—Self-covers and covers that are separate—Not many pages—Published regularly-Titles—Number of columns—Margins—Type-faces—Headings—House advertising—Illustrations, descriptions and prices—Mistake to use dark types with illustrations—Ideal typographic treatment—Useful and informative—Light matter to maintain interest—Features—Borders and initials—Almanacs—House-organs on blotter stock—In newspaper style—A western printer’s expression—Specimens of actual work—Too much copy—Loose inclosures should not prove a nuisance—Return post cards—Postal regulations.
TYPE-FACESPage169
TYPE-FACESPage169
TYPE-FACES
Page169
Type-faces not easily remembered—Naming and numbering—Six representative standard Roman type-faces—Legible and good-looking and possessing character—Caslon Oldstyle—Scotch Roman—Cheltenham Oldstyle—Cloister Oldstyle—Bodoni Book—French Oldstyle—Private type-faces not considered—Permanency and investment—Cloister Oldstyle based on Jenson’s Roman letter—Not the first Roman type—Caslon Oldstyle—A historic American type-face—Approved by good printers as the best and most useful Roman face available—Difficulties in machine composition—Not an entirely new Roman letter—Story of its designing—Ill-treated by modern founders—The revival—Bodoni Book—Refined and legible—Its history—Modern ideas of improvement—Scotch Roman—The link connecting the graceful old-style and the severe modern Roman—French Oldstyle—Capitals especially pleasing—Cadmus, the Mayeur letter—Cheltenham Oldstyle—Designed in America and developed into a numerous family—The space above the line emphasized by long ascenders—Used for narrow booklets—Capitals awkwardly large—Development of the Roman type-face—In the beginning Roman letters were in capitals only—Lower-case letters in formation—Black Letter and White Letter—Jenson fortunate in the selection of a model—Comparisons—A change in form—Moxon’s drawings of the alphabet—Made into type—Baskerville’stypes rival Caslon’s in beauty—Bodoni threw typography out of gear—His types not so dressed up and finished as at the present time—Modernized Oldstyle—Characteristics of Roman type-faces—The serifs—Has a decorative quality—Oldstyles and Moderns distinguished by serifs—Thick and thin strokes—Makes lettering interesting—Their distribution—Characteristics of pen-made letters—Ascenders and descenders—Beauty in the strokes—False logic—Proportion of letters—Old Roman capitals as models—Uniformity in width revealed in typewriter type—Legibility of type-faces—Type matter should be easy to read—Tests for legibility—Printing on a hard-finished paper and a soft-finished paper—Decided contrasts tire the eye—Lower-case more legible than capitals—Space between lines necessary—Space between words—Advantage of close spacing—Possible in machine composition—Words more easily read than letters—Group of words almost as easily read as one word—Length of line—Recommendations—Size and kind of type should be considered—Measuring one and a half alphabet—Technical and optical reasons—Testing newspaper types—Approved type sizes and leading—Dr. Cohn’s measurements—Italic types—The mate of Roman types—Was first cut by Francia for Aldus—Not merely an inclined Roman—Moxon’s Italic letters, including Swash capitals—Text faces—Fashioned after Black Letter writing—Other names—Block types—An unfinished Roman letter—Poster rendering in black tones—Bold types—Many could be dispensed with—Ornamental types—Types for special purposes—The influence of Frederic W. Goudy on typography.
IMPRINTSPage195
IMPRINTSPage195
IMPRINTS
Page195
The printer should regularly use his name and device—Neglect and fear of customer’s condemnation—Should mark his product as other craftsmen and manufacturers do—A guarantee of quality—How the innovation could be introduced—A precaution—Imprint should be unassuming and inconspicuously placed—Various uses—First use of a printers’ decorative device—Historical uses of distinguishing marks—Emblems of hospitality—The sign of the Cross—Printers should select a device and attempt to live up to it—The Gutenberg Bible contained neither device nor printed name—Fust and Schœffer’s Psalter first book with imprint—The colophon-A decorative device—Its significance—Imitated—As used by a descendant—The classic Aldus device—Pickering uses it—Others adopt it—Bruce Rogers’s interpretation—The imprint-device of the Venetian Society of Printers—Its significance—Emblem of authority—The most popular of old imprints—Hubbard adopts it—Used on biscuit packages—Other adaptations—Caxton’s imprint device—Resembles a rug—Characters cause discussion—A trade device used by the merchants of Bruges—A merchant’s memorial plate—De Worde adapts the device—Morris’s device resembles De Worde’s—The device of the German master printers—Typothetæ—A modern adaptation—The British printer and the pun—Daye and Myllar—Froben’s imprint—Devices of Bebel, Plantin, the Elzevirs, Tory, Dolet and Estienne—Devices very large in the old days—Ancient motives in two modern devices—The winged Lion of St. Mark—Recent adaptations—Story of the device—A colophon-imprint—Designs with ancient motives—The unique mark of the De Vinne Press—Imprint-devices based upon architectural motives—Initials in monogram form—Representative devices used by commercial printers—Decorative imprints with typefounders’ material—Harmony of type, rule and ornament—Small type imprints—Where should an imprint be placed—On books—On small commercial work—A legitimate opportunity for publicity that should be.