PROGRAMS

EXAMPLE 180

EXAMPLE 181Inside page and cover of a publication catalog designed by D. B. Updike. The typographic treatment of these two pages is suitable and pleasing. The cover stock was green-gray of a rough antique finish

Examples178and179.—In many catalogs a page illustration is faced with a page of reading matter describing it. In this instance the descriptive matter is small in amount and for that reason presented a problem in typography. The printer, however, solved the difficulty by using a type-face fairly large in size, but of good design, and placing the group in the upper part of the page aligned with the top of the illustration. It is well to keep in mind that in booklets, catalogs and similar work good results are frequently obtained by aligning all pages at the head. The effectiveness of these two pages is helped also by the fact that a red border surrounds each page and the halftone has a dark background.

Example180.—There is evidence in this specimen that it is possible to obtain variety and interest by simple means. The italic, especially with the decorative quality found in swash letters, is a factor, and the rule at the head, with bits of decoration at the ends, also helps. It will be noticed that no leaders have been used; their omission is sometimes advisable, at other times not. An antique-finished white paper is best for old-style effects such as this.

Example181.—This cover-page has been built on the small illustration. From the old fireplace the view of the room fades into the paper stock. After the border line is extended from the drawing, there remains a large amountof blank space, on which the title, in a well-balanced position, is arranged in type. The address neatly fitted in the space at the foot finishes the design at that point.

EXAMPLE 182German poster type on a grocery catalog with characteristic block grouping

EXAMPLE 183

EXAMPLE 184Typographic arrangement of the title-page and one of the inside pages of a museum catalog. The proportions of this type-face blend harmoniously with the dimensions of the page. Example184shows some details of catalog composition

EXAMPLE 185Rules add a decorative quality to this book catalog. By J. H. Nash

Example182.—Modern German typographical ideas have found expression in this grocery-catalog page. The lettering is type, the black tone and decorative form of which were probably inspired by strong lettering designed for poster purposes. Rules seem to have a place in the building of modern German art effects, as will be seen by this design. Bold type as used here is possibly unnecessarily forceful, but when color is to be shown in its true values it is desirable. Color never shows to advantage in thin lines, while broad lines bring out the color qualities of the ink. This is why colored inks printed from light-faced types seem to lack the brilliancy of the prints from flat-surfaced plates in ink-makers’ sample books.

Examples183and184.—Every printer at some time is called on to produce catalogs in which books or other published articles are listed and priced, and on such occasions wishes to see what “the other fellow” has done in this line. For this reason the two pages are of interest. They show a title-page and a representative inside page from a catalog issued by the Metropolitan Museum of Art, New York. The type-face is of the class usually designated as French Oldstyle, and its proportions blend harmoniously with the dimensions of the page. The distribution of blank space on the title is pleasing; the type lines are so grouped as to secure value from the background of white. In Example184the heads and subheads are pleasingly contrasted by the use of capitals in some cases and smallcapitals in others. Each item is grouped, and the technical details are kept orderly by being placed in a line with the price. No period is used after the item number.

EXAMPLE 186An automobile catalog page in which the type matter was prominently treated. The original page (about twice this size) was printed in dark-gray and orange inks on white antique paper. By the Robert L. Stillson Company, New York

EXAMPLE 187Unusual treatment of an automobile catalog page. The original was more than twice this size. The matter is liberally supplied with headings, the arrangement in the panel at the left taking care of most of them. By the Cadillac Printing Company, Detroit, Mich.

EXAMPLE 188Page in reduced size from a wine list designed by T. M. Cleland for the Oswald Press. Interesting use of rules in tabular style

Example185.—Scotch Roman type is used to excellent advantage in this book-catalog page. The title in each case is in large capitals, the sub-title and the name of the author are in smaller capitals, the explanatory matter in roman lower-case and the technical details in small italic. It will be seen that the advertising points have been carefully considered. A rule border and two ornaments add decorative quality. The closeness of the border to the type matter merges it with the page in an attractive manner. As in this case, decorative treatment should be a part of the general design and not something separate.

Example186.—On automobile catalogs typography seldom receives the attention it deserves. Illustration and decoration are given great attention, and what type matter is used seems to be like a guest invited at the eleventh hour. However, this example is from a catalog in which type acts an important part. In its original form this page was about twice the size of the reproduction and was printed in dark gray and orange on white antique paper. It will be seen that beginning with a colored initial the reader can without effort or eyestrain read the descriptive matter, which is followed by technical details in smaller type and a line illustration of the car. Scotch Roman was used, and it was not found necessary to introduce italic.

Example187.—The treatment of this page is uncommon for catalog purposes. A Goudy type-face was printed in dark brown (border rules in light brown) on an Italian hand-made paper. The size was more than twice that shown here. Sub-headings have all been grouped in the panel at the left, each so placed as to be opposite the paragraph to which it belongs. The effect was one of richness and suggestive of quality. Illustrations of the cars were of page size printed by the gravure process.

Example188.—Few printers would use rules in tabular form for a high-class wine list; tabular work is supposed to offer no opportunity for art expression. We know of the stone rejected by the builder which became the headstone of the corner. We have also heard of Michelangelo carving a masterpiece from an ill-shaped block of stone that had been discarded by other sculptors. Mr. Cleland did an equally interesting thing when he selected rules to give decorative quality to this wine list, supplementing characteristically drawn head- and tail-pieces. Caslon Oldstyle was used and the paper was hand-made. A pleasing effect was obtained by letterspacing the capitals in the headings.

EXAMPLE 189German treatment of a wine list, showing neat typography and attractive decoration

Example189.—We usually expect strong, masculine effects from German typographers and decorators, and when we come across a wine list as dainty as this one we are surprised and pleased. There is remarkable harmony of type-face, decoration and illustration. The type-face is uncommonly legible for so ornamental a letter, and the light decorative lines of the illustration and border reflect the qualities of the type-face. In the original there was an additional border around the one here shown, and it was printed in a very light gray-brown tint. The tint also appeared in parts of the illustration.

EXAMPLE 190

EXAMPLE 191Title-page of a catalog of exhibits, and a page showing the use of capitals and italic for the descriptions. By D. B. Updike

Examples190and191.—These pages are from an exhibition catalog. D. B. Updike is responsible for the typography, hence the pages afford an interesting study. The catalog is printed in four sizes of type, altho a cursory view of the pages would lead to the impression that a less number is used. There are three sizes of capitals and onesize of italic. A fact that makes the catalog unique is the absence of roman lower-case. It is difficult to visualize an eighty-two-page book without roman lower-case, but here is one. The title-page (Example190) is composed in three closely related sizes of capitals, corresponding to the sizes used on the inner pages. The important words, “Catalogue,” “Memorial Exhibition” and “Augustus Saint-Gaudens,” are set a size larger than the minor words “of a” and “of the works of,” altho the difference is but a point. The small woodcut is an appropriate accompaniment of the classic style of the type composition, and the harmony is further enhanced by printing in a clear black ink on thin white antique paper. Example191shows a page from the body of the catalog, the features of which are worth noting. All lines excepting the exhibit number are set flush at the left, and the paragraphs or groups are separated by space. The title of the exhibit is set in the larger capitals, the descriptive matter in italic lower-case, and quoted words in the smaller capitals. Punctuation at the ends of lines is sometimes omitted and sometimes used. The rule adopted by modern typographers—to omit punctuation points at the ends of display lines—leads to nice distinctions when a page such as this one is to be treated. As a help in deciding on proper marginal distribution on work of this sort, it is well to mention that the size of the leaf of this catalog was 4¾ × 7¾ inches, the type pages measuring 2⅝ × 5½ inches or less, the type pages not being of regular length. The margin at the head was ⅝ inch; at the binding edge, ⅞ inch; at the outer edge, 1¼ inches; at the foot, 1⅝ inches or more.

EXAMPLE 192Interesting page from a sewing-machine catalog. By Matthews-Northrup Works, Buffalo, N. Y.

Example192.—This shows a page from a catalog of sewing machines and sewing-machine parts. The workings of the machine were pictured in such a realistic manner that the effect was almost equivalent to a demonstration on the machine itself. The border did not force itself on the attention, yet furnished the decorative element to the page. The type matter, in Caslon roman, was stylishly arranged in harmony withillustration and border, and was notable because it was probably given as much consideration as the designing and plate-making.

EXAMPLE 193Neat typography on an attractive background. Glove catalog by the Hall-Taylor Company, Milwaukee, Wis.

EXAMPLE 195Clever treatment of tabular matter in a catalog page. By the Chasmar-Winchell Press

EXAMPLE 194An artistic treatment of a commercial catalog showing what is possible in typography. By Taylor & Taylor, San Francisco, Cal.

Example193.—This firm has gloves to sell and in a particularly pleasing and artistic manner catalogs them for the information of the buying public. By means of the four-color process the gloves are shown in their natural colors, and placed in the “spotlight,” as it were, by the gradual fading away of the dark background about them. A general talk on the subject of gloves is carried from page to page, while the number and description are placed in smaller type directly beneath the articles.

Example194.—In commercial catalog work the illustration of the article to be sold is of the same importance as the article on the counter in the salesroom. The usual method of selling is to show the customer the article and then by giving information about it and telling of its good qualities to persuade the customer to buy. The illustration, then, is important, and by looking on Example194, we can see how one printer recognized this fact. The roll of yarn is prominent in the page and the name of the yarn is second in seeking attention. The goods are displayed attractively in surroundings that are interesting. The decorative border (made of rule) has merged with it the name of the manufacturer.

Example195.—It requires the skill of a typographer and the talent of an artist to make a good-looking page from tabular matter. Where this combination is lacking the result is commonplace and unsatisfactory. It was not lacking on this example, for one seldom sees a tabular page so attractively arranged.

EXAMPLE 200Program cover page in ecclesiastical style

PROGRAMS

“Let all things be done decently and in order.” These words of Paul, while possible of wide application, have peculiar significance applied to the program. The program exists because of recognition of the necessity of orderly procedure “where two or three are gathered together.” Historically, the program has come to us from the early times, when all knowledge was transmitted by word of mouth. Church services are the result of evolution from ancient ceremonies, and other exercises for which programs are used originated in the far past.

Programs familiar to printers could be divided into four classes: Programs of sacred services, dance programs, banquet programs, and programs for various entertainments. In this order they will be considered.

EXAMPLE 201Excellent arrangement for economizing space on a program containing numerous small titles

The historical side of the program of sacred services should not be overlooked. It is a mistake for printers to produce church programs in the same style of typography employed on secular forms. Church programs, more than any other line of printing, offer opportunity for artistic treatment, and their production is pleasure to the artist-printer who believes significance is an important element in good typography.

EXAMPLE 202An almost perfect specimen of church-program printing, showing the missal style

The key to the proper treatment of ecclesiastical printing lies in the old manuscript books written in the monasteries. Black ink was commonly used for the main portion of books, and vermilion, a red earth (rubrica), for titles and important parts of the text. In the writing of Missals (containing services of the celebration of mass), of Psalters (containing the psalms), and of Books of Hours (containing prayers and offices for the several hours of the day), maltese crosses and uncial capitals were written in vermilion. Uncial capitals are now made by several type foundries as Missal initials, Caxton initials, Sylph initials, etc., and maltese crosses are easily procured. As black text letters were also used on these missals and psalters, the type-faces now known as Caslon Text,Cloister Black, Flemish Black, etc., being copies of these early text letters, are appropriate faces for display portions of church programs. Text letters were long ago discontinued for body purposes in English printing, hence they have become unfamiliar to the general reader and it is not desirable to use them for such purposes. A roman letter such as Caslon is the best companion for these black text letters.

EXAMPLE 203Classic treatment of church-program page. By D. B. Updike, Boston, Mass.

The Church of England, the American branch of which is known as the Protestant Episcopal Church, deserves much credit for the modern development of an ecclesiastical style of printing. Because of the custom of using red ink in forms of service, for the parts giving direction as to the conduct of the services, these parts have become known as “rubrics.” It is necessary to mention to printers generally that when colors are used on programs or books of service the “rubrics” should be in red. This treatment is illustrated in the page from the marriage service shown as Example146in the chapter on “Books” which also shows an uncial initial. When only black is used it is customary to set the rubrics in italic.

EXAMPLE 205Generous margins on a church program are pleasing

Example200(Insert).—This title-page presents a modern interpretation of the historic ecclesiastical treatment. The black type-face is Caslon Text, and is a copy of one of the early manuscript letters, as before mentioned. As pointed Gothic is usually accepted as the style of church architecture, so pointed Gothic type-faces have been adopted for church printing by typographers who know. Uncial rubricated initials as used on this title-page are known commercially as Caxton initials. The red lines which are a prominent part of the page have historic significance. Now grown to possess decorative value, they originated thru the necessities of writers of manuscript books, and were originally guide lines for writing. They designated the position of the page and the lines of letters. With the ancient churchmen the maltese cross was the symbol of Christ, and today also these crosses have that significance, altho to a great extent they are now considered merely as ecclesiastical decoration. The square device in the center is in the Celtic style of ornament. The significance of the design lies in the decorative cross and the letters I. H. S. (Iesus Hominum Salvator, Latin, meaning “Jesus Saviour of Men”). It may be well to suggest that treatment of church printing should be varied sometimes with the denomination for which the work is done. The majority of clergymen will be pleased with printing treated in the accepted ecclesiastical style, yet there are some, prejudiced against “high church” liturgies and emblems, and others with individual ideas of what is appropriate, who must be considered. The writer recalls an instance in which the customer, an Episcopal clergyman, objected to what he called a “Latin” cross, used as an ornament on a title-page, and was satisfied when a maltese cross was substituted for the purpose. Many church programs which now appear commonplace would take on a churchly aspect if rubricated, even tho that be possible only on the title-page.

The example under consideration (No. 200), it will be noticed, is constructed on squared lines, a shape dictated by the large decorative device. While the page as arranged is interesting and fairly harmonious, the pointed letters in the type lines would blend better with a device of the pointed Gothic kind; or, again, the squared device would be in closer harmony with a squared type effect such as could be obtained with roman capitals.

EXAMPLE 204Program cover-page in semi-missal style. By Lee Crittenden, New York

Example201.—This pagepresents an excellent suggestion for the arrangement of a program in which numerous small titles appear. If each title were set in a measure the full width of the type page, as is frequently done, the matter would not come into one page. The arrangement as shown not only economizes space but gives symmetry and tone, which otherwise would not be had. The portions in red are well selected for printing in that color. There is artistic value in the shape formed by the vertical dividing rule and the page heading.

EXAMPLE 206A dance card by Edward W. Stutes, Spokane, Wash.

EXAMPLE 208Unconventional treatment of a dance program

Example202.—This page has not the compactness of the preceding one, yet esthetically it is more pleasing. It is an almost perfect specimen of church-program printing. As already mentioned, the horizontal red lines and the black text letter used for titles have an ecclesiastical motive. Careful disposition of blank space has given a pleasing tone to the page, which is also helped by the position of the second stanza of the hymn at the foot. The type-faces are harmonious, the use of black text, old-style roman and italic affording a pleasing variety. By including in the color the initial letters and the title “Holy Communion,” all parts of the page are blended and related.

Example203.—The printer may be naturally curious to know how a typographer such as D. B. Updike, who is known to specialize on ecclesiastical typography, treats church programs. Here is an Updike page, from a program of Lenten services, arranged in the simple, classic style of typographic treatment that he always renders so well. As will be noticed, the main portion of the type page is aligned at the left. The manner of using capitals, small capitals, lower-case and italic is an interesting study. While examining the page it is enlightening to note thatA.M.andP.M.are in small capitals, and that no space other than furnished by the period is placed between these abbreviations or the degrees D.D., Ph.D., etc.

EXAMPLE 207Page from a booklet program. By C. R. Beran, Denver, Colo.

Example204.—This is the title-page of a small program which was in booklet form, a page being devoted to each event on the program. The title-page is in missal style, with cross rules and uncial initials. The spaced Pabst capitals at the foot are not sufficiently strong in tone to balance the upper part of the page. Perhaps the effect would be better had the missal style of treatment been extended to the lower portion of the page.

Example205.—This is the second page of a small program used at the laying of the corner-stone of a new church building. It would have been possible to get all the type matter on one page, but crowding into small space is often done at the sacrifice of beauty, and this program profits by the liberal margins. The rule lines at the head were used to obtain uniformity of page width and hight. The outline type ornament gives ecclesiastic dignity to the program. The two-line initial at the beginning of each hymn adds style and finish to the typography.

The dance program is a far step from the church program. The contrast between the subdued and reverent atmosphere of the house of worship and the gayety and frivolity of the brilliantly lighted ball-room emphasizes the necessity of printers using their best powers of discrimination in treating the various programs that come to their shops.

The dance program should be dainty. White seems to be more acceptable than colored stock on which to print the order of dancing. The type and ink treatment should be neat and delicate. If a bold type-face be used, it should be printed in a light tint of ink, such as gray, pale blue, pale green, and the like. It is possible for printers to produce attractive dance programs with the material generally found in the shop, yet stock folders may save wear of the thought machinery and probably be more satisfactory to the customer. Young people are imitative and may be suspicious of a dance program which does not resemble those they have seen before; it has got to “look like a dance program.” For fifty years or more dance programs have consisted of folded cardboard with tassel and pencil dangling therefrom. The stock folder is to be had in a variety of designs printed or embossed on the first page, appropriate for many occasions. However, there are shown three typographic dance programs.

EXAMPLE 209The decorative border on a banquet program. By Edward Everett Winchell, New York

EXAMPLE 211Page from a booklet program. By Will Bradley

EXAMPLE 212The banquet program in the form of a checkbook

Example206.—An Indian border was used around this dance card, but its strong lines were softened by printing in gray and red. White stock was used. In the headline, instead of the customary periods, dots are centered decoratively. Artists often place a dot or small ornament between words of a lettered design for the purpose of benefiting the tone. More often practically no space at all is placed between words if in lower-case beginning with capital letters.

Example207.—A part of an outing program, this page carries the style of all the other pages as regards border and head panel. It illustrates the effectiveness and economy of uniform border treatment on a program. There are very few programs that would not be benefited by decorative borders in color. But one border need be set in type, duplicates being obtained by electrotyping. If there are to be only a few hundred programs, two borders may be set in type and printed on all the sheets, running only two pages on. If desired, a hand-drawn decorative border could be engraved and afterward duplicated by electrotyping.

Example208.—There is nothing conventional in the design of this dance program. It is different from most others. The rule lines extend to the border, and the heading “Dances” sets slightly to the right of center, supported underneath by the graceful flower ornament. Punctuation is omitted. This page is recommended for dance cards, when the printer desires to have the job exclusively typographic.

EXAMPLE 210A halftone decorative background on a program. Design by Griffith-Stillings Press, Boston, Mass.

EXAMPLE 213Humorous treatment of titles and odd menu arrangement. Design by the Griffith-Stillings Press, Boston, Mass.

The banquet program not so many years ago here in America and in England was commonly called a bill of fare. Now only the cross-roads hotel and the cheap city eating house have bills of fare. The polite title is now “menu,” pronounced men-yu or meh-noo. Some writers claim the word came to us from “Manu,” a mythical sage said to have sprung from the god Brahma. Yet the dictionary would seem to indicate that the word is French, meaning small, and was derived from the Latinminutus, little. It is possible that the small portions now served in many restaurants suggested the use of “menu” because of the contrast with the generous “helpings” of the old-fashioned meal. In 1512 a“shore dinner” for an individual consisted of “a quart of beer, a quart of wine, salt fish, red herring, white herrings and a dish of sprats.”

EXAMPLE 214Suggestion for a menu page, introducing a bit of fun

EXAMPLE 215A classic menu page. Designed by D. B. Updike, Boston, Mass.

In the banquet program the printer has great opportunity to make use of his inventive faculties. No other kind of program allows of such varied treatment. There is no limit to the shapes, the type arrangements and the color treatments that are suitable for banquet programs. An association of leather merchants holds a dinner and the members may find beside their plates a program bound in a miniature hide, the sheets of the program attached by a leather thong.

Bankers meet and the program may be in the form of a checkbook.

For an athletic association an oval-shaped program suggesting a football will “score.”

Newspaper publishers will appreciate the menu list presented as a papier-mache matrix of the type form.

Commercial travelers would be pleased were their banquet programs designed in imitation of a mileage book.

A literary society dinner would be appropriately graced were the program printed on parchment and wound around a wooden or ivory rod, as “books” were bound in ancient times.

EXAMPLE 217Dignified 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.

Example209.—This page is from a booklet program, and is companion to Example125inserted 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.

Example210.—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 216A menu program used by master printers. By Charles Edward Peabody, Toronto, Ont.

EXAMPLE 218Treatment simulating woodcut decoration

Example211.—This chapter would be incomplete without one or two Bradley specimens. Here is anidea 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 219The missal style adapted to a menu program. By Will Bradley

Example212.—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.

Example213.—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 220Unique treatment of a menu page in which the minor dishes are arranged at the right

Example214(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.

Example215.—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.

Example216.—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.

Example217.—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 222Refined entertainment program page. Design by D. B. Updike, Boston, Mass.

EXAMPLE 221Excellent typographic treatment. By Harry Haime, Boston, Mass.

Example218.—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 thruoutthe 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 224These two pages are from an entertainment program by Bruce Rogers, Cambridge, Mass., and furnish interesting material for study

Example219.—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 225A program page in lower-case. By Stetson Press, Boston, Mass.

Example220.—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 226The decoration was in color. By Fred S. Lang, Los Angeles, Cal.

Example221.—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.

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