The Art & Practice of Typography / A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement

by Edmund G. Gress

ANNOUNCEMENTS

Publicity is doubtlessly essential to success in every business and profession. The public is interested in the man who does things, but this interest is obviously confined to the man who it knows does things. The great men are advertised men. The great deeds of history are those advertised by poets and historians. Shakespeare made famous many ancient characters, as did Plutarch before him, and the most famous acts of the American Revolution are those performed near the homes of poets and writers. We would not be familiar with the rides of Paul Revere and “Phil” Sheridan had they not been advertised by means of printers’ ink.

Several years ago in New York an influential art society recognized the work of a mural painter by awarding him a medal. In accepting it the artist sadly remarked that the recognition came too late in life for him to “use it as a help to live with,” which proves that in the heart of the most proud and sensitive artist or professional man there is a feeling that he needs publicity—recognition, if that word is less offensive—in order that his life work may be successful.

It is fashionable for prominent persons to employ press agents, and goings and comings and doings are told to the public at every opportunity. In the days before the development of newspapers and other typographical mediums for advertising, the people depended upon the public crier to make all sorts of announcements. He would attract a crowd by sounding blasts with a horn or by ringing a bell, and then make known his message.

The modern representative of the crier is the printed announcement. It is not confined to any definite size or shape, often consisting of one page only, printed on card or paper stock.

EXAMPLE 230

EXAMPLE 231
Two pages from a dignified, refined and artistic announcement folder, printed in black ink on brown-tinted hand-made paper

The announcement form may be considered the most personal of the printed mediums of publicity. It presents a direct, individual appeal or invitation, and the recipient, influenced by this fact, is likely to give it more consideration than some other form of advertising. Recognition is flattering to all of us, and upon receipt of an announcement we are apt to feel pleased that our patronage or personality is thus recognized.

EXAMPLE 232
Announcement in Colonial style. By A. F. Mackay

The printer is depended upon by most customers to furnish suggestions for the physical make-up of the announcement, and he is also frequently asked for advice in regard to the phraseology. This places a responsibility upon him that he cannot well ignore, and he should be able to respond with proper suggestions. Being thus qualified to assist the customer has many times led to further and profitable business. The printer possessing the confidence of his customers has an asset of great value.

The most common form of typographic announcement is that printed from roman, text, gothic or script type-faces in imitation of engraved intaglio printing. The styles of this form of announcement change slightly with the fashions in copperplate effects. Printers desiring to do such work would do well to obtain samples from one of the leading society stationers and follow them closely in arrangement, spacing of words and lines, and size and kind of stock. This class of work allows of little original or decorative treatment. If other forms or treatments are desired a standard type-face, such as Caslon or Cloister, should be used. Many compositors err in combining copperplate-engravers’ faces with rules and borders, or in other ways misusing them; for such results are “neither flesh, fish nor fowl,” as the saying goes.

If the customer requests an imitation copperplate effect, give it to him as closely as you can; that is good business policy, and is in accordance with the sound advice to “Do your best, no matter what the circumstances,” reminding one of the old rhyme:

If I were a cobbler, it would be my pride

The best of all cobblers to be;

If I were a tinker, no tinker beside

Should mend an old kettle like me.

But, whenever possible, get on higher ground. If you must be a tinker, be a good one, but rather be a producer of new things than a builder of patches and something that is “as good as new.” Printers should test their earnestness with tasks that develop their art instincts and, accompanied by proper financial return, bring that satisfaction which comes from work well done.

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EXAMPLE 233
Odd treatment of an announcement. By T. M. Cleland

Example [229] (Insert).—Usually the printer should not set an advertising page all in capitals, nor should he use many rules in its composition; but when the typographic designer has skill and artistic taste in addition to a developed sense of fitness and refinement, the warnings and “thou-shalt-nots” that apply to most printers are not for him. Mr. Nash, with the use of Fred W. Goudy’s Forum type-face and rules that suggest the guide lines of old manuscript books, has produced an announcement that is classic in composition, pleasant to look upon, and a page that carries the message in an especially effective and appropriate manner. The original was printed on hand-made paper. This type-face has been modeled on ancient Roman lettering and for that reason has a classic character that makes it suitable for announcements and other printing having to do with art, architecture, literature and music.

Examples [230] and [231].—These are the first and third pages of an announcement originally printed in black ink on brown-tinted hand-made paper. The type-face, Caslon, was sharply impressed into the stock. It may be advisable to state here that all Caslon romans are not alike. The face usually sold by typefounders has the descenders shortened, that the letters may conform to the system of alignment adopted some years ago in America. This shortening of descenders, seemingly a trivial matter, affects the general appearance of the type-face. Attempts to “improve” the Caslon face are apt to end disastrously to the effectiveness of the letter. It has characteristics that are essential to its beauty, and shorn of any of those characteristics it loses attractiveness proportionately. This announcement folder is of a quality seldom attained in printing, depending as it does upon detail in typesetting and presswork. The reproduction cannot present these points, because the finish of the paper, the clearness of the print, the spacing, the apportionment of margins, the tone, all counted in the finished result.

Example [232].—This circular announcement in its original form was 9½ × 12½ inches in size, the paper upon which it was printed being gray-green laid hand-made. The positions of the groups of type matter and the sizes of margins are features worthy of study. Other points of interest are: the treatment of heading and initial, the use of florets at the beginning of each paragraph, and the committee signatures. The last-named lines are set in italic lower-case with roman capitals, Aldus style. The border was printed in dull red, close to the edge of the paper.

Example [233].—This meeting announcement is of the same series as the preceding example, but, set all in black text letter without border, the effect is totally different. The peculiar black and gray tones of the Caslon ornaments blend well with similar characteristics presented in the massed black letter. The page was printed in vermilion and black on buff laid hand-made stock. The effectiveness of this style of announcement is due not alone to the typography and stock, but to the generous size of the sheet used—good paper and plenty of it. This announcement was mailed without envelops, the double sheet being folded into thirds and the lower end inserted into the upper end.

EXAMPLE 234

EXAMPLE 235
These specimens are lettered in a style that suggests the sturdy masculine character of the lettering developed with the new German decorative poster art. Designed by Oswald Cooper, Chicago

EXAMPLE 236
A classic arrangement based upon the architectural inscription plate. By Benjamin Sherbow, New York

EXAMPLE 237
Ornaments as eye-attracters. An idea that could be adapted to many jobs of printing. Designed by Will Bradley

EXAMPLE 238
Postal-card announcement, the typography of which is attractive, not because of what is put on, but because of what is left off

EXAMPLE 239
Good advertising typography. Type groups and blank space well proportioned, and an interesting decorative spot of color

Example [234].—This announcement page is lettered in a style that suggests the sturdy masculine character of the lettering that has been developed with the new German decorative art. Typographers should not make the mistake of assuming that a page set in the so-called gothic types of the typefounders would give this effect. While the letters are without serifs, as are the gothic types, yet they have not the mechanical perfection of those types. Type-faces, lettering and drawing of any kind seem to be better liked when they possess the human quality of imperfection. I once called on Boardman Robinson, then cartoonist of the New York Tribune, and found him at work on a cartoon for the day. I noticed that he had considerably altered the picture on which he was working, and I asked him about it. With a smile, he stated that he had been working on the cartoon for several hours in order to make it look as if it had been drawn in fifteen minutes. German typefounders have made type-faces that carry the qualities of this poster style of lettering. The young printer should not infer from this that careless and unfinished typographic work is preferable to a careful, finished product. It will be found that the artist or printer who can best give this little touch of human nature to designs is one who first learned to do the work as perfectly as possible.

Example [235].—This design was the first page of a folder of which Example [234] was the third page. Oswald Cooper, who lettered this announcement, used the figure of a dog that had been drawn by the German poster artist Hohlwein, but gave him due credit in the upper left corner. This style of lettering, as has already been mentioned, is appropriate to the subject of German posters and in harmony with the poster illustration used. Heavy treatment of this kind offers a rich opportunity for the use of strong and harmonious colors. Light-faced type is very unsatisfactory as a carrier of color, but the broad strokes of this style of lettering make possible a liberal showing of color on the page. An extra color has been introduced, altho the original announcement was entirely in brown on a brown-tinted card.

Example [236].—From the viewpoints of art and dignity an announcement card such as this one is always in good taste. Its style is classic, being arranged along the lines of an architectural inscription plate. The border is the reliable egg-and-dart pattern and the type-face is Caslon. Capitals are essential to best results in this sort of design.

Example [237].—The idea suggested in this page, of using ornaments as eye-attracters, is a good one. While the design as a whole is decorative in character, the advertising element is not overlooked. The several articles of merchandise are prominently displayed, as is also the name of the store. In the series of type designs of which this was a part, the designer strongly emphasized ornamentation. There was a reason for his doing this, as he was engaged in introducing new typographic decorative material, but printers working for the commercial public are engaged in a different vocation. In attempting such designs as this, compositors should decrease the prominence of the ornaments and border and increase that of the reading portion of the page.

EXAMPLE 240
Showing the use of roman, italic and spaced small capitals on an organization announcement

EXAMPLE 241
Unusual division into two groups, providing for fold. By the Calumet Press, New York

Example [238].—This announcement was printed in black ink on a Government postal card. The young compositor will, no doubt, recognize the small amount of actual typesetting necessary for this page; however, he should not overlook the fact that the results were really secured by one-tenth manual labor and nine-tenths brain exercise. A specimen such as this is good not because of what is put on but because of what is left off. There are only a rule border, a small silhouette illustration and four lines of type exclusive of the signature, yet the busy man gets the message and experiences pleasure in getting it. The type in the original was no larger than was necessary to be easily read. Compositors frequently forget that announcements of this kind are read at a distance of only a foot from the eyes, and that twelve-point type is really large enough for the purpose. It is usually a mistake to make the type-face very large or very small. One is an unnecessary size and the other is an illegible size.

Example [239].—This is another announcement set in twelve-point type, with a liberal distribution of blank space. The personal mark of Mr. Baker adds a decorative touch of color that attracts attention and helps to make the page distinctive.

EXAMPLE 243
Harmony of type-face and decoration

Example [240] (Insert).—This announcement has typographic interest in that it shows how variety and advertising emphasis can be obtained by the proper use of italic and small capitals with lower-case roman, especially with a type-face such as Cloister Oldstyle. The small capitals are letterspaced; they usually respond pleasingly to such treatment. Typographers who have studied the matter of spacing have found that capitals and small capitals can be letterspaced with good results, and that roman and italic lower-case seldom look well if the letters are separated by spacing. It is probably an exaggeration to say that lower-case should never be spaced, as typographic artists such as Will Bradley have produced very effective results with letterspaced lower-case; but the average compositor had better adhere to the rule of never letterspacing lower-case letters. It will be noticed that on this announcement the name of the organization, the words “Dinner” and “Exhibit” and the name of the guest, are set in capitals and small capitals with letterspacing. The names of the books, the title of the talk, and the request to return a card, are in italic. Only one size of type has been used, excepting for the committee group at the foot. In order that the words “Program Committee” should not look exactly like the other lines in this group, they were letterspaced.

EXAMPLE 242
A study in tone values and margins

EXAMPLE 244
Artistic form for brief announcement. By A. F. Mackay, New York

Example [241].—This announcement form, like No. 240, is conventional in size, the paper upon which the original was printed measuring 5½ × 7 inches. The arrangement of the type page was designed to provide for the fold which horizontally crossed the center of the page. The division into two groups, each in a different type-face, is unusual, and the manner in which this has been accomplished is instructive to the student of typography. The use of a large initial gives distinction to the upper group, and spacing of the Caslon capitals in the lower group maintains a distinction there. This page illustrates two points recognized by good typographers—that the printed effect of old-style roman capitals is usually improved by a slight increase of space between letters, and that, on the other hand, the printed effect of text letters would be impaired by increased space between them. There is danger of too great contrast of tone in a page, and had this example been executed less skilfully, it would have failed in effect.

EXAMPLE 245
Colonial treatment of an announcement page. By the Calumet Press, New York

Example [242].—This announcement circular affords a study in tone values, especially in the original size, which was 9 × 12½ inches. The type, Old Style Antique, was twelve-point, with six-point slugs between lines. The black tone of the type-face and the liberal spacing found relationship in the black tone and open lines of the initial letter at the head. This harmony was carried out in the entire page, the black and white tones contrasting thruout. No gray lines were used; even the monogram at the foot was constructed of strong lines. In obtaining an effect like this it is necessary that the type-face be of medium black tone somewhere between the gray tone of the Caslon face and the heavy black tone of the John Hancock or other extra-black faces. It may be well to call attention to the margins inside the rule border. The artist avoids monotony in margins. In old books the four margins surrounding a type page differed. The foot margin was the largest, the others being smaller in this order: outer side, head, inner side. In this announcement page the foot margin is larger than the others, and the head presents the smallest amount of marginal space. The side margins were made equal because, unlike the paired book page, this page stands alone.

Example [243].—Harmony of type-face and decoration is the chief attraction of this announcement card. Some of the characteristics of Washington Text in tone and stroke are also found in the initial letter and border, and to this the harmony is due. Placing of the initial letter so low on the page was a bit of daring, yet balance is retained, due to the heading.

Example [244].—While only a little folder, 3½ × 4½ inches in size, this job was exceedingly effective. It was printed in black on white antique stock. Such a form could well be adapted to many brief announcements.

Example [245].—This form was set in type during the Colonial revival that interested good printers about the year 1900. Caslon type and Colonial decoration give an individual character to the page. Colonial effects are not so common just at this time, which fact is quietly digested by the wise typesetter as he recognizes his opportunity.

EXAMPLE 246
An announcement literally treated in Colonial typography, even to the use of the long “ſ”

EXAMPLE 247

EXAMPLE 248
First and second page of an artistic, unembellished announcement circular. Designed by Benjamin Sherbow, New York

Example [246].-This announcement demonstrates the possibilities of typography along the lines of appropriateness. A Colonial organization wished to announce a meeting at which would be celebrated the founding of the first American newspaper, and desired something in Colonial style. The printer looked up a reproduction of an early newspaper and set the heading in a style such as was given the headings of newspapers in the early days. The society had an emblem or seal engraved in the serifless and characterless style of lettering that the average engraver will give an organization. The printer had the emblem redrawn, giving instructions to the artist to draw the entire design in freehand and to be careful that the lines and lettering be not too regular. Instructions were also issued to have serifs on the lettering and to have it contain the contrasted light and heavy strokes of the roman type-face of the Colonial period. As will be seen by the example herewith, the idea was well carried out by the artist. The society had appropriately phrased the announcement. The printer carried the idea along by using a small size of “e” in the word “ye,” and a long “s,” made by cutting a part of the cross from the “f.” A suitable hand-made paper was selected and the paper was dampened before printing it. The announcement was then folded up and sealed in the style of Colonial times, without an envelop.

Examples [247] and [248].—These are the first and second pages of a large circular announcement printed in black and light olive-brown on buff-tinted laid antique paper. No embellishment is used, nor is any needed, the treatment being sufficiently artistic. The arrangement of the first page is uncommon. The lack of margins around the type group and the absence of print on three-fifths of the page would be counted by some printers as mere eccentricities, yet to others these things spell art. Compositors interested in this arrangement should notice how the type lines fit the phraseology. The advertising element has been considered by the designer along with æsthetic requirements. The double line of capitals at the head of the second page was duplicated on the third. The second page shows simplicity and legibility that are admirable, the liberal margins and the three-line initial being noteworthy features.

EXAMPLE 249
One of four pages of a convention announcement, showing the attractiveness of rules when properly used with headings

Example [249].—This is the second page of a convention announcement and is evidence of the success that is possible with the proper use of a well-designed type-face, an appropriate initial, and rules to separate the headings. A combination of a heavy- and light-faced rule has always looked well with the Caslon style of type-face.

EXAMPLE 250
Announcement designed by an artist who believes in the liberal leading of type lines

EXAMPLE 252
Blotter announcement in rugged Colonial style

Example [250].—This announcement, originally printed on hand-made paper, all in black ink, was designed by a famous New York artist-typographer, who believes that there is greater legibility when the lines are separated by a liberal use of leads than when they are “set solid.” The arrangement is unusual in several respects—the placing of the name in the far-off upper corner, the use of the initial “A” in the midst of a sentence, the setting of the names of the officers in italic and their titles in roman, and the liberal leading previously referred to.

EXAMPLE 251
Announcement in black and gray on gray fabric-finished stock, illustrating harmony of type-face and decoration

Example [251].—This specimen also has the feature of an initial in the midst of a sentence, and it may be well to suggest to young compositors that it is better not to use an initial in this manner. This page would probably be even more effective if the entire word “announces” were in lower-case. The announcement was printed in black and gray on a light-gray stock. The foundry that made this series of type also made ornaments that would harmonize with it and thus enabled the printer to produce an artistically pleasing page. This letter is one of a few that closely suggest good hand-lettering. The selection of type sizes and the arrangement and apportionment of margins help to make a result that reflects credit on the printer’s art.

Example [252].—A blotter was the vehicle that carried this announcement, which is in the rugged Colonial style of typography of the year in which this piece of work was produced. The tone is pleasing, as is also the contrast of white and black. The ornament blends in shape and style with the accompanying typographical treatment.

In the production of his own announcement forms the printer is not hampered by the requirements of customers. He works with the unrestricted freedom of a Michelangelo and there is little reason why his work should not be of the best, if he will read and study books and trade magazines.

EXAMPLE 257
The historic Gothic, or pointed style

EXAMPLE 258
Strong treatment, the motive of modern origin

EXAMPLE 259
A striking effect that should please the college student