BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS
Did I wish to be flippant I would open this chapter by asking, “When is a booklet not a booklet?” and might even be pardoned for doing so, for no other word has been so misused as has “booklet.”
A booklet, the dictionaries tell us, is just a little book, as is indicated by the suffix “-let,” which termination forms diminutives from French and English nouns. Yet “booklet” has been used to designate not only little books, but big books, and has led to the rather tautological description, “a little booklet.” When does a booklet cease to be little, and is its littleness in its dimensions, in the number of printed sheets, or in some other feature not recognized in a hurried consideration of the subject?
Going back to the lexicons—
A booklet, as has been said, is a little book.
A leaflet, according to the Standard Dictionary, is “a little leaf; also a tract.” Webster says it is “a sheet of small pages which are folded, but not stitched; a folder.”
A pamphlet, we understand from the Standard, is “a printed work stitched or pasted, but not permanently bound; a brief treatise or essay.” Webster says it is “A book of a few sheets of printed matter, or formerly of manuscript, commonly with a paper cover; specifically, sometimes, any such work not in excess of eighty pages, and not bound.” The word “pamphlet” was derived from a popular Latin poem, “Pamphilus,” of the twelfth century.
“Brochure” is a French word often used for “pamphlet.” Webster gives its meaning as “a printed and stitched book containing only a few leaves; a pamphlet; a treatise or article published in such form.”
A circular is a letter or a note, usually printed.
However, for the purposes of this chapter, while I shall endeavor so far as possible to use one of the above approved terms in designating the various examples of printing, the word “booklet” in some instances may have a wider application than “a little book.”
EXAMPLE 150
EXAMPLE 151
Two pages from a leaflet designed without decoration or color, a noteworthy exponent of simplicity in typography. By the Marchbanks Press, New York
The chap-books sold in the seventeenth century, containing abbreviated stories, were, perhaps, prototypes of the booklet; but as now used the booklet is a modern conception. It is a result of development in æsthetical knowledge among advertisers and the buying public, who have learned to discriminate and to demand artistic, tasteful workmanship. When the “dodger” or handbill ceased to be effective as a publicity auxiliary to the newspaper, the booklet was born. State laws consider a few placards or publication in one or two obscure newspapers sufficient notification to the public, but the advertiser knows the futility of such obsolete methods and gets his message to the public in numerous ways—traveling salesmen, newspapers and magazines, trade, technical and class publications, house-organs, catalogs, booklets, circulars, posters, novelties, car cards, electric signs, etc. To an extent the booklet’s mission is educational; it introduces the business house, gives authoritative answers to questions that the prospective buyer would naturally ask, explains advantages and gives reasons for superiority. The booklet is best if written in a style that is non-technical, and should be treated by the artist and printer in a manner that will interest the recipient.
EXAMPLE 152
EXAMPLE 153
EXAMPLE 154
Three pages from an easily read booklet in Scotch Roman, showing the typographic style of Benjamin Sherbow, New York
EXAMPLE 155
EXAMPLE 156
Two pages from an eight-page leaflet, in which the typography was relied upon for results. The rule borders were printed close to the edges of the paper. By William Henry Baker, Cleveland, O.
Among the users of the booklet as a publicity medium are railroads, cities, hotels, real-estate companies, banks, clothiers, educational institutions, printers, and manufacturers of automobiles, musical instruments, cameras, and tools and equipment of many kinds. If one wishes to purchase intelligently a piano or other expensive article he obtains a booklet on the subject, and whether he buys or not depends largely upon the impression obtained from the booklet; if it is well written, informative, carefully illustrated and handsomely printed, it will be likely to exert an influence in favor of a sale. The printer’s share in producing such a booklet is large, altho he is called upon to work in conjunction with the writer, the artist and the engraver.
Much of the booklet printing is planned by advertising writers and commercial artists. The best results are obtained when artist and writer blend their ideas harmoniously; this is possible only when the writer has artistic tastes and a definite understanding of typography. In many booklets the text matter does not fit the decoration. I have in mind an instance in which the artist laid out sixteen pages of marginal illustrative decoration, and the writer supplied only about half the copy necessary to fill the sixteen pages. To overcome the deficiency the printer set the text matter in an excessively large size of type, but even then the space left for the reading matter was only partly filled. If the writer was unable to fill the space, the artist should have decreased the number of decorative pages or else planned his decoration to cover more surface.
EXAMPLE 157
EXAMPLE 158
EXAMPLE 159
Three pages that demonstrate the possibilities of type and rule in obtaining effective results. By Barnard J. Lewis, Boston, Mass.
Those houses that have made a success of booklet printing produce a job that is harmonious and complete. Reading matter, illustrations, decoration, paper, ink and color treatment, all blend on their booklets. There is a central motive around which all concerned in the make-up of the booklet weave their ideas.
Altho such a condition is ideal, it is not absolutely necessary, and it is not always profitable, for a printshop to have under its roof a complete equipment for producing every detail of a booklet. One of the successful producers of booklets—an artist with associates able to interpret his ideas—had in his artistic suite of offices a palm which he enjoyed showing to visitors who asked to see the “plant.” On the other hand, there is the head of a large printing concern producing high-class booklets who has artistic ideas but who depends upon the open field of artists and engravers to develop and perfect his plans. He manages to meet a prospective customer and from conversation with him learns something of his tastes and preferences. This printer then selects an artist whose style of work will most likely appeal to the customer and be best for the purposes of the booklet. He assumes that the most successful artists are those who have specialized on some one kind of work—classic Roman lettering and decoration; seventeenth-century French decoration; Old English or American colonial effects; modern German coloring and decoration; art-nouveau creations, the serious and the humorous; illustrations of child life, or of the Civil War period. While there are versatile artists like Will Bradley who can do good work in many styles, they are not numerous.
Some printers retain typographic artists who serve clients by the hour. These artists sometimes are advertising writers who have studied the art side of printing and know that much depends upon the type-face used.
To plan a booklet properly the commercial printer must know something of the principles of art and advertising and of good book typography. Booklet printing is really the connecting link between job printing and book printing. The unconventionality of job typography and the dignity and conservatism of book typography can successfully be blended in the booklet.
Example [149] (Insert).—This style of title-page is appropriate for a booklet or brochure in which the typography plays an important part in the production. The printer having plates of this kind delivered to him should for the remaining pages endeavor to use a type-face which has some relation in style to the lettering found in this example. The page having been drawn by Frederick W. Goudy, one of his type-faces would, of course, be most harmonious, but other old-style letters such as Cloister Oldstyle, Caslon Oldstyle and Old-Style Antique would also be suitable. Some of the pages would possibly include initial letters drawn in the same style as the decoration, and thruout the work the motif established by the title-page should be maintained. An antique-finished paper blends best with the general decorative plan, but if coated stock must be used it should be of a dull finish. Art work of the quality of this example cannot be procured from every artist. This example is expressive of the personal taste and talent of Goudy.
EXAMPLE 160
A label pasted on a brilliant cover stock is striking. Designed by Thomas Maitland Cleland for the Oswald Press, New York
Examples [150] and [151].—The printer in the main must be his own artist, and he can best serve himself and his customers on such occasions by providing pure typographical effects. This is difficult. The printer must have studied good typography—he must know typography not only as a worker at the trade but as a student of the art. He must be thoroly acquainted with type-faces. His type equipment usually shows his knowledge in this regard; if it consists of odds and ends of type-faces aimlessly selected, he is not in a position to give his customer the proper service, but if his equipment mainly consists of those type-faces that have been approved by the leading typographers and type designers of the country, he will not only render good service to his customer but will confer a benefit on every one who receives a copy of the printed matter. The public learns to like whatever is served to it most frequently, and if it is provided with good printing and especially good typography, the tone of printing generally will be elevated and further dignity given to the business. The examples under consideration are from a nationally known printing office which confines its type equipment to three series and at one time practically used but one series on all its work. The leaflet was made to fit a business envelop. The stock was Japan vellum and there was no decoration—only a standard approved type-face of a readable size (fourteen-point). Such a leaflet attracts attention above most advertising matter because of its simplicity. It is good more because of what is left off than for what is put on.
EXAMPLE 161
Admirable treatment for a small amount of reading matter. Both pages by Edward Everett Winchell, New York
Examples [152], [153] and [154].—These are the cover-page and first and second text pages of a booklet which is purely a typographical product. There was also a title-page similarly treated. The first two words of the title, “Getting into Print,” were on each of the four pages set in italic lower-case, and the word “Print” was in roman capitals. Scotch Roman was used, and Mr. Sherbow has produced other effective booklets with this type-face. He has a preference for the eleven- and twelve-point sizes and frequently separates his lines with a two-point lead. The result, especially in the narrow measure made necessary by the smallness of the booklet, is a page that one likes to read. There is a freshness, an individuality, about his type arrangement, which quality is probably due to the fact that he never was a practical printer. He began as an advertising writer and studied typography and its use for advertising purposes unrestrained by the traditions of the craft as handed down from compositor to apprentice. His work, however, is influenced by the study he has made of the work of typographers and calligraphers of the past five or six centuries. By this study he has obtained a knowledge that most printers lack because of their reluctance to explore the past. The borders surrounding these pages are made from typefounders’ brass rule, and otherwise the only ornamentation is a floret on the cover and a smaller one on the first text page. Perhaps no new note is struck in the arrangement of the cover-page, but the treatment of the upper part of the first text page is different from that which would be given by the average good compositor.
EXAMPLE 162
A good way to arrange a page when the photograph is of proportions different from those of the booklet page. Note treatment of caption
EXAMPLE 163
EXAMPLE 164
Two booklet pages in which typography was the chief dependence in securing artistic results. The borders were made with brass rule and the illustration was tipped on. By Taylor & Taylor, San Francisco, Cal.
Examples [155] and [156].—These are from an eight-page leaflet, and, like the previous examples, they give evidence of an understanding of typography that comes from study of the subject. Mr. Baker in these pages provides practically no margins outside or inside the rule border. This border is merely a one-point rule which serves a good purpose without forcing itself upon the attention. The type-face is Old-Style Antique, which as the years go by does not seem to lose its “flavor.” It is a readable type-face and one that is at its best when used on antique-finished paper, as in this case. The leaflet was printed in black ink on a greenish cream-tinted paper. Mr. Baker’s personal device adds decorative value to the title-page. It will be noticed that the headings are set in a larger size of the body type and lined at the left. There is no indention excepting for the reprinted letters, which are set in a small size of the same type. These letters treated in this manner are only incidentally made a part of the advertising argument.
Examples [157], [158] and [159].—Caslon Oldstyle and Caslon Text are factors in the effectiveness of the booklet of which these three pages are representative. These three examples are additional evidence that type alone when properly used is almost as effective from an advertising point of view as if supported by the best decoration and illustration. It might be said that good typography is to be preferred at all times to poor art work, altho really good art work properly subordinated will undoubtedly add attractiveness and interest to a booklet otherwise well treated typographically. The border of contrasted heavy and light rule adds typographic value to the booklet under consideration, and the use of the light rule in other ways on the title-page and under the headings in Examples [158] and [159] also has an influence for good. A two-line initial in color at the beginning of each paragraph and the setting off of one paragraph from another by blank space are distinctive features in the make-up of the pages. Ornaments are used in the running headings, and they are the same design as that used on the title-page. The size of this booklet was 3½ × 5½ inches. It should be noticed that Mr. Lewis in these pages places no more space between sentences than between the various words of the line, altho Mr. Sherbow and Mr. Baker on the preceding examples use more. There is difference of opinion among good printers as to the amount of space between sentences. Some of them prefer the em-quad, which has been used by the average printer for a great many years. Others believe with the ancient printers that the period and the capital are sufficient indication of the beginning of a new sentence without the insertion of a square of white space that affects the tone of the page. It should be noted in Mr. Lewis’s pages that while he has allowed fair margins around the outside of the rule border, he has arranged for very little margin inside, and to this is due a certain compactness that is agreeable.
Example [160].—This is the cover of a small book of information. The cover stock was deep red in color and the title was printed on Japan vellum stock and pasted as a label on the cover. The label design is by Thomas Maitland Cleland, whose carefully formed lettering offers suggestions to good printers who know the value of dignity in lettering and decoration. A title label, especially when dark cover stock is used, makes it possible to include a typographic effect on the cover, thus insuring harmony consistent with the type-face that may be used on the inside of a booklet. The title-page that was a part of this small book was shown as Example [138] of the chapter on books.
EXAMPLE 165
EXAMPLE 166
Attractive rear and front cover designs of an unconventional booklet. The arrowheads in the original were in emerald-green ink. By E. G. Jacobson, New York
EXAMPLE 167
One of the eight pages of a prospectus for “The American Printer.” The initial “A” was in color. By Will Bradley
Examples [161] and [162].—Two facing pages from a booklet designed by Edward Everett Winchell and presenting the attractive features of a large New York hotel. There is but a small amount of descriptive matter, confined mostly to two pages in the front of the book, yet the treatment is such that more words would have spoiled it. The plain rule border gives uniform shape to the pages and pleasingly contrasts with the liberal white space inside. In Example [161] the descriptive matter is grouped at the head of the page in Avil, an interesting old-style roman type-face. The fading of the vignetted edges of the halftone into the surrounding white space is effective. Example [162] demonstrates how an illustration which is out of proportion to the page may be placed to get good results. The caption, set in capital letters slightly spaced, is in keeping with the squared style of the page. Compositors should study the position of this caption. Many would be inclined to center it directly under the illustration; this would cause the lower part of the page to seem empty and unfinished. By moving the caption down, so as to break into the white space and divide it, the sense of vacancy is not experienced.
Examples [163] and [164].—These are two pages from a booklet in which typography was the chief dependence of the printer in securing artistic effects. The border is made of brass rules and four small ornaments; a decorative initial is introduced at frequent intervals thruout the booklet; otherwise, the effect is due to care in the details of typesetting. The space between sentences is the same as that between the words of a line, and widely spaced lines are not to be found. It should be kept in mind that the best typography is that in which the spacing between words is not excessive. Carelessness in typesetting and in the operation of composing machines is responsible for unpleasant effects produced by wide spacing and by “rivers” running thru the page. In Example [164] the illustration was tipped on. The paper used in this book was a buff antique, the tipped-on prints being on dull-coated stock. The dark-brown ink used for the text pages was also used for the prints, making a pleasing color harmony.
EXAMPLE 168
EXAMPLE 169
Two pages from a booklet in which no decoration was used, the decorative quality of the type-face impressed on hand-made paper having been depended on to provide a dignified beauty. By the Oswald Press, New York
Examples [165] and [166].—These are rear and front booklet covers, the design of which is striking because of the disregard for conventionality. No capital letters are used, an idea that should be adopted with reluctance by printers unless their customers approve of the innovation. Most buyers of printing are slaves to conventionality and hesitate to accept typography or especially drawn work which is bizarre or in any way a departure from the usual methods of treating printed work. The activity of German, Austrian and French artists in this country, however, has caused some business and advertising men to be more tolerant in these things, as the bright coloring, dashing decoration and the newness of it all seem to get attention where conventional effects fail. It might be said in reference to the lettering on these examples that the designer has not produced anything really new so far as the use of the so-called lower-case letters instead of capitals is concerned. There was a period in the development of the modern alphabet when its characters were neither “capitals” nor “lower-case” as we know them—a period in which the minuscules were being evolved from the ancient Roman capitals or majuscules. Altho modernized, the lettering here used can be traced historically to the uncial lettering of the days of manuscript books. The arrowheads were in emerald green.
EXAMPLE 170
A hand-lettered cover-page. By the Blanchard Press, New York
Example [167].—This page, designed for the prospectus of the twenty-fifth anniversary number of The American Printer, in my opinion is among the best things that Will Bradley has done. There were eight pages and on all the decorative headings were similar, altho each had sufficient change in the treatment to give special interest to the page. The fine line decorative borders were in pleasing contrast to the dark-toned illustrations and the liberal apportionment of blank space. Fourteen-point Caslon Oldstyle, the kind with the long descenders, was used for the text matter. The large Caslon initial added another interesting spot of black. The decoration and type matter were printed in black ink on buff-tinted dull-coated paper, and the large drawn initial on each page was in sepia brown. The original size of this pamphlet was 6¾ × 9½ inches.
Examples [168] and [169].—No decoration of any kind was used in this booklet, unless the period groups may be counted as such. The purpose was to produce artistic printing in good taste by depending upon the type-face and the paper for results. Decorative interest (usually welcome in a mild way) was supplied by the swash capitals of the italic and by letterspacing capitals and small capitals wherever they appeared. The chapter headings of all the pages in this book were aligned with one another and not “sunk” as is sometimes done. The pages are made interesting by the varied use of italic lower-case and roman capitals. The size of this booklet in the original was five by eight inches, and the margins were made to conform to those used on good book composition, each margin increasing in this order: Head, inner side, outer side, foot.
EXAMPLE 171
Page from a typographically treated commemoration book
EXAMPLE 172
Unconventional arrangement of a booklet page. By Corday & Gross, Cleveland, O.
Example [170].—Lettering, as has been pointed out, has an important place in booklet designing along with decoration, illustration and typography, and from well-lettered designs the printer can obtain valuable suggestions. This example was printed on hand-made paper, and the deckle edges and rough surface of the paper blended with the freehand drawing of letters and border. There was a further blend of the hand-lettering and the Caslon type-face used on the inside pages. The lettering was based upon the same model as the Caslon, which is standard for old-style effects. Here is a hint for printers: Distinction will be added to booklets otherwise printed from Caslon or similar type-faces if the cover and the display headings are hand-lettered. This may be done with fair results by setting them first in Caslon type. After the type has been arranged satisfactorily, take a print in blue tint on paper suitable for drawing with ink. The letters may then be traced freehand with black india ink over the blue print and any desired ruggedness or variation introduced. As light-blue ink will not reproduce when a zinc etching is made, the blue proof need not be carefully adhered to. Italic and small capitals should be introduced in such lettered designs.
Example [171].—This is a page from a souvenir booklet containing an account of the exercises held in commemoration of the fiftieth anniversary of the New York Typothetæ. Almost the entire book was set in fourteen-point Cloister Oldstyle and Italic and printed in black and orange ink on a white antique-finished paper of good quality. The cover was a domestic vellum-like paper which contained the words, “Golden Anniversary of the Typothetæ,” set in Cloister Italic with swash initials, the two lines being deeply stamped into the paper on gold leaf. In this manner strict typographic harmony was maintained thruout the booklet. Large decorative initials were introduced in several instances and two-line initials of Cloister capitals were used in a minor way. This page should offer suggestions to printers who are called upon to print souvenir volumes; in fact, much work of this kind can be created by the printer suggesting the publishing of such volumes after historic or memorial meetings are held in his city.
Example [172].—This is the first inside page of a booklet, the stock of which consisted of a thin straw-colored Japanese paper, printed on one side only. The cover, a heavy, rough dark-green paper, contained only the wastebasket illustration printed on both front and rear in gold ink set into the stock by a heavy impression. The simplicity of the typography accords with the treatment as a whole.
Printers will accomplish the most in booklet printing, as in other branches of the craft, if they live in an artistic atmosphere. Sir Joshua Reynolds, the great English painter, said: “The more extensive your acquaintance is with the works of those who have excelled, the more extensive will be your powers of invention.” That is the reason painters haunt Italy and other art centers where the works of the old masters are accessible. The printer should take journals such as The American Printer, devoted to the art of typography; for these journals bring to the great army of craftsmen specimens of the work of famous printers and of those who are contributing their mite to the cause of good typography.
The helpful atmosphere of the trade papers can be supplemented by specimen booklets for study purposes. These booklets can be obtained by writing to the printers producing them, or to the advertiser; and many can be had from retail houses selling the articles advertised in the booklets.
The printer must learn more than he now knows about art or he will become only a caddie in the game of booklet printing, with the artist and ad.-writer making all the puts. The printer is depending too much upon the artist and too little upon himself. The possibilities of type arrangement have not been exhausted and never will be, yet many workers at the printing trade act upon the assumption that good printing is impossible without the artist’s initiative and co-operation. Many a good job of printing has been spoiled by inferior lettering or decoration, the work of a poor artist.
Withal, there is nothing more ideal than a good printer and a good artist working together to produce perfect printing.
EXAMPLE 175
Page from an automobile catalog designed by Thomas Maitland Cleland. The caption is grouped in spaced capitals of Bodoni Book. The illustration is from a pen-and-ink drawing
EXAMPLE 176
Unusual treatment of a specifications page. Words in capitals are letterspaced. Rules are used to add character to the page. These reproductions are one-half the size of the originals
