LIST OF REPRODUCTIONS

The first printed Declaration of Independence, [frontispiece]

PART ONE

WHEN BOOKS WERE WRITTEN

Page [1]

The scribe at work, opp. p. [1]
Assyrian clay tablet, p. [1]
Ancient Roman reading manuscript, p. [2]
Roman waxed tablet, p. [3]
The Egyptian “Book of the Dead,” p. [3]
Evolution of the alphabet, p. [4]
Capital letters of the ancient Romans, p. [4]
Uncial letters of the sixth century, p. [5]
Half-uncial letters, p. [5]
Gothic letters of the fifth century, p. [5]
Page from the “Book of Kells,” p. [6]

THE ORIGIN OF TYPOGRAPHY

Page [7]

Portion from Fust and Schœffer’s Psalter of 1457, opp. p. [7]
French playing card, a block print, p. [7]
Image print of 1423, p. [7]
Bible of the Poor, from block book, p. [8]
Text page from the block book “Ars Moriendi,” p. [8]
Page from an engraved wood block, p. [9]
Page from separate metal types, p. [9]
Two pages from the Huntington copy of Gutenberg’s Bible, p. [12]
Decorated page from Gutenberg’s famous Bible of Forty-two Lines, opp. p. [12]

THE SPREAD OF TYPOGRAPHY

Page [13]

The Venetian style of typography and decoration, opp. p. [13]
The spread of typography (table), p. [13]
Page printed by Koburger, p. [14]
The first displayed composition, p. [14]
A page from the famous Bamberg Missal, opp. p. [14]
The first italic, a page by Aldus, p. [15]
Specimens from Plantin’s Polyglot Bible of 1569, pp. [16], [17]
Gothic ornamental pieces, from a “Book of Hours,” p. [16]
Page by England’s first printer, p. [17]
Page in English by John Daye, p. [18]
The first Psalter in English, p. [18]

TYPOGRAPHY IN COLONIAL DAYS

Page [19]

A title-page of 1655, with much type display, opp. p. [19]
First book printed in English America, p. [19]
Title-page of a Shakespeare book, p. [20]
First edition of “Pilgrim’s Progress,” (reset by Whittingham), p. [21]
First issue of the London “Times,” p. [21]
Page from a chap-book, p. [22]
Page from “Description of Trades,” p. [22]
French specimen of 1742, p. [23]
Caslon types and ornaments, p. [23]
First edition of “Paradise Lost,” p. [24]
Two pages from “Poor Richard’s Almanack,” p. [25]
Italian specimen of 1776, p. [26]
Pages from Bodoni books of 1789 and 1806, p. [26]

TYPOGRAPHY IN THE NINETEENTH CENTURY

Page [27]

A Morris title-page and text page, opp. p. [27]
Page from a “Book of Common Prayer,” p. [27]
A design of the rule-curving period, p. [28]
Title-page of 1810, p. [28]
Title-page of 1847, p. [28]
Title-page of 1872, p. [28]
Title-page of MacKellar’s “American Printer,” p. [29]
A banquet program of 1865, p. [29]
From a type-foundry specimen book of 1885, p. [30]
A business card of 1865, p. [30]
A business card of 1889, p. [31]
Stationery composition of 1870, p. [31]
The panel as used in 1893, p. [31]
A neat letterhead of 1897, p. [31]
Title-pages by Charles Whittingham, p. [32]
Bradley’s adaptation of the Colonial style, opp. p. [32]
A Jacobi page of 1892, p. [33]
A Bradley page in lower-case, p. [33]
A Bradley page in Caslon capitals, p. [34]
A De Vinne page, p. [34]

PART TWO

(The index figures refer to the number of the example)

THE “LAYOUT” MAN

Page [35]

Booklet cover-page laid out with pencil and crayon, [1]
Anticipating the appearance of the printed page, [2], [3]
Ascertaining color combination with crayons, [5], [6]
Laying out copy for machine composition, [4-a], [4-b]
Table for ascertaining the number of words to square inch, [7]
Notehead set without instructions, [8]
Business card set without instructions, [9]
Label set without instructions, [10]
Notehead laid out for compositor, [11]
Business card laid out, [12]
Label laid out, [13]
Layout of a cover-page, [14]
Cover-page as set from instructions, [15]
Layout sketch for a cover, [16] (insert)
The cover printed as indicated, [17] (insert)

HARMONY AND APPROPRIATENESS

Page [41]

Harmony by the use of lower-case, [18]
Harmony of type-faces and borders, [19]
An architectural subject treated appropriately, [20] (insert)
A booklet cover suggestive of the subject, [21] (insert)
Cover suggested by old lock-plate, [22]
An old lock-plate, [23]
Inscription on a Roman arch, [24]
Cover-page for a catalog of books, [25]
A plain page for a plain purpose, [26]
Treatment appropriate for a church program, [27-a]
Portion of a page of an old manuscript missal, [27-b]
Cover-page for a catalog of decorative materials, [28]
The Colonial arch, [29]
Title-page in semi-Colonial style, [30]

TONE AND CONTRAST

Page [47]

Contrast in color and tone, [31]
Uniform tone and contrast of black and white, [32]
Four ornaments, each of a different depth of tone, used in the construction of four pages, [33], [34], [35], [36], [37]
Extremes of tone on book pages, [38], [39]
Blending of illustration and text, [40]
Spotted black tone of border and text, [41]
Blending of illustration and type-face, [42]
Uniform tone in classic typography, [43] (insert)
A study in uniform tone, [44] (insert)
Tone-blending of initial, headpiece and text, [45]
Emphasis of parts to be printed in light color, [46], [47]
Display lines should match the border in tone, [48]
Uniform tone by equal spacing, [49]

PROPORTION, BALANCE AND SPACING

Page [53]

One method of determining the page length, [50]
Another method, [51]
Three widths of type-faces, [52]
Type page in which vertical lines predominate, [53]
An architectural comparison, [54]
The conventional page shape, [55]
Type page in which horizontal lines predominate, [56]
An architectural comparison, [57]
Page in which ornament, border and type-face are in proportion, [58] (insert)
Pages in which the type-face is not in proportion, [59], [60]
Mismated type-faces and borders, [61]
Vertical lines proper, [62] (insert)
Horizontal lines not suitable, [63]
A display line surrounded by other type lines must be larger, [64], [65]
Type proportionately too large, [66]
Type proportionately too small, [67]
A proportion that is about right, [68]
Out-of-center balance on a card, [69]
Type grouped unusually high, [70]
Exact center is too low, [71]
The point of vertical balance, [72]
An architectural example of out-of-center balance, [73]
A disorderly arrangement, [74]
An ornament that balances with the design, [75]
Out-of-center balance on an announcement, [76]
The effect of horizontal lines in a type page, and how it is avoided, [77], [78]
Spacing letters to obtain even tone, [79]
Emphasis obtained by letterspacing, [80]
The obsolete practice of spreading the lines over the page, [81]
The modern practice of grouping the type lines, [82]

ORNAMENTATION

Page [59]

The egg-and-dart ornament, [83]
The bead ornament, [84]
The egg-and-dart ornament as a typographic border, [85]
The bead ornament as a typographic border, [86]
Conventionalized papyrus plant, [87]
The winged ball, [88]
The acanthus leaf, [89]
Palm-like Greek ornament, [90]
The Doric pillar, [91]
The Ionic pillar, [92]
The Corinthian pillar, [93]
Ornamentation on an entablature, [94]
Square-lined, ornamentless furniture, [95]
Square-lined, ornamentless typography, [96]
Dainty, elaborate rococo ornament applied to furniture, [97]
Similar treatment of a program title-page, [98] (insert)
Slightly ornamental furniture, [99]
Slightly ornamental typography, [100]
Monotony and variety in strokes and shapes, [101], [102], [103], [104], [105]
Roman architectural border and roman type-face, [106]
Gothic pointed ornament and Gothic type-face, [107]
Natural and conventionalized ornament, [108]
Extravagant wall border ornamentation, [109]
Roman scroll ornament cut in stone, [110]
Type ornament based upon geometric lines, [111]
Type ornament based upon foliage, [112]
Ornament based upon the inanimate, [113]
Ornament based upon the animate, [114]
Ornamental hand-lettered effect, [115]
Corner ornaments, from bolts on inscription plates, [116]
Decoration from a manuscript book, [117]
Filling blanks with ornamentation, [118]
Semi-ornamental ecclesiastic style, [119]
Initials of various kinds, [120]
Simple ornamentation applied to letterhead, [121]
Appropriate ornamentation on a modern booklet, [122]
Effect of alternating colors, [123]
An ornament based upon the animate, [124]
The significance of ornamentation applied, [125] (insert)

THE TYPOGRAPHY OF BOOKS

Page [67]

Two model specimens of book typography, [126], [127] (insert)
Title-page of a book of classic poems, [128]
Title-page with a nineteenth-century motive, [129]
Two book pages inharmoniously treated, [130], [131]
Two pages, composite Colonial and modern, [132], [133]
Two pages constructed with care for detail, [134], [135]
A text-page in modern roman, [136]
A text-page in old-style type-faces, [137]
Title-page with an Italian motive, [138]
Page from a children’s book, [139]
Harmony in tone of type-face and decoration, [140]
A title-page of classic design, [141]
Classic feeling in a modern title-page, [142] (insert)
Text-page of a Roycroft volume, [143]
Text-page from a book by De Vinne, [144]
Two pages from a small ecclesiastical book, [145], [146]
Gothic treatment of a book of poetry, [147]
Title-page with a French motive, [148]

BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS

Page [75]

Title-page by Goudy, [149]
Two pages from leaflet in simple typography, [150], [151]
Three easily-read pages by Sherbow, [152], [153], [154]
Two typographic leaflet pages, [155], [156]
Three pages in which rules are factors, [157], [158], [159]
Label on a brilliant cover, [160]
Admirable treatment for small amount of matter, [161]
Adopting a photograph of wrong proportions, [162]
Two artistic pages from type and rule, [163], [164]
Rear and front cover designs of unconventional booklet, [165], [166]
A prospectus page by Bradley, [167]
Dignified typographic beauty, [168], [169]
Hand-lettered cover page, [170]
Representative page from a commemoration book, [171]
Unconventional arrangement of a booklet page, [172]

CATALOGS

Page [83]

Page from an automobile catalog by Cleland, [175]
Unusual treatment of a page, [176]
Architectural title treatment, [177]
Effective results obtained in a simple way, [178], [179]
Inside page and cover of a publication catalog, [180], [181]
German poster type on a catalog, [182]
Title-page and inside page of a museum catalog, [183], [184]
Rules on a book catalog, [185]
Type matter prominently treated, [186]
Unusual automobile catalog page, [187]
Tabular rules in a wine list, [188]
German wine-list treatment, [189]
Title-page of an exhibit catalog, [190]
Capitals and italic for descriptions, [191]
Page from a sewing-machine catalog, [192]
An attractive background, [193]
Artistic catalog treatment, [194]
Tabular matter in a catalog page, [195]

PROGRAMS

Page [91]

Program cover-page in ecclesiastical style, [200] (insert)
Economizing space on a program, [201]
Missal style of church program, [202]
Classic treatment of a church program page, [203]
Program page in semi-missal style, [204]
Generous margins on a program, [205]
A dance card, [206]
Page from a booklet program, [207]
Unconventional treatment of a dance program, [208]
The decorative border on a banquet program, [209]
A halftone decorative background on a program, [210]
A booklet program, [211]
The banquet program in the form of a check book, [212]
Humorous treatment of titles and odd arrangement, [213]
Suggestion for a menu page, introducing a bit of fun, [214] (insert)
A classic menu page, [215]
Program used by master printers, [216]
Dignified style for menu page, [217]
Treatment simulating woodcut decoration, [218]
The missal style adapted to a menu program, [219]
Unique arrangement of a menu page, [220]
Excellent typographic treatment, [221]
Refined entertainment program page, [222]
Two pages from an entertainment program, [223], [224]
Program page in lower-case, [225]
The decoration was in color, [226]
Program in Gothic style, [227]
A well-arranged page, [228]

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]