TICKETS
It is said of printers who make no attempt to learn the principles governing art typography, that once or so in a lifetime they produce an artistic job of printing. They become much elated at the phenomenon, not realizing that it was brought on by the unconscious introduction into their product of art principles. The experience may be likened to that of a child who accidentally touches an electric button, causing the room suddenly to be illuminated. The child knows the light is there, but does not comprehend how it got there.
Now instead of being the cause of an oriental handshake, a good job of printing ought to be an everyday occurrence, and the stirring of the waters should be left for the bad job of printing when, unfortunately, it happens along.
Lack of interest is the reason for the non-development of many printers in the art side of typography. Because, to many compositors, printing is merely a means of making a living, only enough knowledge is acquired to enable them to “hold their jobs,” or, in the cases of employers, to retain their customers. Time spent in the printshop is considered drudgery and the pleasures of life come after the whistle has blown. There are young printers who know comparatively nothing about good typography, yet are authorities on the rules of pinocle, baseball, or other pastimes. And there are older printers, too, who could write a book about chicken-raising, yet do not know when type-faces harmonize.
Any man who is not interested in his vocation is to be pitied. Unless his heart is in his work, a lawyer, preacher, editor, ad-writer, artist or printer will not be successful.
Interest may be developed. If the typographer will devote a portion of the time now spent on outside matters to the study of his craft, and especially the art side of printing, his work will become lighter and the hands on the clock will chase each other. The same concentration of thought now devoted to unimportant side interests would bring large dividends if invested in the study of typography. Efficiency is a guarantee of steady work and good pay to the employee, and an assurance of steady customers and better prices to the employer.
EXAMPLE 256
Classic, refined treatment, for art and literary purposes
The typographer who prefers freedom from care, and the blissfulness of ignorance, is a poor member of society. He should line up among the world’s workers and accept some of the responsibilities. The first things he observes, should he become a student, are the imperfections of his own product. Work that before looked good to him, now, viewed in a new light, is defective, and finally the old verdict is reached, “There is none perfect, no, not one.” While to the experienced art-printer expectations of absolutely perfect results are known to be futile, he tries for one hundred per cent just the same. A man lacks something in his make-up when he is satisfied to be rated as a twenty-five or fifty per cent printer.
Tickets, altho only a minute part of the printing-office product, afford opportunity for the practice and development of art printing. In typography there are many themes and styles and their incorporation into type-designs is an interesting and instructive study. The compositor or layout man should know and understand these various styles, that he may be able to adapt himself to any demand made for “something different.” Resourcefulness is a valuable characteristic for any printer to possess, and close examination of the nineteen ticket forms, and careful reading of what follows, should serve to develop that quality. These forms were designed by the author especially for this chapter.
Example [256].—It is fitting, in commencing a series of type arrangements, first to show one based upon a classic motive. The design is old to students of art, yet may be new to printers in general. The arrangement has been used for many years by leading architects on inscription tablets, and the idea itself comes from ancient Rome. The egg-and-dart border is a standard embellishment in architectural designing. The roman type-face is historically proper, especially the adherence to capitals, as originally there was none but what we call capitals, the small “lower-case” or minuscule letters having been evolved during the Middle Ages. The letters of roman type-faces usually set very close together and to get certain results the capitals should be slightly spaced. One-point spaces have been used in this example. White cardboard is preferable to a colored one on which to print this design.
Example [257] (Insert).—The historic Gothic or church style furnished the motive for the treatment of this ticket. Both border and type-face possess characteristics peculiarly Gothic—notably the pointed form of the letters and floret. There is also blend of tone, and similar contrast of heavy and light strokes in letter and border. Ancient features are consistently carried out in the arrangement. The lines are set close to the border and made full length. Contrast is obtained by the use of color and the emphasis in type size of two important phrases. This style of treatment is appropriate for tickets used by churches or kindred organizations.
EXAMPLE 260
Modern treatment based upon the Colonial
Example [258] (insert).—The style of this ticket is a modern conception and originated in the art revival of the latter part of the last century. The motive is masculine and its features are contrast of tone, massing of lettering, and liberal blank space. It will be noticed that while in this specimen the margin inside of border is wide, on the previous specimen (Example [257]) there is practically no space inside of the border. These features are necessary in the correct interpretation of the respective styles. The motive of the specimen under consideration is particularly applicable to tickets for minstrel performances, smokers, club outings, and other affairs in which men are interested.
Example [259] (Insert).—The color border on this specimen suggests a means of varying the treatment of tickets, the extension of the border into two of the corners adding distinction. Such a design as this is likely to meet approval among college students, as they welcome odd and striking effects. The strong italic lower-case is a relief from the many more familiar roman faces used on such tickets. Emphasis of important parts is obtained by increasing the type sizes until proper contrast is obtained.
EXAMPLE 262
Daintily appropriate in type-face and illustration
EXAMPLE 263
The secession or mission style applied to ticket composition
Example [260].—The treatment of this example may be described as modern based upon the Colonial. The Caslon type-face furnishes a Colonial atmosphere, and the border treatment of color inside surrounding rules blends with the type-face. Only two sizes of type are used and lower-case is consistently adhered to. The shape of the main group gives a pleasing symmetry to the arrangement, the floret serving well to complete this result. The effect as a whole is bookish, and may be adapted to various literary and art purposes. White or buff stock would be suitable, antique finish preferred.
EXAMPLE 261
Suggested for course tickets. Coupons should be attached
Example [261].—There may be an idea here for course tickets in which a number of lectures are listed. The form as shown is not complete, the idea including the attachment at one side of coupons containing the names and dates of the lectures. Only capitals are used and the three main lines are aligned at each end of the measure. The narrow border gives a finish to the general design, which is well suited for printing in black ink on white stock.
EXAMPLE 264
The ecclesiastical or missal style well adapted
Example [262].—Here we have a ticket of peculiar interest to women and the treatment is daintily appropriate. Caslon italic is an admirable letter for the purpose, as it is graceful and neat. Bold treatment and large type have been avoided, the main portion of the copy being grouped in the center and surrounded by liberal blank space. The outline illustration underprinting the type group gives added interest to the ticket and may have advertising value in the suggestion it presents of the evening’s pleasure. White card would be proper, and a buff or gray-blue stock might also look well.
EXAMPLE 265
Perhaps Morris would have set a ticket this way
Example [263].—This ticket presents the geometric, or so-called secession style; a mild example, tho. Because straight lines form its motive, some call it the mission style. There are possibilities in it for the typographer looking for fresh ideas with which to vary his work. Right here it may be well to warn compositors against becoming enthusiastic over every new style of type arrangement that may come to his notice. There are men who in their endeavors to do something to win fame—something astonishing and entirely original—set out on unknown seas without rudder or compass. The result usually is shipwreck. The printer who starts out to produce typography not founded on some proved and tried base builds a house in the sands that may come tumbling down at the first test of endurance. A type-face of squared shape such as the capitals of lining gothic is best fitted to accompany the squares and angular ornaments of the mission or secession style. A gray stock on which to print this example would be a wise selection.
EXAMPLE 267
Modern application of classic type effects
EXAMPLE 268
Patterned after Colonial treatment of title-pages
Example [264].—This specimen will be recognized as an adaptation of the missal or mass-book style of treatment, mentioned in a previous chapter. It is an accepted ecclesiastical arrangement, and proves as pleasing on a ticket as on a title-page. Uncial initials (as are here shown in color) may be had of typefounders in slight variations. White or buff card admirably supports missal treatment.
Example [265].—Inspiration for ticket designs may even be drawn from the work of William Morris and the Italian printers who used the black-toned decorative border, altho this style should not be undertaken unless the proper border is available. The one here adapted carries out the idea fairly well. Old Style Antique set snugly to fill the panel gives the proper results, the capital lines also being necessary to this style. Tickets for educational and art functions especially lend themselves to this treatment and white card should be used.
EXAMPLE 266
The medieval art worker furnished a motive for this ticket
Example [266].—The motive for this ticket form came from observing that art workers during the Middle Ages frequently engraved inscriptions around the margins or borders of plates, slabs, doors, and like objects. This suggested the adoption of the idea to carry a few pertinent words on an entertainment ticket. Cardboard of almost any color could be used.
Example [267].—Perhaps this arrangement could be described as a modern application of classic type effects. The display lines are in Cheltenham, a face that approximates some of the ancient Roman lettering, and the treatment of the ticket as a whole is chaste. The ornaments, surrounded as they are by blank space, emphasize the classic simplicity of the ticket. The type group is tapered to give proper symmetry.
EXAMPLE 269
A dainty, refined effect suited to many occasions
Example [268].—This is purely a Colonial effect and closely follows the arrangements found on title-pages of the seventeenth and eighteenth centuries. Hair-line rules well separated by space were common in those days. The type here used is Caslon, a letter cut in the eighteenth century, and one especially suited to Colonial typography. Antique-finished card in white and buff is appropriate.
Example [269].—Dainty, refined effects are demanded by certain customers. This specimen demonstrates the effectiveness of such treatment on a ticket. Two sizes of type (Pabst), all capitals and slightly spaced, give the proper results. The ornaments are used as symbolic decoration.
EXAMPLE 270
Robust treatment of an outing ticket
Example [270].—The typography of this ticket is distinctly masculine. This result has been obtained by the use of capitals of a robust type-face, so distributed in size as strongly to emphasize the important phrases. Had this form been printed in one color, the two type lines now in color should have been reduced a size. It is well for compositors to keep in mind that when orange is used in combination with black, the portion printed in orange will be lighter in tone than that in black, unless the difference is provided for by bolder or larger type-faces. Any color of stock excepting dainty tints would do for this ticket.
EXAMPLE 272
Treatment that should prevent easy counterfeiting
EXAMPLE 273
Corner decoration suitable to the subject
Example [271].—This unusual arrangement was dictated by the nature of the cab ornament. The shapes of the type groups are built about it. Were the cab ornament not used, another arrangement would be necessary. There are social clubs of all kinds in every city, and balls are frequently held for which tickets are needed. An element of interest such as is given by the cab ornament would surely be appreciated by such customers.
EXAMPLE 271
The cab ornament dictated the type formation
Example [272].—Occasionally there comes to the printshop a customer wanting a ticket which cannot easily be duplicated by any one with a press and a few fonts of type. Instead of referring the customer to a lithographer the printer should ascertain if he is not in a position to produce such a ticket. The style of the one here shown is suggested for such emergencies. A type border printed in color forms the background. Over this print the reading matter, and for the display lines use a type-face that happens not to be possessed by other printers in the same city. In providing a border for this ticket a rule with double lines has been used, thus blending it with the double lines of the type-face. White stock should be selected for this ticket.
Example [273].—The corner decoration is in keeping with the subject of this ticket, and the arrangement as a whole is suggested for similar purposes. Any color of cardboard is suitable.
EXAMPLE 274
This arrangement has an old French motive
Example [274].—The decoration of early French books furnished the motive for the typographical treatment of this ticket. It is submitted simply to demonstrate that ideas for arrangement can be picked up in many quarters, and as a suggestion that typographers go thru the world with eyes open.
EXAMPLE 275
Neat, conventional treatment of a letterhead containing a large amount of copy. The bold-face type lends variety to the heading and brings out important points
EXAMPLE 276
Professional stationery must be treated with dignity and refinement. The type should be small
EXAMPLE 277
Suggested treatment for church stationery of the conventional kind. A text letter is appropriate and is usually satisfying
EXAMPLE 278
As a change from the style shown in Example [276], professional stationery could be treated in this manner in one body size of a modern job type
LETTERHEADS & ENVELOPS
Is there a standard size of letter sheet and envelop for commercial correspondence? A look thru the letter files of any business house will reveal the interesting fact that most of the letters are on sheets measuring 8½ × 11 inches. Letter sheets of about this size have been in use for many years. From De Vinne’s Price List of 1871 we learn that 10 × 16 inches (8 × 10 folded) was the favorite size of letter sheet, and that for commercial letters the size 10¾ × 17 inches (8½ × 10¾ folded) was sometimes required.
Note sheets were then in two sizes: Commercial note, 8 × 10 inches (5 × 8 folded); and packet note, 9 × 11¼ inches (5⅝ × 9 folded).
The typewriter and modern commercial requirements have since developed use of the single leaf, altho for personal correspondence and certain refined business purposes the folded note sheet is proper.
In passing it might be noted that in the price list above mentioned the printer is urged to charge an increased price when “brass or French flourishes are used in excess.” The composition of “one plain heading, of not more than four straight lines,” was to be charged at seventy-five cents; “one ornamental heading with curved lines,” twenty-five or fifty cents additional.
EXAMPLE 279
This elaborate border continued around the entire sheet. In the original the colors were subdued and harmonious and on a brown-gray hand-made paper
EXAMPLE 280
A suitable type-face symmetrically arranged, with a harmonious decorative device
As has been stated, the standard size of the present-day commercial letterhead is 8½ × 11 inches. Strange to say, the standard size of envelop (known as No. 6¾ Government) used for the carrying of these letter sheets measures 6½ × 3⅝, tho if a snug fit were required the envelop would be about 5¾ × 3 inches. The standard size, however, should usually be selected, as all sorts of enclosures are made to fit it.
The large “official” envelop is also used extensively for business purposes, the most common size (No. 10 Government) measuring 9½ × 4⅛ inches. It takes a letter sheet of two parallel folds, and also provides for business and advertising enclosures larger than those planned for the standard envelop of smaller dimensions.
Distinction is given business stationery by folding the standard letter sheet twice so that, folded, it measures 5½ × 4¼ inches, and by using an envelop (Baronial) that measures an eighth or a quarter of an inch larger each way. For private or semi-private purposes this kind of envelop is preferred, especially if the letter sheet is used as a double note sheet. The heading is frequently printed on the fourth page of the double note sheet, so that when the message is written on the fourth and first pages and the sheet is opened, the letter appears as two pages in a book.
Another size of men’s personal correspondence sheet measures 5 × 8 inches folded once. After being written upon the sheet is again folded, and it then measures 5 × 4 inches. When the customer is willing to pay a price for which the best quality of stationery may be furnished, the printer should secure from houses specializing in society stationery envelops that are made with a more stylish flap than those commonly used for business purposes.
Another size of letter sheet, used for men’s personal correspondence and for giving an exclusive appearance to commercial stationery, measures about 7¼ × 10½ inches. The paper is given two parallel folds and fits in an envelop that measures about 7½ × 4 inches.
EXAMPLE 281
Artistic treatment in squared effects
EXAMPLE 282
A simple treatment of a heading with little copy. Capitals have been letterspaced a trifle
Since the typewriter is in such general use, ruled letter sheets are seldom called for; in fact, ruled correspondence sheets of any kind are now in poor taste.
The old-time notehead is also little used, the half-letter sheet (8½ × 5½ inches), and the two-thirds letter sheet (8½ × 7⅓ inches), printed the broad way, taking its place for brief business messages.
EXAMPLE 284
The heavy border effect of the Colonial style of typography gives character to this heading. By Arthur Nelson
The typographical treatment of letterheads and envelops should have some relation, and it is now generally conceded that the paper should be the same in both cases. A good grade of paper is now considered essential for bona-fide correspondence, a cheaper grade being allowed for form letters. A light-weight paper of a high grade is preferable over a heavy-weight paper of a low grade. Quality isn’t a matter of weight, altho if it can be afforded the heavier weight is not in the least objectionable. Twenty-pound folio (17 × 22) seems to be most easily obtained in the various papers.
As to the style of typographic treatment, the printer must in all cases consider the tastes of his customers, and especially the business or profession for which the stationery is to be used. As an instance, the style of typographic treatment of doctors’ and lawyers’ stationery seldom changes.
It should be kept in mind that simple, neat, refined typography is appropriate for almost every order of stationery, while elaborate typography in many cases is inappropriate.
Color is seldom well used on stationery. Most letterheads that the writer has seen which have been treated in three or four colors would have been more pleasing if given but one printing. A test of typographic skill is to design a letterhead that in one printing will look attractive and distinctive. The heading should usually be printed in black or some darkened color, and if another impression is desired a very small part of the design printed in orange or vermilion will add a touch of bright color.
All the reproductions shown are reduced in size, those on the inserts being only slightly smaller.
EXAMPLE 283
There is a great deal of character in this simple letterhead design. The lantern is really a monogram. By Charles R. Capon
Example [275] (Insert).—Lithographers and steel-die printers really furnish the styles for the conventional arrangement of letterheads. They work along standardized lines and usually produce well-balanced, appropriate headings. Typographical printers should study stationery produced by these processes and observe how the parts of headings are grouped and the advertising points emphasized; for a letterhead is one form of advertising. There are limitations, however, in the copying of such letterhead arrangements. Only plain designs should be studied for this purpose. Imitations of shaded and ornamental lettering are seldom successful. Example [275] demonstrates how a good letterhead can be designed along lithographic lines. The effectiveness of this heading depends a great deal upon the use of both light- and dark-faced type. Where there is a great deal of matter, as in this instance, the heading would likely appear flat and uninteresting and would lose some of the advertising qualities it possesses if the light-faced type were used thruout. This is no argument for bold-faced type on stationery headings as a usual thing, but refers to the kind of heading here shown. The parts in the dark-faced type include the firm name, the nature of its business and the city in which the firm is located. The names of the officers are arranged in the upper part of the heading, and this position of the names seems to be satisfactory in most instances. The telephone number and cable address are in the center near the date line. The type used in this heading is Card Litho and Card Light Litho.
Example [276] (Insert).—Professional stationery must be treated with dignity and refinement, and the type should be small. Treatment such as this would undoubtedly meet with approval from the professional customer. It would be a mistake to apply to professional stationery the variety of attractive and interesting arrangements that are applicable to stationery used for many business and advertising purposes. The printer would save resetting of the work and more surely please his customers if, in filling orders for doctors, lawyers, architects, engineers and other professional men, he attempted nothing but the conventional dignified treatment illustrated by this example. The type is an imitation engravers’ gothic slightly letterspaced to give the effect usually found on steel-die work.
Example [277] (Insert).—Ministers, included as they are in the professional class, like to have their stationery dignified and neat. At the same time they do not object to the use of text type, as it has a churchly suggestion. This type, too, must be small, that used here being eight-point in size.
EXAMPLE 287
Suggestion of the ecclesiastic in the design of a letterhead for a church printer
Example [278] (Insert).—Stationery for a lawyer, like that for a doctor, should be dignified and refined. It is well to give him the professional customer’s style of typography such as that of the doctor’s heading, but if a departure is to be made from the imitation steel-engraved lettering, it is possibly well to use a modern style of type such as the Bodoni, and letterspace the capitals, as was done in this example. But one size of type-face has been used here (eight-point), capitals, italic, and small capitals being utilized.
Example [279].—Practically never should a letterhead be treated with the elaborateness of this one unless the customer expressly desires such treatment and is willing to pay for it, or the letterhead is the printer’s own, as in this instance. The reproduction, unfortunately, does not present the rich qualities of the original, which was printed in green-gray and red-gray on a gray hand-made paper. The typography was merged with the paper stock, and there was not the contrast found in the reproduced specimen.
EXAMPLE 285
On which a meeting is advertised
EXAMPLE 286
A panel, when well treated, gives distinction to stationery. By Arthur Nelson
EXAMPLE 288
Artistic yet simple arrangement, the feature of which are the three lines of equal length. By Leon I. Leader
Example [280].—Old-Style Antique, as this heading shows, is a good type-face for the letterhead of an art publication company. Capitals have been used thruout and grouped so as to form a symmetrical arrangement that harmonizes well with the decorative device placed under it. A feature of this heading is that all matter is included in the one group, excepting the name of the city, which is placed to receive the date line.
EXAMPLE 289
Letterhead for a storekeeper selling a general line of goods
EXAMPLE 290
Panel treatment that suggests the business. By Arthur Nelson
EXAMPLE 292
Unique arrangement of a distinctive heading. By Harry A. Anger
Example [281].—Successful treatment of a heading like this depends upon the typographer’s ability so to arrange the copy, without resorting to letterspacing, that all lines are the same length. It is necessary also to use all capitals of an old-style face of dark tones in which the letters set fairly close together, a result such as can be had with Old-Style Antique or Cloister Oldstyle. The decorative device in its shape harmonizes with the formation of the group of type lines above it. The liberal blank space that surrounds this heading is an important factor in its attractiveness. The original was on brown paper.
Example [282].—When the printer receives copy as brief as that used for this letterhead he experiences difficulty in producing an effect that will be attractive. With the customary engravers’ type-faces nothing very satisfactory is possible, but by using a type-face of character, such as Caslon Oldstyle in its original form, as was done here, artistic interest can be added. Two sizes of capitals, spaced, were used for the firm name. Italic was selected for the word “Grocers,” with a swash or decorated capital that accompanies the old Caslon type-face. Capitals and small capitals were utilized for the date line. A touch of decorative interest was added to the heading by the use of a rule, on each end of which was placed a dagger, such as is usually a part of book fonts. This treatment could be made even more effective by printing the letterhead on a white bond paper of good quality.
Example [283].—This letterhead is offered as a suggestion for artistic treatment when not much copy is furnished and it is possible to use a small decorative device. The type-face should have old-style qualities of an artistic nature and should be slightly letterspaced. The lantern device on this heading is really a monogram, cleverly designed. The original was in black and orange on buff-tinted paper, and as shown by the reproduction, the heading was placed very high on the sheet.
EXAMPLE 291
Dignified yet novel treatment
Example [284].—For some reason a border made of a heavy line and a light one harmonizes with the type matter in Caslon Oldstyle, especially when liberal blank space separates the type and the border, as in this instance. It is well usually not to have the border darker in tone than the type matter, but on this heading it would be a mistake to lighten the border, which, however, would look well printed in vermilion or orange ink. A buff-tinted paper of an antique finish would blend with the Caslon typography. It is a departure from conventional methods to place the names of the firm members in the lower part of the panel. This was probably done so that the name of the bindery would stand out without interference from type matter above it, but as a concession to conventionality it would probably be well to place the names in the upper part of the panel.
Example [285].—The printer is frequently called upon to arrange for an organization a letterhead which contains an announcement of the next meeting of the society. The example under consideration shows how this may be done; the meeting announcement is presented plainly, yet a letterhead appearance is retained. The name of the society crosses the letter sheet and is joined on each end by a group of officers. The reference to the meeting occupies the space directly under the name of the society. In the original the main part of the heading, which now stands out so strongly, was subdued by the use of gray ink.
Example [286].—There is suggestion of the architectural panel about the arrangement of this heading. The suggestion is continued by the use of a classic Roman type-face mainly in capitals. Panels are not as successful on letterheads as they would be if more judgment were used in forming them. This heading should prove helpful in working out the panel idea. Its proportions could be smaller with good results. The original was printed with green-black ink on a primrose color of bond paper, but would also look well on white stock.
Example [287].—A letterhead is successful if by its treatment it suggests the line of business for which it is used. This one measures up in that respect. By the use of the old text type and Maltese crosses an ecclesiastical touch is given. The old church missal books of the manuscript days were brilliant in rubrication, a feature of which were ruled lines, crosses and initials in vermilion. The arrangement of this heading is also one that could be used for many purposes. Some of the facts about the business are blended with rules in a decorative band that gives breadth to the heading.
EXAMPLE 295
Neatness and dignity in letterhead designing
Example [288].—Letterheads arranged so that all lines are the same length, especially if such arrangement allows proper emphasis of the firm name, usually look well and have artistic interest. This heading is one such as almost any printer with a good old-style type-face could produce. Like Example [281], this treatment requires the use of capitals. Lower-case in square or block formation does not shape up harmoniously. Capitals exclusively should be used when such effects are planned.
Example [289].—A letterhead for a general store invariably presents a problem to the printer who wishes to produce a harmonious and well-balanced heading. It is difficult properly to display copy which includes such a variety of articles as furniture, jewelry, stoves and coffins. The typographer responsible for this letterhead set it in Caslon Oldstyle, grouped it as well as he could, and introduced decorative value by means of florets printed in color. The name of the merchant was given the most prominence, and “Furniture” was featured for the reason that it seemed to constitute the principal part of the business. The printer who objects to this arrangement should try his hand at resetting it. As copy, this heading is in strong contrast to that supplied for Example [282].
EXAMPLE 293
Individuality obtained by means of decorative initials
EXAMPLE 294
Just a neat typographical arrangement
EXAMPLE 296
A heading in two groups. By Harry A. Anger
Example [290].—This example is a resetting of a letterhead on which the printer had imitated bricks by using oblong border units printed in red. His effort was too literal, and in rearranging the heading the purpose was merely to suggest bricks and tiles in a light-printing border. Spaced Caslon capitals completed an effect that is unusual and distinctive. The line “Brick and Tile” could be printed in color.
EXAMPLE 297
A neat letterhead and uncommon distribution of color. By Leon I. Leader
EXAMPLE 298
Double-panel treatment that is unusual
Example [291].—There is a dignified yet novel attractiveness about this heading. The light cross-rules give shape, and individuality is injected by slightly spacing the letters and confining the color to three small initials. Gothic (sans-serif) type looks well treated in this manner. As will be seen, liberal blank space is necessary for a right effect. The original was printed in black and vermilion ink on gray bond paper.
EXAMPLE 300
A letterhead in Caslon roman capitals and italic lower-case, with touch of color in the distinctive shop mark
Example [292].—The designer of this letterhead planned to get something different and succeeded. He did it, too, with the good old Caslon type-face. This type has proved its worth in commercial job work, and there seems to be no limit to its usefulness. By spacing the letters in this heading a peculiar tone has been obtained which gives the letterhead much of its character. The position of the lamp ornament is odd. Black and orange ink and white paper were used.
Example [293].—While it is safer to print club stationery in the conventional style of professional stationery, there are clubs which will appreciate any individuality and attractiveness the printer may introduce on the letter sheet. This heading is a suggestion of what might be done in this direction. Washington Text has been combined with decorative initials.
Example [294].—The problem here was to produce a letterhead for men who appreciate typographic neatness, and the problem was met by setting the heading in Caslon lower-case and introducing italic in several places where it would be of the most value. As will be seen, the names of the officers were grouped on the left, and balanced on the right by a group that tells of the things the store has to sell. It is likely that copy such as this would meet with different treatment from the average compositor, who would be inclined to distribute the copy over all parts of the letterhead. The lesson to be learned is that the several parts of copy should be orderly apportioned to positions on the letter sheet, as in this instance.
Example [295].—This is an excellent example of a good letterhead, originally produced by the incised copperplate method. Study of its details would benefit the typographic printer for the reason that, as mentioned in the beginning of this chapter, designers of letterheads produced by lithographic and intaglio processes have given much thought to letterhead arrangement. The main part of the heading is symmetrically arranged in a group in which attention has been given to spacing. The illustration is disposed of at the left, and an added line has been placed in the upper right corner and printed in red. The neatness and dignity of this letterhead are an inspiration.
EXAMPLE 299
Distinction in letterhead design. The rule border, which extended around the entire sheet, was in a shade of ink lighter than that used for the type
Example [296].—The copy of this letterhead presented a problem which was solved by making two distinct groups of the type matter. In the main group were placed the matters of national importance, and in the upper group in smaller type such copy as refers to the state organization. Compositors should observe how the “Y” at the end of the main line has been extended into the margin so that the group alignment might be retained. The printing combination was black ink and white paper.
Example [297].—Perhaps the use of italic capitals exclusively would have been more consistent, yet the one line of roman capitals does not detract from the pleasure the neatness of this heading affords the admirer of good printing. The distribution of color is uncommon. The italic short-and (&) adds a touch of decoration to the heading. Typographers will find that these old-style italic short-ands look well in display lines substituted for the spelled-out “and.” The roman short-and (&) is severe in character and is not so pleasing.
Example [298].—Occasionally it is advisable to inclose type matter in a panel, altho in most instances the typographer will find that a letterhead is neater if no rule panel is used. However, there is something attractive and different about the panel treatment of this letterhead. Without the rules the heading would be neat, but would lose a distinction that is now given it by the rules. The type-face, Packard Oldstyle, possesses a quality found in hand-lettering and looks well on this heading.
Example [299].—A line border finishing off the edges of the letter sheet adds a quality to the appearance of the stationery that makes it worth while when the printer uses the idea on his own stationery or a customer is willing to pay the increased cost necessary for such an effect. On the Fell letterhead the border was in a shade of ink lighter than that used for the type. The arrangement of the heading is worthy of study, especially the disposition of the officers’ names, which are placed one under another instead of being conventionally arranged in a line at the top of the sheet. While this heading is hand-lettered, it is suggestive of similar effects that could be produced with good type-faces of an old-style design.
Example [300].—Another letterhead in the Caslon type-face, roman capitals and italic lower-case being used. Much of the attractiveness of the heading is due to the spot of decorative color made by the shop device, which in design blends well with the type-face and because of its position brings the eye to the title of the press. The names of the officers are placed above the center, and the service rendered by the press is outlined in the end groups.
EXAMPLE 303
Type arrangement as used by a noted typographer. Printed on the fourth page of a folded note sheet
Example [301].—The cross-line panel is here adapted to letterhead purposes with some success. The decorative border is a suitable one for such arrangement and affords relief from the plain brass rule. However, it only departs from the plain rule sufficiently to add an interesting touch of irregularity to the lines. Text type has been used for the center, and where Caslon capitals are found in the panel they are letterspaced.
EXAMPLE 301
The crossed-line panel successfully adapted to letterhead purposes. By Adams-Brander Company
EXAMPLE 302
A German idea in letterhead treatment
Example [302].—While German treatment in advertising design and typography is usually thought to be strong and forceful, yet certain classes of work are produced in a dainty yet characteristic style. This letterhead is presented because of the interest it will doubtless have to American printers.
EXAMPLE 304
Humor in a notehead is exceptional
Example [303].—This notehead printed in two sizes of capitals is interesting in that it is the work of a noted book typographer. The larger capitals are not letterspaced, but the smaller ones are. A triangular formation of periods adds a touch of decoration between groups. This notehead was printed on the fourth page of a folded sheet in dull-finished black ink on white bond paper.
EXAMPLE 305
Conventional treatment of an envelop corner
Example [304].—Humor in a notehead is questionable and should be used only in exceptional cases. Mr. Glover, however, has used it to good advantage. Printing has always been such a serious business that customers may welcome a printer who can smile even on his note sheets.
EXAMPLE 307
Envelop corner prominently treated in a decorative letter
EXAMPLE 308
Harmony of device and type treatment. By Ray Greenleaf
The envelop is an acknowledged convenience in correspondence. It not only protects the letter from being soiled or tampered with, but is a convenience to the post-office and a means of advertising. The first use that the printed part of an envelop has is to inform the postal authorities of the name and address of the sender so that if a letter cannot be delivered it can be returned. On government-printed envelops this information is given in the briefest and plainest possible way. However, the greater number of business men recognize the advertising possibilities of the envelop, and not only have the paper match that used for letterheads, but see to it that the typographic treatment is also in accord with that on the letter sheet. The treatment of the face of the envelop should be neat. It is not only in poor taste to cover the envelop with printing, but is against the post-office regulations. There are those who prefer to print the type matter on the flap of the envelop, and others who print the type matter in the usual corner and the trademark on the flap.
Example [305].—This is a specimen of a conventionally treated envelop corner in imitation steel-engraved lettering. The old-fashioned “After five days return to” as here used is not much in vogue, and printers would do well to omit it unless the customer insists upon its inclusion. This envelop corner is in the same style of typography as the letterhead that accompanied it.
EXAMPLE 306
Distinctive and artistic treatment
Example [306].—Artistic interest of a medieval character has been given this envelop corner by the use of Old-Style Antique, and especially by the decorative device in color. The design of this envelop is distinctive, and mail from this source would easily be recognized after one or two letters had been received.
Example [307].—Occasionally it is good policy to bring out the name of the business in a prominent way, especially if it can be treated in a decorative letter such as the one used in this instance. Not every business will allow of such prominent treatment, and in this matter the printer needs to use judgment. The type has been aligned at the left.
Example [308].—It is seldom that an envelop corner is treated so harmoniously and artistically as the one under consideration. The general character of the decorative device is matched by the style of the type-faces used. The squaring of the type group also adds shape harmony. This corner card, designed some years ago, is proof of the fact that good work is always good.
EXAMPLE 309
An elaborate envelop corner
Example [309].—Seldom should an envelop corner card be as elaborate as this one, but when such an arrangement is allowable, as in this case, the design shown is worthy of consideration. The type-face is Caslon with Caslon Text, and the bands are made by using square ornaments with alternating blank space inside of rules.
EXAMPLE 312
The non-stock-ruled type of billhead, with a panel in which name, date and other items are recorded. Showing use of roman lower-case
EXAMPLE 313
Remove the words “Sold to” and the rule work, and this could be used as a letterhead. Showing use of italic lower-case with spaced roman capitals
BILLHEADS & STATEMENTS
The printer called on to produce a billhead has a responsibility seldom fully realized. He has a duty to himself, to his customer and to those who come after, which is best carried out by suitable and dignified type composition. A business house has been known to use the same design of billhead for fifty years, and it is a fact that many merchants cannot be persuaded to change the style of the billhead, no matter how homely it may be.
Billheads and statements should correspond in style to that of letterheads and other forms of stationery, and in changing the design it must not be forgotten that these other forms should also be altered to harmonize. The paper should be of the same finish and color, and the main features of type arrangement similar. The type-face must be the same on all.
The standard sizes of billheads for commercial purposes are:
8½ × 5½ inches, 8 out of a sheet 17 × 22.
8½ × 7 inches, 8 out of a sheet 17 × 28.
8½ × 9⅓ inches, 6 out of a sheet 17 × 28.
8½ × 14 inches, 4 out of a sheet 17 × 28.
Professional billheads are usually an inch or two smaller than the smallest size of commercial billheads.
There is a variety of sizes in statements. Popular sizes are those cut out of folio (17 × 22 inches), which then measure 5½ × 5⅝ inches, and 5½ × 8½ inches.
EXAMPLE 310
In which are presented the principal features of the average commercial invoice, or billhead. The customer’s name is placed in the lower left corner
EXAMPLE 311
How a letterhead may be converted into a billhead. The upper portion is also shown as Example [283] in the chapter on letterheads
Whether ruled or not, it is customary to allow about 2¾ inches for the printed heading on both billhead and statement.
Because of the extensive use of “window” envelops, the heading should be so arranged that the name and address of the customer can be placed in the lower left part of the billhead. The exact position can be ascertained by placing a billhead over such an envelop and jogging the two at the head and left side. When held to the light the opening in the face of the envelop can be traced on the billhead. The billhead is folded to fit the envelop and inserted so that the name and address can be seen.
Use of the typewriter and window envelops has brought a change in the arrangement of billheads, and printers, whenever they have opportunity, should alter the old billhead arrangement to conform to the new requirements.
Most billheads a quarter of a century ago contained in the upper right corner in script (usually) a date line, and under it at the left was a dotted line beginning with a large script M. Immediately following came the firm name (usually rather large) flanked on the left by the word “To,” and on the right by the abbreviation of debtor, “Dr.” So the apprentice boy was taught, and he would then be further instructed to place the words “Dealers in” (or their equivalent) in small type, centered; then to display the words indicating the line of goods carried. In a small line at the lower right corner was the street address, and aligned opposite were the mystic words “Terms Cash.”
Sometimes the words “Bought of” were substituted for “To” and “Dr.” The older printers will remember the logotypes in various fancy designs of the phrase “Bought of” that the typefounders furnished in those days, which logotypes were set against type lines of double great primer caps. Now “Bought of” has been supplanted on billheads by “Sold to,” which directs attention to the fact that John Smith has sold goods to Thomas Brown, rather than that Thomas Brown has bought goods of John Smith—a distinction without a difference, one might say, yet there is interest in noting the change.
EXAMPLE 314
A billhead, or statement, in a classic non-display style of typography that suggests early printing. By D. B. Updike
The probable reason for the “M” being discarded in recent years on commercial billheads is that many business houses are now corporations, which fact makes “Mr.” and “Messrs.” no longer suitable as forms of address.
EXAMPLE 316
A suitable billhead with interesting border treatment. No guide lines have been used
Example [310].—This specimen presents the main features of the average commercial invoice, or billhead. Usually there are conditions of sale which can be placed at the top of the heading with a rule underneath, altho they are sometimes arranged at the side or at the foot of the invoice. The name of the company is given most prominence, followed by mention of the commodity or product. The number, street and city naturally should be displayed so that the customer’s location can be referred to quickly in correspondence. “Sold to” precedes the space left blank for the customer’s name, and this, as has been explained, should be in the lower left corner. Blanks for the date, terms, invoice number, ledger number, customer’s order number and other notations of record may be grouped in convenient open spaces.
Example [311].—The composition of a billhead really begins with the composition of a letterhead. It should be possible to take any letterhead and by adding a few lines convert it into a billhead. The specimen under consideration shows how this is done. The original of this billhead was exhibited as Example [283] in the preceding chapter. The conventional phrase “Sold to” is placed in its customary position and the other phrases added at suitable spots. Printers should keep this suggestion in mind and, when laying out a billhead, design the upper part as they would a letterhead.
EXAMPLE 315
Typographic art and good taste, as demonstrated by this specimen, have a place on billheads as well as on books
Example [312] (Insert).—This is an interesting representative of the non-stock-ruled heading, and it also illustrates the changes the typewriter has wrought in billhead printing. When bills were written in by hand, script type and dotted rule prevailed, but because of the use of typewriters, script and horizontal guide lines are gradually disappearing from the face of billheads. The example under consideration also demonstrates the effectiveness of Caslon lower-case for billhead purposes. When every line is in roman lower-case there is harmony, but sometimes there is also monotony. In this instance, however, the introduction of italic and small caps would alter the plan of the heading and detract from its distinction. The rule border and the panel for the insertion of customer’s name and address give distinction.
Example [313] (Insert).—There is here another demonstration of the transformation of a letterhead into a billhead. Remove the words “Sold to” and the ruling at the foot and the form is ready for the letter sheet. Kennerley type, altho primarily a book face, is also usable on stationery where neat, distinctive effects are desired. Capitals are spaced (as in the old books of Aldus), and italic is used with the capital lines, this use of italic also being suggested by the work of the Aldine Press. However, the specimen is not intended to be in the classic spirit of Aldus; it is merely a modern commercial suggestion.
Example [314].—Here is a billhead, or statement, in classic typography that suggests the style of the fifteenth century. The heading is practically in one size of type. Advertising distinction is obtained by using capitals for the name, capitals and small capitals for the business name and address, and italic for “In account with.” There is not much that is striking about this billhead, yet, printed on a fine quality of writing paper, it would make one really glad to receive a bill of this kind.
EXAMPLE 318
Invoice with lower portion divided into columns, as sometimes used in business
Example [315].—D. B. Updike makes plain by this specimen, as well as by the preceding one, that typographic art and good taste can be used in the designing of a billhead as well as in the designing of a book. The woodcut device has the same good quality as the typography. The old-fashioned “M” and “Dr.” are used, and blend well with the old dignity of the heading. The ruling on the lower part of both of these headings was printed from rules. There are other good printers who prefer brass rule to the ruling machine for billhead purposes. Machine ruling is convenient, but is not in good taste for billheads, statements and letterheads of really fine quality.
Example [316].—The stationery of a book dealer should have a bookish character—that is, the typography should be inspired by the same skill and taste evinced in the treatment of a good book. A well-designed type-face should be selected, and there should not be a great contrast in the sizes used. When it is possible to have two printings, the extra impression could take the form of a simple rule border in color, as on this specimen. The first type line runs almost from border to border at the head, and another portion of the copy is arranged directly under it in three even lines. The “Sold to” occupies its approved position. No guide lines are provided for the accountant’s part of the bill, as with a typewriter the various items can better be filled in without them, and a billhead really looks neater without the rules.
Example [317].—For printing on colored stock strong treatment is sometimes advisable—treatment such as has been given this heading. On white paper the type sizes should be kept small, as the light background illuminates the print. White and black form the greatest contrast. There is not much contrast between blue ink and blue paper, for instance, and it is necessary to strengthen the print by the use of a larger or bolder type-face. The arrangement shown is unconventional. A full line has been made of the business title, the name itself being slightly emphasized by printing it in color and giving an initial effect to the first letter. Other parts of the copy are grouped at suitable points, “Sold to” occupying the usual lower left corner.
EXAMPLE 317
Large treatment that would look well in harmonious colors on colored paper
EXAMPLE 319
Decorative type treatment suitable for the business of painting and decorating
Example [318].—Many invoices and billheads now have the lower part divided into columns for taking care of the various items peculiar to the business, as in this instance. The customer usually decides when he wishes to depart from the conventional ruled effect, and it is just as well for the printer not to suggest a change of this sort, as it means extra composition for which the customer may be disinclined to pay. The type-face on this well-arranged example is a good one for plain commercial headings. It would be well, for convenience, to place the “M” in the lower left corner and move the building address to the right corner, over the street address.
Example [319].—A decorator’s stationery seems to offer opportunity for effects away from the customary plain treatment of the average heading. This statement, in the same style as a letterhead that accompanied it, shows a decorative type-face and an arrangement that could possibly be called decorative. The upper two type groups are joined by the uncial initial, and the two groups at the left are connected by the flower ornament.
EXAMPLE 320
An uncommon arrangement. The main type line tells the story, as the company’s title describes the business
EXAMPLE 321
Credit bill made from the preceding billhead by adding a line at the head and changing “Sold to” to “Credit”
Example [320].—This is an unusual arrangement for a billhead. As the business is stated in the firm name, there is not the usual necessity for a second display line. While this arrangement could be carried out in some other type-face, the serifless “block” letter as here used is not displeasing. The grouping of the branch houses is good, and other groups are also well placed.
Example [321].—Most business houses find need for credit bills, to be used when goods are returned or some error has been made in billing. Such forms are easily provided by using the billhead, adding the words “Credit Memorandum” at the head and changing “Sold to” to “Credit.” In order that credit bills may look unlike regular bills, they should be printed in color as is here shown.
Example [322].—All professional stationery should be refined. The sizes of paper and type should be small and the whole effect restrained and polite. Such work seldom changes in style, and consequently there is little variety. The form shown here would probably prove acceptable for many years to men of the medical and similar professions.
It may not be out of place to remind the reader that an invoice (or bill) is a list sent to a purchaser or consignee, containing the items and charges of merchandise that have been forwarded to him.
As to the statement: It is a common practice to send each customer at the first of the month a statement showing the debit balance of his account to date, whether it is due or not, enabling him to compare the statement with the ledger account. In order to call the attention of customers to the fact that payment is desired, many business houses send a statement whenever a bill is due (when goods are purchased on January 10, as an instance, at ten days, a statement is sent January 20).
There are numerous other forms used in business, such as checks, deposit slips, drafts, promissory notes, bills of lading and the like, but there is not space to show them here.
Such forms, if possible, should be in harmony with the style of the letterheads, billheads and other stationery. The same type-face should be used and the arrangement of display parts should have similarity.
EXAMPLE 322
On professional bills the paper and type should be small and the treatment restrained and polite
EXAMPLE 323
A label that catches the attention at a distance and looks well on the background of wrapping paper
EXAMPLE 324
A label of classic simplicity for small packages and a business that emphasizes daintiness and delicacy
