EXAMPLE 68
This proportion is about right for the average page
EXAMPLE 62
In which the lines of the design run in the proper direction. Arranged by Will Bradley
EXAMPLE 70
In which the upper type group is unusually high. Page by D. B. Updike
Sometimes the customer gets a notion he wants a type-line placed diagonally across the page in a manner like Example [74]. Such arrangements generally show lack of imagination and are crudely freakish. There are so many orderly ways of arranging type that such poorly balanced specimens are deplorable.
EXAMPLE 74
A disorderly arrangement
Spacing is seemingly one of the little things—merely incidental to the mechanical practice of typography. When the apprentice compositor is told to divide his spaces evenly among all the words in a line; not to thin space one line and double-thick space another; to transpose a two-point lead, or make some other what to him may appear to be trivial alteration in spacing, he judges his instructor to be over-particular. Yet the proper apportionment of space on a page determines the tone and the balance and aids in giving proportion and emphasis.
In type-making, when a font of type is designed, not only is each letter considered separately, but in combination with every other letter of the alphabet, that when the letters are assembled into words space may be evenly distributed. The designers of the best type-faces have given attention to this feature and have demonstrated that legibility is increased with proper space distribution. Because of the excessive open space it contains, the capital L gives the most trouble of any letter used as an initial. As part of the word “Millinery” the irregularity of spacing is particularly prominent (Example [79-a]). Partly to overcome this irregularity the companion letters should be spaced as shown in 79-b. When the letters A T occur together, and the space between them should be decreased, it is necessary to file the metal in the upper right of the type A and the metal in the lower left of the type T.