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

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Courtesies of business—The business card as an introduction—Sizes of cards—White cards predominate—An attempt at standardization in arrangement—A model of dignity—Featuring the individual’s name—Contrast in tone—A specimen of hand lettering—A design of strength and interest—An attractive black monogram—Decorative device in color—An interesting contrast—High-hat and frock-coat treatment in French style—Arrangement in blocked Caslon capitals—Decorative device in tint—Roman capitals with italic—A representative German card—The word “decorators” furnishes the cue—Italic for dainty effects—A strong, simple arrangement—Classic arrangement in one size of type—Much information on a card—Decorative treatment that could be merged with the stock—Horizontal rule lines—A card in Bodoni—More than one right way—Styles available for all likes and dislikes—Character and personality expressed typographically—More individuality now permissible—Copperplate engravers set the style for much business-card printing—How to obtain results.

THE BLOTTER

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Business cards and blotters—Less restraint and dignity—Coarseness should be avoided—No longer an experiment—Advertising values—The size—Enameled surfaces—A model typographic blotter with calendar—Treatment should be simple—One design of type-face—Blank space liberally distributed—Natural freedom—Most blotters contain too much type matter—Relief from sledge-hammer advertising—Blotter for personal checkbook—Good taste—For a convention—Pleasing factors—Strong contrasts—Reading the message as the signature is blotted—Masculine treatment—The character of an architectural panel—Pleasure in using—Material that is used and material that is not used—A model of good taste in blotter typography—The test of time—A neat, refined arrangement—The use of large type—The narrow way—Gray features—A touch of appropriateness—Other features.

POSTERS, CAR CARDS, WINDOW CARDS

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Poster printing a specialty in large cities—Type equipment well selected, but not elaborate—Blend of type-faces—Standard job faces duplicated—Sizes of posters, car cards and window cards—Color and lettering—What the poster should be—Viewed at closer range—Typographic effects in poster printing—A poster that measures up—A study of composition—Contrast of color—Card in conversational style—Using types in a sane, simple manner—Strong simplicity—Refinement in theatrical printing—A strong poster in gothic and “secession” border—Making the typography appropriate-Shakespearean typography—Decoration reproduced from original sources—Usefulness of a library of books—A hanger in one size of type—The Colonial style of type arrangement—Why cardboard is used—Suggested arrangement for excursion card—Printers and poster printing—The best sale-bill compositor in the country—Work should be done profitably—Poster printing on a large scale.