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

by Edmund G. Gress

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.