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.