EXAMPLE 329
Artistic quality and interest through typography
There does not seem to be any standard size for labels. They vary from four, five and six inches wide to three, four and five inches high. When The American Printer conducted a label competition it specified the size as five by four inches, and this seems to be a good average size.
The paper on which the label is printed should be stock that pastes easily. White is used to the greatest extent, altho a cream-tinted color such as comes in Japan vellum is preferred by some persons of good taste.
Example [323] (Insert).—As has been said, this label shows the effectiveness of heavy effects. A design such as this has advertising value. It can be seen and read at some distance, yet is not offensive in appearance. The red border is attractive, and merges the label with the wrapping background. The type-face has decorative quality. The combination of black, red and cream in strong contrasts is worthy of study. As will be noticed, all capitals have been used, and there is not much space between the lines or between border and type-face.
Example [324] (Insert).—For small packages and for a business that places emphasis on daintiness this label treatment would be just the thing. The classic simplicity of its design and the mere touch of color should appeal to many. The main line is set in fourteen-point capitals and the other three lines in twelve-point small capitals. Letterspacing adds decorative interest and merges the letters with the background by allowing the paper to show thru. The type-face is Goudy Oldstyle. The dots between the words are hyphens slightly cut. The border is arranged to suggest an architectural panel. This label and the preceding one have been composed merely to suggest possible effects. It would not be difficult to adapt most label copy to the styles shown.
Example [325].—This and other hand-lettered labels included in this chapter are presented as studies for the typographer. Hand-lettered designs by good artists are usually arranged with much thought, and the details give many ideas to those who have trained themselves to grasp them. It will be noticed that the border of this label is composed of three lines, a heavy and light line close together and a light line a trifle removed. At the head are two lines of roman capitals and one of italic. Do not overlook the smaller capitals “M” and “O,” and the close spacing of the words in italic. The device is small and in color. The use of roman lower-case, capitals and small capitals and italic in the lower group should be examined carefully. While it is not possible to obtain exactly these same results with type, they can be approximated effectually. It is well, however, to emphasize at this point that in approximating the effects of any good piece of lettering it makes a difference what type-face is used. It will be noticed that the italic capitals in this specimen have a decorative quality. Such an effect can be imitated in a small way by the use of the swash letters that are furnished with some old-style italics.
Example [326].—This is another lettered design that is rich in suggestion. No border is used, and the lettering is arranged close to the edges of the paper. Contrary to the treatment of the preceding example, the lettering is all slightly spaced. While it is well for the young compositor not to letterspace lower-case, such practice is allowable when the results are good. The effect here is one of antiquity, especially since the letters are not perfectly formed (note the “m” in the word “Amsden”). Caslon Oldstyle should be used in planning this style of work. An unusual feature is that a part of the copy is placed at the foot of the label so that the address is written between two groups of lettering. The same plan is found in the preceding example.
Example [327].—There is suggestion of Italian art in this label. Similar effects could be closely approximated with typefounders’ material. Attention is called to the manner in which the letters are treated so as to avoid an excess of blank space in such groups as the “ATA” in “catalogue.” Rule guide lines in a panel are provided for the address. This space is usually left blank on modern labels, altho conservative houses are inclined to retain the rules. In line with old ideas, the “M” is included in the address portion. This letter is usually omitted on labels for the same reason that it is left off of billheads.
Example [328].—Closely spaced black-toned lettering is still liked by some persons, and there is no use denying that when it is well rendered the effect is pleasing. This example presents a mass of black lettering in three lines of equal length, the lines merging with one another to preserve the mass effect. The border, formed of a heavy and a lighter line, is drawn with human irregularity that is in keeping with the character of the design as a whole. The “For” in italic affords contrast in both form and color. Also note the treatment of “St.,” which is made small and placed in a position above the base of the other letters. This treatment is typical of antique typography.
Example [329].—That artistic quality and interest may be put in a label form by means of typography is proved by this example. The lacelike border, the spaced Kennerley types and the words and rule in red blend attractively. Advertising value is present, yet it is so merged with the general composition and the label that it is not offensive. In fact, it adds decorative qualities. This label form would look well clearly printed on a rough-finished paper of good quality—a hand-made paper if possible.