Example [343].—Here is a card French in motive and of a style that emits exclusiveness. It almost pictures the high hat and frock coat of the man who would probably use it. All the formalities are observed, the abbreviation “Mr.” preceding the name. The man who uses a card of this kind would no more think of mentioning his business on a card than he would of putting a business sign on his residence. The open-face type is College Title and the italic is Caslon.
Example [344].—An unusual arrangement in blocked Caslon capitals slightly letterspaced. Arrangements of this kind are difficult for the compositor and should not be attempted unless he is not hurried and can experiment with the details of the composition. The shape of the monogram lends itself to the general arrangement.
EXAMPLE 345
Arrangement as suggested in Example [336] with an underprinting decorative device
Example [345].—This is a compact arrangement built somewhat after the scheme outlined in Example [336]. The decorative device in the original was printed in a tint so like the stock that it suggested a watermark.
EXAMPLE 346
Roman capitals with italic lower-case
Example [346].—This card would better please the average person if italic capitals were substituted for the roman. However, there was a historical motive for treating it in this manner. When Aldus Manutius introduced the slanting style of type we know as italic, only lower-case letters were cast, and roman capitals were used with them.
Example [347].—The Germans in the designing of business cards seem to have abolished conventionality, as they endeavor to have each card in its design possess distinct advertising value. This example is representative of such effects.
