Page [169]
- Comparison of the same type forms on two finishes of paper, [463] (insert)
- Roman alphabet from Trajan column, [464-A]
- Proportions of Roman capitals, [464-B]
- Evolution of Roman lower-case, [465]
- Two standard legible type-faces, [466]
- Six standard representative Roman type-faces, [467]
- Types of Sweinheim and Pannartz, [468]
- Roman types of John and Wendelin of Spires, [469]
- Roman type-face of Nicholas Jenson, [470]
- Manuscript of the fifteenth century, [471]
- Type-face used by Paul Manutius, [472]
- Cloister Oldstyle as a Jenson title, [473]
- Type-face used by National Printing Office, [474]
- Comparison of old-styles, [475]
- Cheltenham Oldstyle in Plantin typography, [476]
- Type-faces used by Daniel Elzevir, [477]
- Roman types of Fournier, [478]
- Capital alphabet drawn by Moxon, [479]
- Moxon’s lower-case alphabet, [480]
- Moxon’s alphabets inked in and reduced, [479-A], [480-A]
- Earliest Caslon specimen sheet, [481]
- Two slightly different faces to Caslon fonts, [482]
- Baskerville types, [483]
- Possible descent of Scotch Roman, [484]
- A study in French Oldstyle, [485]
- Resetting in Bodoni Book, [486]
- Comparison of original Bodoni with present types, [487]
- Modern Roman of the nineteenth century in three tones, [488]
- Modern Roman as used on newspapers, [489]
- Optical changes by adding serifs, [491]
- Differences in serif construction, [492]
- Oldstyle changed to modern, [493]
- Modern changed to old-style, [494]
- Comparison of strokes, [495]
- Thick and thin strokes in the alphabet, [496]
- Serifs and stroke contrasts, [497]
- Vertical thick strokes, [498]
- Diagonal thick strokes, [499]
- Heavy strokes in the letter “O,” 500, [501]
- Letters with ascending and descending strokes, [502]
- Descending strokes long in lettering, [503]
- Cramped descenders and compressed ends, [504]
- Descending and ascending numerals, [505]
- The space between words in good lettering, [506]
- Lower-case letters grouped according to formation, [507]
- Legibility and other qualities, [508]
- Sizes of type set to proper lengths, [509]
- Ascertaining the proper optical length, [510]
- Moxon’s Italic capitals of 1676, [511]
- Italic lower-case of Moxon, [512]
- Resetting in Cloister types, [513]
- Decorated capitals or Swash letters, [514]
- Roman and Italic compared, [515]
- A few representative Italic type-faces, [516]
- Complete Roman and Italic Caslon alphabets, [517]
- Text capitals of Moxon, [518]
- Text lower-case of Moxon, [519]
- Two standard German type-faces, [520]
- A half-Gothic and half-Roman type, [521]
- Several representative Text types, [522]
- Block types, serifless and of one thickness of stroke, [523]
- Modern art poster type, [524]
- A bold-face from French Oldstyle, [525]
- A few representative bold types, [526]
- Eighteenth-century ornamental types of Fournier, [527-A]
- Early nineteenth-century ornamental types of English founders, [527-B]
- Recent American types of the ornamental kind, [527-C]
IMPRINTS
Page [195]
- The first “imprint,” as found on Fust and Schœffer’s Psalter, 1457, [528-A] (insert)
- .pn=xx
- Colophon and imprint by Peter Schœffer, 1476, [528-B] (insert)
- The first imprint-device, and three adaptations, [529]
- Aldus’s anchor and dolphin device, and adaptations by modern printers, [530]
- The most popular imprint-device as early used by printers, and modern interpretations, [531]
- Arms supposedly granted the Typothetæ, German master printers, [532]
- The imprint-device of England’s first printer, its probable derivation, and two notable devices evolved from it, [533]
- Two designs with ancient motifs, [534]
- The pun, as found in two ancient printers’ marks, [535]
- Devices used by notable printers of the sixteenth and seventeenth centuries, [536]
- A printer’s device and imprint that monopolizes two-thirds of the title-page, [536-A]
- Colophon-imprint by D. B. Updike, [537]
- The Lion of St. Mark adapted to a book on Venetian life, [538]
- The Lion of St. Mark and its use by the Oswald Press, [539-A], [539-B]
- Robert Estienne’s mark and Bruce Rogers’s adaptation, [540]
- An appropriate mark for a printer, [541]
- Use of oval shape in the designing of printers’ marks, [542]
- Modern imprints suggested by ancient forms, [543]
- Printers’ marks based upon architectural motifs, [544]
- An imprint that has to do with mythology, [545]
- The monogram is an attractive form for printers’ devices, [546]
- Representative of the large variety of devices in use by printers, [547]
- Decorative imprints constructed with typefounders’ ornaments and suitable type-faces, [548]
- Type imprints and the various effects possible with them, [549]
- Quaint book-ending as used by Elbert Hubbard, [550]
APPENDIX
HOLIDAY GREETINGS
- Reproductions of more than a hundred greetings, in various forms, received by the editors of “The American Printer.”
LIST OF DESIGNERS
PART ONE