EXAMPLE 34
The effectiveness of uniformly black tone on a background of white is well illustrated on the beautiful book title shown as Example [32], in which even depth of color is consistently maintained. There is not a weak spot on the page; border, ornament and lettering are of equal tone, and the white background is reflected thru the black print in agreeable contrast. The Germans are masters in their treatment of contrast and uniform tone, and he who bewails the limitations of black and white printing should ponder over the results shown by this specimen from over the sea.
Here is a practical demonstration of the workings of the theory of uniform tone in typography. Example [33] displays four ornaments, each of a different tone or depth of color. One of the customs when constructing a booklet cover-page to be ornamented, is first to select an ornament that is appropriate in design and of proper proportions. Upon this ornament the page is constructed, and it dictates the characteristics of the border and of the type-face; its tone determines the tone of the entire page. This is also true of a trademark furnished by the customer, altho such plates are frequently so inartistic that a compromise is necessary.
EXAMPLE 35
Assuming that a cover-page is to be designed and that ornament A has been selected for use on the page, a rule border is chosen with triple lines approximating the strength of those in the ornament. (Example [34].) The lines are very thin, and white space is a large factor in producing a tone that is light and dainty, in keeping with the subject of the illustration. A perfect result would be obtained with a type-face of very thin strokes, yet Caslon capitals, slightly separated to let in white space, give good results.
EXAMPLE 33
Four ornaments, each of a different depth of tone, used in the construction of the four pages shown as examples [34], [35], [36] and [37]