The Art & Practice of Typography / A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement

by Edmund G. Gress

EXAMPLE 36

The ornament shown as B has been formed of lines darker than those used in the first ornament, and a mass of white forms a spot of contrast. Rules of the proper tone are selected and a border unit adopted that reflects the spot of white in the ornament. (Example [35].) Cheltenham capitals maintain the tone scheme. In this case, as in others, the type-face is a trifle stronger in tone than ornament and border. This is well. Type-lines on a cover are usually of more importance than the decoration.

EXAMPLE 37

EXAMPLE 38. Dark tone—solid

EXAMPLE 39. Light tone—spaced
Two extremes of tone on book pages. The same type-face is used on both pages; the spacing between words and lines alters the tone