EXAMPLE 40
A page by J. H. Kehler, in which illustration and text are blended in uniform tone
Ornament C differs from ornament A in that it is composed of light lines contrasted with solid blacks. A border is made of a light line and a dark one, and the Bodoni type-face, containing light and heavy strokes in contrast with a white background, assists in producing a decidedly pleasing medium black tone (Example [36]).
This combination of ornament, type and rule demonstrates there is considerable tone beauty in a well-selected contrast of light and dark lines when set off by liberal white space between lines and in the background.
The dense black tone of ornament D is duplicated in the dark-line border filled with black decorative units (Example [37]). The black-printing Chaucer Text reflects not only the tone but the decorative characteristics of ornament and border. The tone of this example approximates that of the German page (Example [32]).
These four examples afford an interesting study in uniform tone.
As the tone or depth of color increases from the light gray of Example [34] to the dense black of Example [37], it will be observed that the contrast between the print and the paper background also increases. This leads to the subject of contrast. What amount of contrast is needed on the ideal job of printing? There is conflict between art and utility on this question, but there need be none. Art demands that the print be a part of the paper upon which it is impressed, much as the plant is a part of the earth in which its roots are buried, and utility demands that the print shall be strong and clear that reading may be made easy. The artist-printer lessens the contrast between print and paper by printing with gray ink on gray stock, brown ink on light brown stock, and so forth. The utility printer gets the maximum of contrast by printing with black ink on white stock. As printing is both art and business some compromise must be made, and it is this: On two-color printing have all reading matter in the stronger color and subdue the color of the decoration so that the contrast between the paper and the print of the reading portion of the page is softened by this intermediate tone. Black print on white paper is made artistic by impressing the print firmly on antique paper. This roots the print to the paper, and the result is more idealistic than that presented by the print daintily set upon the surface of glossy, enameled papers.
EXAMPLE 41
The spotted black tone of the border is reflected in the treatment of the text. The tone is made uniform by printing the border in a light color. Page by University Press, Cambridge
Lack of artistic feeling among typographers and customers is responsible for unpleasant contrasts in tone. A dense black illustration or initial will be set in a page of light gray reading matter, or type of black tone will be used on a page with an illustration of light lines. Great contrast in any detail of typography is not art but eccentricity; this statement may be made plain by a comparison. One winter’s day when the conventional folk of New York were wearing clothing of a somber hue, they were startled by the appearance among them of Mark Twain in a suit of white. Six months later the humorist’s garb would have excited no comment, but the black clothed mass of humanity around him emphasized the whiteness of his attire, and the conspicuousness thus produced separated him from his surroundings and made him an object of curiosity. Such things are done by great men to show their disregard for custom and by others because they are foolish or are advertising something; but it is common-sense right from Cervantes to do when in Rome as the Romans do (meaning that printed work which both attracts and repels by its gaudy, unconventional appearance is not nearly so good or desirable as the more conventional printed work which tastefully and quietly presents its message in subdued tones). One man will become widely known because he has dived from a big bridge or gone over Niagara Falls; another because he has painted a great picture or modeled a great statue. The one thrills, the other impresses. It may be easier to produce typography which attracts attention by contrast, but such results do not bring the lasting satisfaction that comes from typography thoughtfully and artistically designed.
