EXAMPLE 44
A study in uniformity of tone as found in combinations of type and decoration
EXAMPLE 42
The tone of the illustration and type-face is here blended. Card by School of Printing, Boston, Mass.
Several other points are suggested by Examples [34] to 37. A page for a cover should be of darker tone than a page to be used as a title inside the book; this where the body-type of the inside pages is of the customary gray tone. A cover placed upon a book to protect it suggests strength, and the typography of the cover should conform to this suggestion. The reason for the uniform tone presented by each of the four examples above mentioned is another important point. Were the border darker than the ornament and type lines, the ornament darker than the border and type lines, or the type lines darker than the ornament and border, there would not be uniformity of tone, and a consequent loss in the effectiveness that comes from tone harmony.
The tone of a massed page is of vital importance in the typography of a book, and a happy medium is somewhere between the under-spaced black type-page of Morris and the over-spaced hair-line type-page against which the Morris page was a protest. Examples [38] and [39] show the manner in which the tone of a page may be controlled by spacing. In Example [38] the page is moderately spaced between words and lines and in Example [39] the page is liberally spaced, presenting two extremes and vividly picturing the manner in which spacing influences the page tone.
The tone of the pen-and-ink outline illustration in Example [40] is admirably duplicated in the typographical treatment accorded the page. The result would not have been so satisfactory if there had been no quad lines to break the solidity of the page.
The spotted black tone of the decorative border in Example [41] is reflected in the typography of the page, a result obtained by using a bold-faced body-type and separating the words with a liberal amount of space. However, the tone would not be equal printed in one color, but by printing the border in a lighter color the tones are equalized. Here is a suggestion for obtaining even tones. Where one portion of the page is bolder than the other, print it in a lighter shade of ink, or if any part of a type-page must be printed in a lighter color, set that part in a type-face of darker tone (Example [47]).
Job printers should be interested in Example [42], as it is a good presentation of the theory of uniform tone. The effect of the open-line illustration is duplicated in the spaced Jenson capitals and cross lines. The result would have been even better had the small groups on both sides of the illustration been slightly letterspaced and the line at the bottom spaced less.
Example [43], on the insert, is a classic interpretation of uniform tone. The architectural design is formed of lines about the same strength as the strokes of the type-face and the massed capital letters admit sufficient light to give them a tone near to that of the open-spaced border.