Example [44] (insert) is a pleasing blend of tone and characteristics. The delicate light-gray tone of the Camelot type-face is closely matched in the decoration and border, and altogether this is an almost perfect exemplification of the subject of this chapter. It is seldom that an artist so carefully considers the characteristics of a type-face and reproduces these characteristics in so admirable a manner as was done in this instance.
EXAMPLE 45
In which the tone of the initial and headpiece is lightened to near that of the text portion. Page by Heintzemann Press, Boston
Initials and headpieces should approach closely the tone of the type-page of which they are parts. Example [45] shows such a combination, with the tone of the decoration just a trifle darker than that of the text portion. An initial has other duties to perform than merely to look pretty; it must direct the eye to the beginning of the reading matter. In the manuscript books of the Middle Ages, written without paragraphs, the starting point of a new thought was denoted by an initial more or less elaborate. The utilitarian purpose thus served by the initial is reason for making it a trifle darker than the remainder of the page. However, if there is great contrast in tone, the page will be difficult to read because of the initial claiming too much attention. The effect would be much like attempting to listen to one speaker while another is calling and beckoning.
EXAMPLE 46
EXAMPLE 48
Display lines in tone should match the border
Every rule has its exception and I wish to record one in the matter of uniform tone. On a page composed of display lines and a large amount of reading matter it is an offense against legibility to set the reading matter in a type-face of black tone to correspond with the display lines, considerable contrast being necessary in such cases to make reading easy. (Example [48].) Notwithstanding this exception in the case of reading matter, uniform tone should be retained between display lines and border.
