The pages of letters shown in [138], [139] and [140] are intended to suggest forms which, while suitable for rapid use, yet possess some individuality and character. The so-called "Cursive" letter by Mr. Maxfield Parrish, [140], is particularly effective for such informal use—in fact, its very charm lies in its informality—and is quite as distinctively "pen-ny" as any of Mr. Crane's work of the same kind.
A glance over the field of modern examples will disclose, first, a general tendency to break away from the older type models in pen-drawn forms; second, a growing partiality for the small letter, and third, a sporadic disposition to use capital and minuscule forms interchangeably. The first
trend may be noticed by comparing the letter shown in [132], which is closely modeled after type, with that shown in [136], in which an opposite method is followed, and the letters are so treated in handling form and color as to best harmonize with the design itself. The possibilities latent in the small letter are indicated by such interesting uses as those shown in figures [77], [89], [98], [101], [111], [112], [121], [127], [130] and [131]. American designers seem to be especially interested in the development of the small letter. Of the intermingling of the capital and small letter shapes examples may be found in figures [71], [75], [77], [78], [79], [82], [83], [84], [98], [127] and [134]. In these examples it will be noted that the minuscules seem to be more easily transformed into capitals than do the capitals into minuscules; only a few of the latter appearing to lend themselves harmoniously to the small letter guise.
