Among modern American designers, Mr. Bruce Rogers has admirably succeeded in catching the French and Georgian spirit in his treatment of the Script characters; yet, nevertheless, his lettering in this style is still modern in feeling. In the title from a book cover, [204], Mr. Rogers has allowed himself just the proper amount of interlacement and flourishing—both of which require the restraint of a subtle taste or the result may prove to be over-elaborate. The page of lettering by the same designer, shown in [205], is a successful solution of a difficult problem, and, together with the book cover, will serve to exhibit the possibilities of this style of Script.
Mr. George Wharton Edwards is another modern designer who has a penchant for the Script form. He uses one distinctive and personal style of it in which the larger letters are formed by two black lines separated by a narrow white space, as exhibited in [198].
The lines from an advertisement, [197], by Mr. Claude Fayette Bragdon, in which Script, Italic and Roman letters are combined, are of especial interest from the easy manner in which the three different styles have been adapted to each other and made to harmonize in one small panel,
while still preserving an appropriate Georgian aspect. The interlacement and flourishing, too, are handled with commendable restraint.
Few modern artists have so successfully treated Italic capitals with Script freedom as Mr. Will Bradley. Sometimes employing forms of Italic capitals and small letters little removed from type, he will again give us an example of his handiwork in which Italic is used with examplary freedom, as is shown in the specimen from a book catalogue, [109]. The modern trick of wide spacing often lends itself aptly to the swing and freedom of the swashed and flourished lines of Script, as may be seen in figure [207].
An excellent modern Script letter, adapted from a design by Mr. Frank Hazenplug, is shown in [206]. Its heavy face and originality of form make it a useful and pleasing variant.
