Fig. 35. An inscription in Classic Roman. Study opposite illustration.
In the seventeenth and eighteenth centuries printing in England grew into forms of expression which have been recognized under the term of “Georgian” or “colonial.” The first editions of Shakespeare typify the earlier development of this style, which was marked by poor typographical materials that were nevertheless arranged in a direct and interesting manner. ([Fig. 37.])
A few years later the growth of printing in the American colonies brought this form of typographic expression into most of the printed matter which has been preserved. The museums of printing and the literature dealing with the times are rich with examples. See Figs. [39] to [41].
Through the ensuing decades printing developed mechanically, but it lapsed into styles which had little or no relationship to design. It is interesting historically to follow the efforts of the printers who rode on the first steamboats and railroad trains; who recorded the rise and fall of slavery and secession; who bent their rules and jumbled their type faces during the “early Pullman days” that marked the start of many modern successful printers. The history of the craft through all these times has been picturesque and closely identified with the growth of the country. But it has little or no significance for the designer.
Fig. 36. Forum, a Classic Roman type, designed by Mr. F. W. Goudy.
