Documente Academic
Documente Profesional
Documente Cultură
LIBRARY
SAN FRANCISCO
PRESENTED TO THE
UNIVERSITY OF CALIFORNIA
ROBERT GORDON SPROUL, PRESIDENT.
*
MR.ANDMRS.MILTON S.RAV
CECILY, VIRGINIA AND ROSALYN RAY
BY"
PREFACE.
WRITERS
tlieir
books to
tJie
Authors of a
/tow gentle he
may
be.
Tlie
to
seems dictatorial,
It
is
it is
He
and
to
knows
in
of the
lie
critical reader, no
matter
immediate contradiction.
the writer
helpful.
later
and yet
liis
is
not subject to
and
lie
intention.
especially
the
is
type-display.
consciousness
like
printing art,
is
Modern
type-display and
to
be found.
Other methods
Such
in the
tlian
to
was necessary
it
to
recount in a brief
page
tlic
subject,
be
to
obtained
to
some
To do
way
this
the history
to
and ornament.
in
satisfactorily,
is
from
Mitch of
ancient
botJi
and modern
list
tlie
on
viii.
The
_first
and
liis
If.
Rae Macdonald,
He
grateful thanks.
may
appeal
better than,
to
tlic
as
being at
tJie
whom
readers
liis
both of
to
Esq.,
book,
and
which
legibility,
least
different
from, if not
artistic
The
in
and
ink as plates
is
into being
not meant
printing.
H.
J
Craighoitse
Tcrmcc,
T. IV.
CONTENTS.
........
PREFACE
CONTENTS
LIST OF PLATES
BlBLIOGRAPHIA
CHAPTER
I.
The History
The Early
Printers
III.
The Early
British
IV.
Analysis of
V.
VI.
VII.
VIII.
Some
vi.
vii.
viii.
-32
Typefounders
Type Faces
The Subject-matter
Principles of
of Advertisements
Type Display
fv.
of the Alphabet
II.
PAGE
of
42
-
48
82
Type Ornaments
87
-
94
Harmony
98
LIST OF PLATES.
"
"
"
I.
Bonifacii
II.
Hypnerotomachia
"Opere
"The
"
Papae Liber,"
IIIo.
1499
III6.
IV.
V.
"Comoediae
VI.
VII.
Two
Black Ink.
four sizes.
founts,
White
VIII.
Paper
Type
One
Black Ink.
"Antique
Paper
letters
One
fount one
One
Type
Two
coloured Inks.
Paper
Two
three sizes.
founts,
coloured
Inks.
XIII.
Two
coloured
XIV.
One
fount,
Black Ink.
four sizes.
Paper
XV.
One
Wove"
coloured
XI.
Three
Wove"
Two
XII.
Four
Type Display with Ornaments.
Paper White "M.F. Printing"
Paper
size.
X.
Inks.
IX.
size.
Wove"
fount, one
five
sizes.
Black
founts, seven
sizes.
Two
fount,
Ink.
Paper
XVI.
Two
coloured
Inks.
XVII.
Ornaments, Diapers,
Primrose "Camber Cover"
composed
Paper
Two
One
Borders.
coloured
Ink.
Paper
XVIII.
Black Ink.
White
Paper
XIX.
One
"Rideau Cover"
Patterns
and
coloured
Ink.
Paper
Birch
XX.
of Thistle
units,
One
coloured
Ink.
XXI.
Three founts,
six
"Camber Cover"
Paper
Primrose
Black Ink.
sizes.
vii
One
coloured Ink.
XXII.
Paper
XXIII.
LIST OF PLATES
One
Cover"
coloured Ink.
(contd.).
Bramble
Paper
"
Rideau
XXIV.
and Spiral
Rose, Thistle,
One
units.
coloured Ink.
XXV.
Coloured Paper
Christmas Cards composed of Type and
Paper Toned "M.F. Printing"
Three
Paper
Letter
Two
coloured
Three
Type Display.
"Imperial Linen"
XXVI.
One
coloured Ink.
XXVII.
Ornaments.
Two
coloured
Inks.
coloured
Inks.
Two
sizes.
Two
coloured Ink
Book
coloured Inks.
Paper
One
coloured Ink.
Black Ink.
One
Plates.
Programme
"
"Antique
and
Type
"
Sketches.
coloured
Patterns
Ink.
Ornamental
Display, set
One
One
Cream
Paper
coloured
only.
XXXIV.
Ink.
Paper
XXXV.
.....
One
coloured
Wove"
Apricot Art"
Initials.
XXXIII.
One
Ink.
Paper
coloured
XXXVI.
Ink.
XXXVII.
"Dark
Type
Ornaments.
Type
Wove"
Antique
XXXII.
Coloured Paper
Sketches.
Rough Composition
"
Paper
XXXI.
Rough Composition
Coloured Paper
'Antique Laid"
Covers.
Paper
XXX.
Programme.
Paper
XXIX.
One
"Glazed Amber"
Eleven Ornaments.
Paper
XXVIII.
three
founts,
Invitation Cards.
Title Page.
Inks.
Amber"
Headings.
Type and
"Imperial Linen"
Menu and
Ornaments.
units.
One
coloured
Ink.
Paper
XXXVIII.
coloured Ink.
by the Monotype.
Paper
"
Black Ink.
Antique Laid
"
XXXIX.
Coloured Paper
XL.
BIBLIOGRAPHIA.
2.
A
A
3.
4.
1.
NOEL HUMPHREYS.
H.
T. B.
Guide
New
5.
6.
7.
Life
and Topography of
REED.
LEWIS
Wm.
Caxton
F.
DAY.
Museum.
Museum.
ROBERT DICKSON.
(2 Vols.)
BLADES.
BLADES.
10.
The
EDWARD CLODD.
n.
Typographical Antiquities
12.
8.
9.
ISAAC TAYLOR.
J.
F.
DIBDIN, A.B.
EDWARD JOHNSTON.
HIEROGLYPHIC; 3. HIERATIC
6. ALPHABETIC.
THE DIFFERENT
4. DEMOTIC
5. SYLLABIC
ALPHABETS: i. INCISED ROMAN; 2. PEN-WRITTEN ROMAN;
6. ANGLO-SAXON;
4. UNCIAL;
3. RUSTIC;
5. HALF-UNCIAL;
8.
ROMAN SMALL LETTERS; 9. ITALIC;
7. CAROLINE;
10. GOTHIC.
EVOLUTION OF LOWER-CASE LETTERS FROM
CAPITALS. THE INFLUENCE OF THE REED-PEN IN FORMING THE CHARACTER OF MS. LETTERS.
TYPE FORMS
DIRECTLY DERIVED FROM HAND-WRITTEN LETTERS.
STAGES:
i.
PICTOGRAPHIC;
;
2.
NY
early prototype,
who
lies
first
The
suitable
distances.
surfaces,
could
be
carried
to
and
signs,
may have
which,
understood
by
suggested
inscribed
others
at
upon
great
10
not
is
pleted
be supposed that these graphic symbols in their comwere the product of a single effort.
know, for
to
We
form
instance,
These
were
the
undoubtedly
pictures
term
graphic symbol in
such
marked
use
B.C.
5000
drawings
realistic
in
modern
any
sense,
but
alphabet
as early as
not
accurate to convey
sufficiently
Palsographists
were
drawings
primitive
Such
the earliest
used
to
signify
Pictographs.
the
things pictured.
was the form of
This
(or pictographic),
for
or
of the
outline
complete
priests
lines
books
leading
curves
This
thing.
and records.
The Demotic,
as
its
name
implies,
was used by the people generally, and was based on the Hieratic form, but
"
was still simpler and more " cursive
in character.
It was
employed for
ordinary letter writing and for business.
Though these three different kinds
of writing were current at the same time, they were derived the one from
the other, and occupied the same position as capitals, lower-case letters, and
and ordinary
These
in use.
itself,
So long
but
when
as things
ideas
of,
no special
difficulty presented
as
multiplication
HE
second
stage
of advancement
towards
formation
the
of
symbol had
represented
little
;
it
relation
to
the
it
itself.
In the third stage it was recognised that the different syllabic sounds
were few, and that each syllable could be represented by a separate symbol.
That syllables were composed of a very few different root-sounds was the
next and
last
discovery
which
led
the formation
to
in
of the
first
different
alphabet.
ways.
The
It
alphabet which we use consists of twenty-six letters or signs.
the most important of the two hundred and fifty alphabets which have
The
is
first
current,
Some
fifty
The
being of local importance only.
widest distribution and have been the
and chronicling events, are the Arabic,
forms which the individual letters of
these alphabets have assumed at different periods are, of course, endless, but
it
may be interesting to discuss and to illustrate some of the typical manuscripts used
by
scribes
The Roman
of
alphabet has been spoken of as the lineal descendant
many of the alphabets used successively by the Egyptians, Phoenicians, and
In its early form it consisted of some twenty-two letters, to which
Greeks.
12
at a later period,
For example,
form adopted from
ABODE
FG LM
I
(G)
INCISED
INSCRIPTION
AT ROME.
FIG>
14 A.o.
its
occupied
the hard
I made
NOPQJl
S T V X
new symbol
This new
place.
At
both sounds.
still
was made
a difference
later period
in the repre-
of
'
discarded to
make room
for
G, was reintroduced
at
Roman
it was
Its introrequired for the transliteration of Greek words.
alphabet
duction from the French into the English alphabet dates from the fifteenth
;
&
and
century.
included as a letter.
The
series
Column
commemorate the
letters
are
cut
originally
of the Trajan
to
were both
in
Rome.
in
victories
stone,
some
in
ligatures
Fig.
This monument
the
former
is
now
of Trajan
As these
them and
letters.
comparison
between
this
be
expanded or contracted
ad
lib.},
the
individual
letters
in
the
Trajan
this
has
much
to
do with
its
when
characteristic
the printing
With
all
The
We
that time.
existence
in
at
making of
are freer in
Trajan inscription
they have lost
something of the dignity of their
;
The
member of
shows
upper
its
bow
of
is
distinctly smaller
The
member
of the
the upright
'
seems
letters,
while
hardly
make up
to appear as
is
upright
higher than
or
as if
it
could
mind whether
Most of the
U.
ABODE
FGHlL
MNOPCL
RSTVX
PEN-WRITTEN ROMAN CAPITALS
op FQURTH QR FIFTR CENTURY>
its
FIG.
2.
other letters are good pen translations of the stone-cut forms, upon
which
H
The
Rustic
Roman
capitals
(Fig. 3)
are
still
less
the
last
They
alphabet.
be concluded that they are the work of commercial scribes rather than
of literary pen craftsmen.
Mere utility, divorced as far as possible from art
may
In
the
craftsmanship, seems to have been the object of their writers.
crossbar has been dispensed with as being unnecessary to distinguish this
letter from any of the others.
The " stroking " of the
necessitated the
lifting of the pen, and the commer-
A&COEfC
HliMNOP
QJUTVT
RUSTIC
CAPITALS,
ROMAN,
the upper
bow
has
become more
member
upright
member
in
its
narrowed
letters
in the
and hurried
Greek alphabet.
serifs,
its
extra
retains
The whole
suggests a desire
to
Q has
Y has
been
been
alphabet, with
economise space
and time.
letters (Fig. 4)
They
implies.
straight
far
originally
It will be noticed that some of the
lines
to seek
are
it
is
now formed
of curved ones.
high,
letters
The
originally composed of
reason for this is not
in
writing.
D, for instance, could be more easily made by one curve than by a straight
It was
and a curved line together.
simpler to write E by means of one
The other
curve and one straight line than by means of four straight lines.
new forms
earlier
letters
are
practice
were used
as small
initial letters
come
capitals
into use.
as
In the
were employed
to
mark
nings of paragraphs.
century the initials became larger,
while from the fourteenth century
Some
a whole page in a MS. book.
.....
c .
or these initial letters are so orna-
Mopqa
srcivy
UNCIAL BETTERS, ITALIAN, OF
SIXTH AND SEVENTH CENTURIES.
much
foliage as to
make
show
a tendency
The
alphabet
is
thus a
now
form
these are
and R.
The form
of
has
i6
it
completely changed
and a connector b has
;
now composed of
lost its upper bow
is
a circle
c,
case
d,
form
hi im u op
qRsfcujc
and
is
a vertical
e are
state.
The
is
still
member
true loweris
final
still
in
lower-case
to the lower-case,
in
two
alternate
harmony with
in character
and
in
an old style or
Half-uncial letters were used for
.
5.
more "cursive"
suggested in g, and h, i,
are all truly small letters
p, q and u belong
while s appears
forms.
now
while f
letters,
hybrid
and
with
less
been surpassed.
An
interesting alphabet of
Saxon Capitals
shown
is
in
AngloFig.
6.
One might
them
as
originated
scribes,
at
the
who were
hands
of
many
and L, while
be small letter forms
forms, such as C, D,
others seem to
capital
S&CDEF
letter.
UOFQPf
CYME
ANGLO-SAXON CAPITALS OF THE
EIGHTH AND NINTH CENTURIES.
FIG.
6.
'7
own
country,
issued
his
decree
bcdef
in
789
A.D.,
"Caroline"
miniscule,
and soon
It will
spread throughout Europe.
be seen that all the letters in Fig. 7
The transiare lower-case in form.
tion
from
capitals
to
small
letters
ghilmno
forms.
letters
appeared in alternate
will be noticed that the
t still
It
right ;
cursive writing.
CAROLINE
FIG.
The
a bcdefg
hilmnop
to
small
in
alphabet of small
countries
in
slightly
though
but,
details,
identical.
letters
shown
The Roman
small
The
period.
the long
whose
carded
SIXTEENTH CENTURY.
8.
differing
the root-forms
The
method
slope of the writing and the
of producing it varied in different
were
qrsftuv
7.
is
s,
likeness
i8
The
in
Italian
Capitals illustrated
9 are based upon Roman
Fig.
the right.
They bear strong evidence of their pen
and are
origin,
very free
jf
and flourished
They may
MMOP
be said to be half-written,
Roman
suggesting
the best
examples of
half-printed,
capitals
and
capitals in
of these
in character.
modern writing.
letters
Most
vwxrz
ITALIC CAPITALS, ITALIAN, OF THE
SIXTEENTH CENTURY.
fixes,
indices,
writing of
The
and notes.
used
extensively
FIG.
in
Italy
MS. books
It
was
in
the
Italic
Romans
Roman
capitals.
show
form of the two
books, such
as
certain
portions
of
introductions, pre-
ibcdefa
is
mnop
refer-
distinguish
of poems.
9.
to
^StlLTLs
similar
SIXTEENTH CENTURY.
FIG.
10.
Some
Italic
o,
etc.,
p,
same
a, c, e,
identical
m,
n,
with the
letters
ing.
long
are
of the
have added
serifs in
beginnings and
narrower, occupy
rather
while the
constructional
endings.
serifs,
more
less
free in
more graceful
Roman.
The round
in
character and
form than
the
writing in common
scribes throughout
by the
Europe during the ninth and tenth
centuries gradually became narrower
use
two or three
a trclefgfji)
and Ireland
in
it
it
in
the
centuries.
succeeding
In England
The rounded
parts
were represented
set at
12.
This kind
placed very close together.
of printing or writing was called
" Black Letter "
by printers, because
the thick
gave
it
members and
a black or
thin interspaces
heavy appearance.
20
in
common
which
Italy,
It
in
that
fact
interesting to
is
and
11,
Fig.
members
are
in
flourished
Roman
than
capitals.
necessary
for
the
characterisation
of
the
These unnecessary
form,
parts
while
the
make each
between
comparison
are
The
connectors.
stiffness
composed of
the one with
so
from each
ordinary
difficult
absence
few
different typical
the other.
Especially
liable to
u, r
and
be confused
x.
In this
alphabet, as in
in
the
all
Gothic
writing,
the
letters
being
close
together
are
more
to decipher.
HE
of illustrations shown
of early
" cursive "
Roman
they
printing presses had been established, and as every printer was at that
time his own type founder, many different kinds of types were in use.
By
many
21
end of the
the
first
The
set up.
round
of printing, about
years
fifty
early
Italian
such favour, that it gradually displaced the Gothic type, and Roman letters,
both capitals and lower-case, as we now know them, came into general use.
When type-founding as a separate business was established, printers found
purchase their type from the founders, instead of
casting it for themselves, and this reduced the variety of founts, and further
development in the forms of letters was of course limited.
it
to
their advantage
to
The
alterations
in
instance,
was the
cross-bar,
and
other,
the letter A,
save
to
so
example of A, the
the
first
to
penman's time
member
its
feature
first
to
be dispensed with
need hardly be stated that the evolution was not regular nor uniform
The forms illustrated have been taken from many
different countries.
It
in
They
manuscripts produced during seventeen centuries in many countries.
have been arranged to show the kind of changes which took place, rather
All the letters illustrated
than to illustrate the actual order of development.
were actually
them
will
illustrated.
in
be
Many of
necessarily in the order given.
belonging to alphabets already described and
recognised
Some
scripts
as
retained
an
early
form
for
long period
this
be again
The
size
letter
and similar
Roman
lower
Script
one
has
made
to
in
its
B,
in
in
form.
it
the
an earlier
form.
become correspondingly
larger.
In
the
third
example the
Incised Letters,
Trajan Inscription,
L*4 <***
Lower-case
Roman
Lower-case
Italic
Ordinary
Modern
Incised Letters,
Trajan Inscription,
ii4
***
Lower-case
Lower-case
Roman
Italic
Ordinary
Modern
24
two bows
are
a
is
in
The bow
variations.
has in
its final
The
change.
is
altered
As
specimen the
entirely dispensed with in the
all
opportunity
the following
no
letter
is
it
form which
unnecessary
shows
an ascender
series
is
produced
the
to
left
and upwards.
How
made
offered
little
of
member
came about is
form (second example) the bow has been changed
it
parts,
easily
is
interesting
of capital D,
this alteration
"
"
Uncial
In the
into a circle,
from which
This member
in
course
of time became more nearly erect, during which process it changed to the
The gradual reduction in the size of the circular, and the
right side.
consequent extension of the vertical member, produced the d form which
we now
use.
In the letter
form
is
than
e the gradual
well illustrated.
straight
ones,
penman was
and the
slow to
not
follow
the
line
of
The
resistance.
least
second
illustrated
is
"
"
a
square
letter.
upper
termination
form
In the case of
the
unaltered
member produces
the
f the principal
final
e.
at
There
This
letter
is
very
little
it
does in F.
in
small
to
suggest
its
dignified
ancestor
G.
PLATE
I.
biatt&uDiorowiq; fecitfe
;tp ambiga muitoe fbre*qui urt inui*
ittaurlfuprralin malrnt tontmtnrre
te uiDtte predara
iiltatcnru
quam fcifcetertt Dr
foplinam:
tirbirimta
!
nua^perca
arDmtinbi
TB-'-rS^
fl
oui
tue ur rrui no
in rafilio im^
latorum no flttit :
uttfummr,
nofftfaluc
ftnefufepti
^Ad
ittilege
altaarapit
ntinudam
teladofua
yamnia qutcuq}
no DeHutt : i
fader profptcabutur.
tamertiut
a&uTamta
iio
jpcccatotcs in
>
paatoruro
coftSo iutorilOuoni
later
than 1456.
'?
>.
Be
<=>.
*S
~
H S *
j
c ffw-s s
'n % .u 43
3 w
gl^'2
lr
r ? ,a SgS
E
/3
ta
lillll2S i'?tl-u
II
II II "-^
-5*^,2
-
"
w^^-g ^ 2^
fll^li
l^lfV] !!
1
ss^lly^:2
S
a^g'Sil'li
o-Z.c o~o K^^-
i
*
V c
fWa^^f
*^
** 4J
\v
a^Mii
CQ
c 5
to
u: ve
fc)J5 s '- **
c n -Per*
KiliillliUmfiitltll
S o u
^
J.Ib g
s ;/T~~
*
o -o
S J5
o
o -=
.
j-S"
=
.2
-'
^-'^
-
E a
llSJJ'zl
.-
y,
is fete
tanffefety
of
o
0^
^ (no8&
^^ug6 ^i^ of
0w&
ttjwtt of tB
<t<tont
fotjotgte of
>9
o?
nwtt'fe*j
out
dot) tffctof MJ 60
t^ dfc fefibut o
m^Kff? ftmgt/
amende
(t
it
tffc
(agty K>JJ>
i^/ue if J f^f
(o
prefume
nnj>gufy
65 oue*fce \t g
t^ fcmebp
fen*
fan; QWXfatifc*
(crte>
From "The
an^
nnf
aripo^fe g cc^c 6?
PLATE
V.
fena
mr Q ftitfeate 2
tit tJfic
xif^quodlonucrfe
re Dfic et cr tpc ara'ma mcH: (aluum
nit foe
miftntoiDta ftm^mi
^tct
non (6 in moitt qui mmtm fit (tit:
laita
<
tins
meat
mone mta
Psalter.
PLATE
VI.
Itber tcrcuid
oe of flbdue/tbe tbjtoe of epgbe/tbe
.it.
as tbfe r>pre
-I
fjjtfcetb*
Wles
of tbejCpte/ftryfeout of
tbe bow*
ano
3ncontpnence
ba(tyneue oute of
ue (ball be compo
fmtoe is tbe o^
of rtMrne
mutt tafee beoe
of tj?mc8 . after goo (otbnefle ftall
be tto%ppeo tbat mafee4) meo be
^e
fijer
nejct goo.
ge/$e (btwte
(ball be
iDrapafoo/pf
ctje
un^
eed to
pn^^ome pb^lo(opbres
Ibclwp&tagoms
From Higden's
Printed by
Wynkyn
Museum).
Polychronicon.
de
(o
tbcp
looie^ere calico
Worde
in
1495.
PLATE
VII.
fence
olia flagitta ingetia.i.enoz
"""'"H'satzrci.aSt.t.
<ntintii6itimflm?ir
in nOUlS mO^ani.UC, tern
CCCU f5 ecce.t.adcf) repcntinu ms
]0 1 turbaKo gudi|.C ccc or
= cOrepaealiqmd triftereb*
itcrucnictlctisautcerte qS
,.
tf,t)ocpeatfnnDUSinmeftciucmit.
fcio:0emea.el)a fcis et patf ce.mit.tiDni
te.i.inconfldcraietufdnia*
a d ere.i.ioq te naurf*
pattat.Demea.DicnHcljunocIamae.no ma
,^v
quefnttraptaa letrone poc
(iUants.mit.non niam)quiDc:Demeai itto^.rtagitf6i?ocqaoa
pUf C ell natUS:D
tene tJOJtat.DC ,
W*
id
folu
liar
...
riemfurmmcumbeccernieai)itiononqiud?.ideftnencrtamofcoruppletl!i
tfcfjmo malam verbum.id elt meleftum non aliquid eliniali vt If 31^in altquib*
fltcuentrc fen
bcrc.o;.ct ip a
i
nr go
....
eft
ABOUT
ARNOLD & FOSTER, LTD.,
EYNSFORD PAPER MILLS,
KENT.
Hand-made
Printing Papers.
made a
have
specialty
of
& Sons.
George
Allen
Arnold
&
Foster,
Ltd.,
Eynsford Paper
Old
Style,
Sir
Mills,
Old Style
Italic,
Kent.
Sheffield.
25
yet the two main features, the arc of a circle, and
are still present in
the short vertical member or tail seen in the capital
the lower-case g, though greatly modified in form.
Originally the letter C
the alphabet
letter in
to
express
part
The
The
letter,
twisted into a loop ; the fourth example shows a return towards the original
form, while the next three examples show the continued evolution of
the
The
tail.
represents
as a serif.
In
the second
example of
the
second
upright
member
has
been
made
first,
This dot
is
a curious survival.
It
was
originally
an accent to signify double i, i.e., ii, while single i was written without
In the fourteenth century the accent began to change into a
any accent.
dot
the earliest occurrence of i instead of i was in a manuscript written
;
The fact that j also appears with a dot is a proof that it was
1327.
obtained from i by differentiation, and also that the practice of dotting
the i is older than the evolution of j.
For two sounds now represented
in
by
for
and
J,
one symbol
was used
many
centuries, but
for
its
termination,
making
need arose
in the reduction
of the height
26
of the second and third members, and the necessary alteration in the form
of the serif at the upper end of the first member.
The horizontal member
of
became
lower-case
serifs.
upper
third
in its capital
merged
It
will be
form
reduced to three
is
example
a serif.
as
merely
went on,
till
now
it
exists in the
first
has no
first
its
straight.
characteristic
form
is
drawn
The
consists
changes in N are of a nature similar to those of M.
Capital
of three members, whereas lower-case n is composed of two members
"
of N is from a " half-uncial
connected
a curve.
The fourth
example
by
MS.
which
in
may
The
it
indiscriminately.
only in the same
letter
shown
has
no
practically
narrower
itself
It
than
at
will
alteration
the
during
all
these
no parts could be
first,
the
it
examples
appears
below the
These
line
have
which,
thus
p.
occurred
originally
The
of
mostly
letter
in
considerable
length,
q.
R in its
of gradual attenuation.
In the second example given, the
of three members.
capital form consists
this member eventually disappears, while
third member has been shortened
The
lower-case
exhibits the
result
of S
graceful
forms,
has
it
been
chequered
degenerated
in
its
one.
second
member
Originally
one
into
besides.
of
a
the
straight
The
most
line
27
with
a small curve at
invented,
however
likeness
by
suddenly superseded
by
their work.
except
few
used
in
for
to
was
s,
fellow
its
bent
printers
upon
which
s,
finally omitted.
is
giving
character
to
of a
The
and
capital
form.
The
U.
v,
x,
is
In
implied,
it
is
sometimes shown
some
scripts
thin,
omitting
the
whereas
lower
serif
is
forms V, X, and Z.
name
vertical
vertical,
lower-case u
and
the
or
doubled.
VV, showing
thus,
small
letter
is
v,
w,
and z
as
x,
letters
of
fellows during the centuries when the capitals were being evolved into the
lower-case forms.
The form of
y has changed in one or two particulars,
the
in
the
"
"
ampersand
can
be
28
the examples shown.
very clearly as a ligature
in
form
these
in
speed
have
writing,
does
appearance,
now
not
that
The
accomplished.
form
culminated
fixed
exist,
letters
and
is
originally
the
in
last
the
The
so
hardly be
advantages of the use of both capitals and lower-case
return
one)
of
alterations
first
then there
written
ordinary
form.
original
(an
All
The
the
to
of
use
capitals
only
could
The
use of initials at the beginning of a page was an excuse for the scribe
to introduce one, often of ornamental form.
In the later centuries of MS.
writing, the initial letter and its decoration often occupied most of a page.
Gold and colour were very freely used, while ornamental borders and line
were
finishings
common
in the
Thus
the ancestor
was able
size
of
without
to
it
Initial
use
letters
In fact
it
is
The modern
still
added
its
own
the
29
WIDE
variety of
making
tools
These
dependent principally upon three factors.
the
second
the medium (or ink) used
are,
writing tool
for writing with;
and third
the surface upon which the
is
inscriptions
first
The
clays
were
early
also
required.
them.
scratching upon
them permanent. The ancient Egyptians also incised their Hieroglyphic characters upon stone and plaster, which were often further enriched
to render
As
early as
with a chisel
parchment, or paper.
3500
B.C.,
the scribes of
Egypt
surface
into
thin
upon
cut
being crossed
angles.
The
point
prepared
strips
by
or
or
a similar set
fabric
of
strips
of
gummed
was then
bands
pressed,
laid
plant,
in
which was
parallel
upon them
dried
in
the
at
sun,
rows,
right
and
parchment
or
vellum
as
product, and this is nowhere more evident than in the case of writing.
The form of the chisel-shaped writing point causes the variety of thick
and thin strokes, and of curves of varying thickness, which is one of the
principal
beauties
its
type imitation
good printing.
The forms
of type
produced by a reed or
use of such a pen will
is
quill
assist
letters
letters.
such a country
reeds of
as
the
of
|Jthick
t
,
|e
(adopted
origin-
tKick
and
and
Mack
Yet
tool.
writing
/ft
/'Nwrtiol
Japanese writing
VuniionbU
such
while
China was
letter
FIG.
the early
original
bias
in
penmen of
Empire had
13.
the
the
Roman
away of the
(c]
first
(e)
part,
split,
represents
(d] the nib
(d]
strokes
pen cut
in
this
the nib parallel to the horizontal edge of the page, as shown in the diagram
Scribes term this "straight" pen writing.
When the pen
(_/")
(Fig. 13).
is held in a slanted
position, with the edge of the nib at an angle to the
It
founder-printers.
"
Black Letter."
printers call it,
early
From
is
now known
as
scribes of
this
Gothic
Northern
was copied by
lettering,
or
as
difference
in
CHAPTER TWO
GERMANY
|ERMANY.
forward
in
Much
the
contradictory
various attempts
evidence
made
to
been
has
prove
brought
who was
the
trations
of printing
that
examples,
was issued
i.e.,
it
is
naturally assumed
has
been
and
letterpress
from movable
found that the
in
the
type.
earliest
earliest
that
is
dated
1470,
One
of the
most popular
block-books was
only,
The
and were
examples were
produced without any
early
the
consisted
It
" Biblia
of about
Pauperum,"
forty
leaves,
New
press.
The
impressions
were made by laying the sheets face downwards upon the inked surface
of the block, and pressing upon them with a smooth burnisher.
The later
editions were printed upon both sides of the paper, and were produced in
the engraving of a page of letterpress upon a
involved more care and time than the setting of a similar
a printing press.
wooden block
Though
page of movable type, the process had some advantages, notably in a greater
freedom of arrangement.
Fresh impressions could also be taken without
the necessity of re-setting.
These advantages enabled the process to remain
1530, almost seventy-five years after the invention of movable type.
Documentary evidence exists, which proves that experiments had been
made in printing with movable types of some kind as early as 1444. These
in use
till
trials
had
been
made
at
Avignon,
in
32
France,
and
also
at
Haarlem,
in
33
Holland.
is
The
known examples
printed
in
sum of money
These
two
to
King of Cyprus
the
aid
it
Indulgences,
in
offices
one
Mainz,
is
in
supposed, were
of which likely
in
first
42
The page
letters
being
by hand
of this bible
is
folio
size
the red
initial
lines
its
line
of printing.
were stamped
Another Latin
Bible,
two
these
Bibles
it
is
to
type
identical
is
supposed
one Indulgence and one Bible.
The printers of these early books imitated very closely the arrangement of the MS. books then in common use.
The type-letters were
imitations
of manuscript
writing
of the
time
and
locality.
The
scribes
34
no
used
nor
title-pages
pagination,
content
being
inscribe
to
colophon
the end of the volume, which usually included the name of the writer
and the date and place of production, to which was usually added a prayer
of thanksgiving on the completion of the book.
This form was imitated
at
by the early
scribes
printers,
write
to
the
who
the
for
best
is
trained
the
is
eye
books evident.
of the best
much
difference
This
examples
is
still
employed the
initials,
books
printed
hand-written
and only to a
and early printed
ones,
when
believed
easily
books
of early
were
it
remembered
is
printed
on
vellum,
that
some
and
often
sizes
and
height-toof
line
of
the
a
paper standards,
composition
necessary
type, can
When it
appreciate the marvellous results obtained by the early printers.
are
is
remembered
that
for
types were
that the ink
the
an adjustable matrix,
" dabber " and not
by a
cast
was
singly by hand,
distributed over
possibly without
the types by a
and that
the
Two
other
of
printers
Mainz
divide
the
honours of the
infant
art
Gutenberg.
him
two
prosecuted
Gothic type,
in
the
for
which the
repayment
of
loans
letters
4,950, which
until recently was the highest price ever given at a public auction for a
The same printers issued a fine bible in 1462, printed in
printed book.
two years
later.
copy of
this
book was
sold in
1884
for
35
much
smaller type.
This is the first dated bible, and the first occasion on
which a book was issued, divided formally into two volumes. In the same
year, Mainz was captured and sacked, and this put a stop to the further
Even before
towns
this
time
the
we
learn
art
to
different
several
issued a
Germany,
book
for
TALY.
As
in
1472.
its
birth.
as
early
in
at
Augsburg.
Roman type, which he did
him from Italy, the land of
that
It
we
1465,
said
is
German
first
that
he brought
two German
find
to
printers,
adopt
it
with
Conrad
common custom
quotations,
some German
in
printers,
was
to
leave
filled
in
by hand.
hitherto
established in
Rome,
blank
issued a
"
Roman
The
first
Joannes
was
Roman, which
sponding
to
English
(about
14
all
The lowercase
not being in use at that date).
twenty-three (J, U, and
contained the same number, except that u was substituted for v, and in
36
there
addition,
were
long
as
and
To
oe.
complete
the fount, there were fifteen contractions, six double letters, and three points,
and ?, making seventy-three sorts in the whole fount.
After
viz.,
:
Jenson's death,
which Andrea
is
Aldus Manutius,
Torresani's
who
son-in-law
at
later
date,
and
inherited
finally
He
his
became
types and
matrices.
Aldus
This
was
at
first
is
called
"
well
known
as
the originator
Venetian,
and
The punches
Italic," and in Germany,
subsequently termed
for the fount were cut by the painter, Francesco de Bologna (better known
as Francia).
For this fount only lowercase letters were cut, Roman capitals
Italics were first used in the printing of
being used along with them.
"
issued
Aldus
by
in
It
introductions, prefaces, and indices.
emphasising certain words in the text.
FRANCE.
France
is
now
new
the
art
in
during that
time,
they
time
moved
other craftsmen,
College.
several
to
new
who had
After this
mostly of a scholastic kind.
premises, and began to print in opposition to
established presses without the assistance of the
books,
37
THE NETHERLANDS.
first
by craftsmen
who had
been trained
at
Two
Mainz.
issued books in
firms
Netherlands
the
Roman
in
and
type,
the
only
printer
of that
country
who
used
in
it
the
fifteenth century.
Our own
Colard
first
Mansion,
press
at
Antwerp
in
1555, and
books
are
famous for a
Roman
by
later
type
tradition
great
fine
amo
Edition
of the
Latin
Flemish
named
set
up
as
1680.
Their
Classics.
into
Lambert
a
press
place in
Spain in
model
Palmart,
one-third
of
Spanish manuscript
in character.
German
who, along
with
Alonzo
Valencia.
1474 by
the
to
English type-founders.
Fernandez of Cardova,
than
for
who produced
Elzevirs,
SPAIN.
or
the
fine
in
maintained
generations, and
many
They
who
Spain
The
writing of the
native
were
the
printers,
craftsmen.
Saragossa,
fifteenth
Seville,
less
The more
Barcelona,
type
NGLAND.
career.
about
apprenticed in 1438 to a
the death of his master soon
Upon
at
living
times
different
in
in
1420
he
after,
Brabant,
Merchants
at
Bruges.
of
he
the
Duchess
of
entered
the
service
of
fifty years
age,
Burgundy (the sister of Edward IV.), as her Secretary, and was encouraged
" Recueil des histoires
by her to continue a translation of Raoul le Fevre's
When
about
By 1471, he had
of
he was
before
able
to
himself
associate
with
Colard
to
it
several
The means
years
Mansion,
of
elapsed
skilled
Auctor
as
as
nyghe
be gyven the
the same my
penne is worn, my hand wery and not stedfast, myn eyen dimmed with
overmoche lokyng on the whit paper, and my corage not so prone and
redy to laboure as hit hath ben, and that age crepeth on me dayly and
febleth
the
all
bodye
gentilmen and to
sayd
book.
my
to
also
because
frendes to addresse to
Therefore,
and dispense
and
ordeyne
see, and
have
this said
practysed
book
have
hem
to
promysid
as hastely as I
and lerned
at
my
dyverce
myght
great
this
charge
as
ye
as
ye
may
may
here
here
see,
is
were begonne
in
also
fynysshid in
oon
39
day."
The
in
to translate
the
country
of his
in
Caxton
adoption,
it
better
1476.
Mr Blades (Caxton's
Philosophres."
Type
Biographer) distinguishes several different founts used by Caxton.
"
and also for "The Game and Playe
No. i was used for "The Recuyell
of the Chesse," both of which were printed with the help of Colard
"The
or
dictes
Mansion
Sayengis
of
the
Bruges
in
Twenty books were printed in this type between 1477 and 1479, including
" The Dictes or
"
Sayengis," Chaucer's
Canterbury Tales," and a second
"
The Game and Playe of the Chesse." The two founts already
edition of
referred
to,
well
as
manuscript writing
quite
Psalter,"
other
different
types
known
character.
as
4,
5,
and
"Secretary."
It
was used
6,
for
the
" Latin
printing of a
as well as for a few
issued
church
as
The
beauty
of this type can be seen by referring to a reproduction of a page of the
Psalter from the only known copy in the British Museum.
(See Plate V.)
The fount consisted of some 194 sorts.
Type 4 was similar to type 2,
"
but rather smaller.
The book of the subtyl hystoryes and Fables of Esope
which were translated out of the Frensshe into Englysshe by William Caxton,
1483," was printed with this type.
Type 5 was like type 3, but of a less
was similar to type 2, and consisted of 141 sorts.
size, while type 6
Eighteen works were printed with type 6 between 1489 and 1491, including
" The Fifteen
This book consisted of fifteen
Oes," and other prayers.
4o
prayers, each beginning with the invocation
known
ornamental
borders
dedicated to
he was
before
have
to
been
is
it
Though Caxton
Caxton,
by
printed
and was
fifty-five
he
issued
his
business
was continued by
his
assistant,
de
Wynkn
Worde, generally
It is conjectured
supposed to have been a native of Worth, in Alsace.
that he came from Bruges, along with Caxton, in 1476, and no doubt
held an important position in Caxton's office from then till 1491, when
he
succeeded
to
his
master's
new
He
business.
letters for
inherited
He
himself.
most
was
of
Caxton's
a better printer
than scholar, and produced some six hundred books, including new editions
and pamphlets.
The black letter founts that he cut became models for
He
books,
many
called
one
died in
1534.
Richard
London
at
Norman by
centre
year
in
at
birth,
this
which
early
time.
Caxton
He
died),
started
and
is
craft
business
supposed
in
in
London
to
have
in
taken
1491
over
(the
the
fh
^
s
s?i
(*)
^
i 5 i 53^
S3
*cd
^ =3
North
<U
_J
Style.
t||
II
ii
II
if
4->
CO
OJ
(U
J2
cu
o5
-C
JJ
1JI
<D
i^
>
>
"
TRUTHS
.-
CO
rt
SELF-EVIDENT
03
CO
._,
rt
n3
*-!-<
OJ
asfs
o
S-H
^C
4->
&
O
C
<u
rt
flT-O
co
8.8
<U
CO
d>
3!
C
3 fi
O O 3 O
C
^.
^l
X ^
C
3 o
O C
<U
CO
-rj
CO
o3
<D
,223
UH
^^
3^
cu
<L>
ol
Oj
>
J
03
i
^
"~O
fli
>-.
*-i
^ 3
X
UJ
PLATE XL
THERE WAS A
TIME WHEN
CASLON TYPE
WAS NOT MADE, BUT
THIS WAS BEFORE THE
YEAR I7I6A.D., IN WHICH
WILLIAM CASLON
TURNED
Old Face
and 14
point.
PLATE
XII.
and
EBONITE
Lustre Half
We
Tone
make a
spe-
ciality of
Art Papers.
New
a large selection
new
Ink on
requirements,
tions
be
'EBONITE*
be sent
will
Special Grade
Department.
of
make a
for
also
of
Varnishes
made
is
for Letterpress
This ink
in
and
Lithography, made
three
different qualities
We
speciality
Supercalendered
Papers.
and
mediately, allowing
to
in
Please state
stock.
and
Dries im-
the sheets
supplying
matured Linseed
'A'Grade-l/61b.
All consist-
Oil.
'
B* Grade -l/91b.
encies
A. B.
fully
FLEMING &
CHIEF OFFICES
and
quality
guaranteed.
CO., LTD.,
AND WORKS:
CAROLINE PARK,
EDINBURGH.
LONDON OFFICE AND WAREHOUSE:
15
WH1TEFRIARS STREET,
E.G.
"White M.K.
Printing,"
W. H. &
PLATE
XIII.
W.
&
A. RICHARDSON,
SPRINGWELL PAPER MILLS,
H.
JARROW-ON-TYNE, ENGLAND.
Makers
White
of
& Tinted
The raw
and
S.C.,
Cartridges, Duplicatings,
used.
Colouring and
Gumming
The
export
&
in
hydraulically
pressed bales or in
wooden
cases.
Papers.
Stationers
CODE USED:
ABC
(5th Edition).
Type by STEi'HENsox, BLAKE & Co. and Sir CHARLES REED & SONS, Sheffield.
Windsor, 24 point and 14 point; Italian Old Style, 14 point; Italian Old Style Italic, 14 point; Winchester, 8 point.
Paper
"White M.F.
Printing,"
W.
H.
&
A. Richardson, Mill No. 91, Springwell Paper Mills, Jarrow on-Tyne, England.
PLATE
XIV.
Ltd.
Manufacturers of
&
Deckle-edged Papers.
Drawing, and
Music Papers. White and Tinted Art
Papers. Chromos & Enamelled Papers.
Cards r Cardboards of every description.
Cloth -lined Papers and Boards.
Plate,
Lithographic,
WORKS: PETERCULTER,
ABERDEENSH1RE.
MILL No.
9.
NINEMILL; LONDON.
Type by STEPHENSON, BLAKE & Co. and Sir CHARLES REED & SONS, Sheffield.
Westminster 24 point and 18 point; Italian Old Style Italic 14 point; Winchester 8 point.
Paper
" Silurian
Wove" The
9,
Peterculter, Aberdeenshire.
PLATE XV.
ST.
EDINBURGH
WATER LANE, LUDGATE HILL
LONDON,
E.C.
in-
etc., etc.
10
sizes,
with
latest improvements.
"
Old Style
and 18
point.
Tyne
Mill, Fourstones,
PLATE
XVI.
4
4
STONES
4
Fourstones Featherweight Pure Esparto Antique Laid and
and printing
qualities.
quality, purity of
60
Ibs.,
320
516
pages.
wood
pulp.
sheets, being
Wove Book
Wove
30x40,
inches wide.
pressed bales or
wooden
cases,
Paper Merchants
They
only.
Telegrams
Paper, Fourstones.'
THE FOURSTONES
PAPER MILL
MILL
CO.,
LTD.
No. 100
SOUTH TYNE
MILL,
FOURSTONES
NORTHUMBERLAND.
Type by H. W. CASLON & Co.,
Paper
"
Ltd., London.
Cheltenham
14,
and 10
point.
matrices and type of William Machlinia, a foreign printer who had been in
business in London for about ten years previously.
About 1510 he was
appointed Royal Printer to Henry VIII., and fully deserved this honour, as
books were more important and better printed than those of de Worde.
Prior to 1518 all English printers had used "Black letter" type for the
his
also
in
in
which both founts appear, not only on the same page, but
same words.
the
Pynson
died
about
is
known
to exist.
Roman
first
Scottish Bible,
first
Bible printed
CHAPTER THREE.
THE EARLY BRITISH TYPEFOUNDERS.
the inventor of printing, as well as his immediate
successors, cut their own punches, made their own matrices, and
[UTENBERG,
own
cast their
type.
most noted of these founder-printers was John Day, who began business in
He cut founts of Roman, Saxon, and Italic letters, and was the first
1546.
English founder-printer who cut Roman and Italic letters which would range
as one fount.
After Day's death, English printers had to depend upon Dutch
The year 1585
matrices from which to receive their supplies of type.
witnessed
revival
of
the
Oxford
Joseph Barnes.
In
seventeenth
Joseph Moxon
began to be carried on as separate businesses in England.
(1659-1683), Robert and Sylvester Andrews (1683-1733), and Thomas and
to
of
have
first
by
Joseph
that
42
43
his
left
service
This was
Oxford.
in
type-foundry
before
by
his son
John
at
later
date.
It
I.
(1692-1766)
may
first
English
devoted
himself
to
the
cutting
type-founder
whole-heartedly
of punches and the casting of type.
an
engraver of
Originally
gun barrels, he attracted the attention of Mr Watts, an eminent printer of
This printer, struck by the neatness and taste displayed by Caslon
his day.
who
in his engraving,
and being
in
need of a
new
series
of
It is interpunches for the type which is now known as Caslon Old Face.
esting to know that Benjamin Franklin, who later became the well-known
American printer, ambassador, and statesman, was at this time a journeyman
The efforts of Caslon gave such satisprinter in the service of Mr Watts.
the type he had produced was so much better than that in common
use
that the Society for the Promotion of Christian Knowledge, being in
In the
need of a new Arabic fount, commissioned him to cut it for them.
faction
same year (1720) he cut a Pica Roman and Italic fount. His next performance was a Pica Coptic fount for Dr Wilkins' edition of the Pentateuch.
These successful founts soon made him famous, and by 1730 he had eclipsed
most of
printer.
first
specimen
thirty-eight
his
own
from
Street,
and
it
contained
no
fewer
than
founts,
hand.
Chiswell
all
44
illustrated in the
Wm.
Caslon
appears as
II., as a
Wm.
Caslon
&
Son.
Caslon
II.
was
as
" Ames'
punch-cutting, and the following notice appears in
Typographical
to
be
in
"The
art
seems
carried to its
1749:
Antiquities," published
greatest perfection
all
for
the dead,
that
one rubber (Joseph Jackson), and one dresser (Thomas Cottrell). Punch-cutting
and justifying was carried on in secret by the Caslons themselves, but Jackson
and Cottrell found means to observe them
at
of wages was granted, but Jackson and Cottrell, the ringleaders, were dismissed.
In the specimen of 1764 eighty-two different founts were illustrated, more
than twice as
many
as
in the
specimen of 1734.
Most of
new
His
first
family consisted
of one
William, who
daughter and two sons
became an eminent bookseller. Caslon I.
II.
died in
45
1795, and
her will was the object of some litigation, the estate was
thrown into Chancery, and the foundry put up to auction. It was bought
in
as
and for
purpose secured
Canon, Pica, and Double
Mr
this
1802 the firm appeared as Caslon & Catherwood, but in 1809 it was styled
Wm. Caslon & Son once more. From 1814 to 1821 the partnership included
HEN,
Wm.
Caslon
1757,
I.
as
Joseph Jackson,
unfortunate
his
coadjutor.
Cottrell's
business
eventually
into
that
of
Sir
Charles
Reed
while
Sons,
Jackson's foundry,
developed
established in 1763, at length became that of Stephenson, Blake
Co.,
&
&
as this,
it
may
46
1782-1794 Edmund Fry and Isaac Steele, 1794-1799 Fry, Steele & Co.,
and Edmund Fry & Son, 1816-1829, at which date William
1799-1808
Thorowgood, who was the then living successor of Thos. Cottrell, took over
the business of Edmund Fry & Son, then known as the Polyglot Letter
In 1838 the style of the firm was Thorowgood & Besley
in
Foundry.
in
in 1861, Reed & Fox; and
1877, Sir Charles
1849, Besley & Co.
;
&
Reed
Sons.
The foundry
after
started
In
III.
Blake, Garnett
it,
In 1807
1819,
&
Co.,
Wm.
it
belonged to
Caslon,
Junior,
known
as
Blake
&
Stephenson, Blake
Reed
&
Son,
it
Wm.
&
now
bears.
An
"
It is
the toothache, which he cured by burning the ear
interesting to
notice that many of the early type-founders forsook other occupations to
Caslon I.
follow that of punch-cutting.
Joseph Moxon was a hydrographer
!
printer,
and
finally a
a remarkable
type-founder.
man.
He
ways
improving the typography of
spent
his
six
own
He made
day.
many
600
in
everything required
business,
punches, matrices, type, ink, and even printing presses.
and the issue in 1757 of the
His type was of beautiful and elegant form
book printed with it (Virgil) was hailed with delight by the entire
first
for
his
literary
world.
sufficient,
however, to
47
He
spared no effort to bring his founts into the market, but without success.
His entire stock of type-punches and matrices were eventually purchased by
"
for
Beaumarchais for the " Societe Litteraire Typographique
3,700, and
transferred to France.
COTTISH
printers
of
type
in
the
early
Mr
along with a
formed many friendships with the professors of the University there, and
Robert and Andrew Foulis, the University printers.
He is
also with
probably best known by the magnificent founts of Greek letters which he
cut,
of the
Greek
classics
Miller, a foreman
the
To
in
of being the
first
British
Foundry
Mr
Mr
Richard,
J.
M.
proprietors.
in Scotland.
senior,
retired,
Richard and
Messrs
the
conduct of the
devolving upon
Richard, whose sons are the present
Richard are now the only type-founders
Mr W. M.
Miller
&
business
BLACK-LETTER.
ITALIC,
Ai
is
first
^L
2 \
A
/ m
"^^
A
/ X
FIG
the same
this series
/~\^
the left-hand
lower
right-hand
letters
are
all
from
&
well as
in
of each
letter,
the relations
or as
these relations are uniform throughout each series, it will not be necessary
to refer to them when considering the other letters.
The
member
The
of
position
A4
this
of the
is,
cross-bar
also
varies
in
the three
members
the
This
are also
relative
examples, and
different
quantities
from
of white
and black
in
letters.
48
is
49
In A4 the white spaces are
quantity of black surrounding them.
this has produced a heavy effect, and is of
small in relation to the black
The horizontal beginning in Ai is produced by the
course intentional.
the
to
in
their origin
The
tendency to
to
owing
capitals,
the
alter
form of the
the
speed in writing, is
FIG. 16.
r>
The upper bow
is an
early Roman pen form.
The original proportion of the two
has become smaller and narrower.
The relation between the width
bows has been restored in Ba, 3, and 4.
FIG
1 S-
The
height of these letters is varied, 63 being the narrowest.
heavy effect owing to the great disproportion between thicks and thins in
fount 4 is very evident in 64, where the enclosed spaces are little wider
and
the
It
Ci has no
seen that
while
serifs,
one only.
In Ci the thick beginning of the curve is formed by the
broad nibs of the pen, and the movement from right to left causes the nib
in the inside of the curve to cross to the outside, producing in its course a
3
_J
D^^
D~^^
-*
FIG.
17.
The
broadening
breadth midway
which
towards the
it
gradually
down
the
till
becomes narrower
gradual thickening
the curves in the other
attains
its
curve,
The
finish.
it
\ ^
I
I
\.
^
*|"i"*
comment.
D's
pertain to
they are to
F
after
of the stroke
all
intents
and purposes
identical.
It
may
be stated as a general
There
are
A
F|_J
of the type-designer.
_
j^
letter,
Ea,
as
and
3,
evident.
FIG.
19.
hi
are
in
El,
4.
it
Its three
.....
uniform in
horizontal
i
\^J
^^^^
[^ WM
l^J^
also
members
^J
Originally a narrow
has been expanded in
*V
in
FIG
20
forms Ea, 3, and 4, the central bar has been shortened and the upper and
than the
lower bars lengthened.
In
3 and 4 the lowest bars are longer
The serifs in
3 and 4 are in
upper ones.
L A
Hup
The
differences
letter
It is
Ga
follows that
of
the
of the
FIG
pensate, as
27.
serif
G4
end,
curve
it
it
form
common
in
short
modern
vertical
Roman
member
founts,
FIG.
24.
In
it.
is
and
split
one
at
the
lower
which was
5*
from Gothic
probably adopted
in
letters,
is
it
and
are
two
which show
letters
no
practically
H4 appears
examples shown.
much narrower than the others, but is
the
in reality the same width as Ha
the
in
change
different
L\
narrowness
extreme
thickness
common
well
is
known, the
^fcj
much narrower
v andj
Ka
27.
sides of this
than
members
The
the
other
narrow
|/
A
~]
in
"^
vertical.
Ma,
forms
pen
letter.
the Trajan
f"^L
I
^^
the
in
FIG.
28.
The Roman
inscription
incised
has no
is
used
at
serifs
It
3,
alphabet.
two.
""
in
member.
the
it.
~\
4 suggest
/f
"A
* \J
|^^
TV
close
J is a later addition to
J exhibited show some
Ja and 4 finish upon the
The
^1
of
While
variety.
NT^k^|
^^
1^
fount.
this
verticals,
letter
The forms
FIG.
the
the
by
and character.
in length
^k
of
in
caused
is
25.
As
apparent
feature
* *
FIG.
A^ L^V/IA
* w \.
shown
and
may
be worth while
the
first
in
Mi.
and fourth
In
Ma,
3,
members
pointing out
that
are
the
FIG
beginning
serifs
52
In
is
all
the
of the
narrowest
between
difference
bows
of
in
of thicks and
The bow
the
thins
The
similar in form.
all
it,
Pi,
of P%
of
exception
the different
in
an
to
tail
squarer in
is
3,
and
4.
been
early
In 03,
made, and
I)
The form
Ra,
~^^
3,
third
and
member
each of these
In
4.
form which
straight, a
is
the
lGl
IG. 33-
gives an appearance of strength as compared with the curved third member used in modern Roman founts.
differs
W
^^
FIG> 35
O's,
In the pen-written
form Qi we see in the pen flourish so characevidence of the delight of the scribe in his craft.
Tthe
^7
the
apparent in Qa,
the fullest
83
N%
2,
The
only.
"
Tr
With
shown.
M.
character than those of the others, being composed of horizontals and a curve, while the
X.X*.
f^L
-*
examples
comment.
little
R"^
the relations
they are
R)
teristic
features
its
same
its
lower
is
distinctly
two
relative
larger
than
\A/
\\
size.
The
mark
that
half.
upper
the
in
^^->^
M
forms
of
serifs
of
thickness
and
the
members
the
the
only differences
the four T's illustrated.
^^ T ^L 1^ /
\/\/
T T
"\
between
'
any notice.
The double V or double U,
as
it
is
now
call
for
called,
is
one of the
latest
53
additions
is
hence
self-evident
the
it
Its origin
end of the alphabet.
and W"3 shows
used to be sometimes printed thus
inclusion
its
near the
W,
distinctly.
X, Y, and
which they
Otherwise
taken.
same
"
The
forms.
in their root
are
and
or
ampersand,"
originally
"
as
it
7 ^kT"
per
(and
shown
in
&2,
and
3,
4,
et
&
Caslon
I.
issued in
The
1720, and
all
Roman and
earliest
Italic,
were
completed by 1730.
Cheltenham Old Style (No. 3) was designed by Mr Ingalls Kimball for the
Cheltenham Press, New York, and was first engraved and issued by the
American Type Foundry Co. of New York
in
the
1900.
long
The
FIG.
39-
an
is
imperfect
the lower-case forms, on a
4)
it
was
Type Foundry,
St Louis,
U.S.A., in 1908.
&&
FIG
'
40>
Ltd.,
and
London
Sir Charles
Miller
Reed
&
&
Richard, Edinburgh
Sons, Sheffield.
&
Co.
54
1
HE
forms,
descenders,
along
with
In
Some
penman's time.
such
as a, c, e,
and
still
joinings or connections
at
letters
seen in b,
f,
g,
h,
j,
k,
1,
q,
and y
in
ordinary writing
owe
form
their
to
abcdefg
hijklmn
opq
u v wxy z
r s t
OLD FACE
Messrs H,
W.
Lower-case 48 Point.
Caslon
FIG.
&
Co.
41.
Ltd.
London.
may
41), it
in the
first
be advantageous to consider
place the beginnings of the
short
serif,
b, d, h, k,
1,
has a
is
similar
almost
letter
commencement, which
hidden
by
the
cross - bar
The half-height
immediately below it.
letters i, m, n, and r have like
beginnings,
and
also
and
p.
55
These commence
at the
but begins at
f,
apparent, as they
of g and o are
covered by the joints, and those of q and p also by the straight members,
e and s occupy classes by themselves,
e begins by a horizontal line on the
In the pen-written form of
seen in f and c
the form of the
that
still
in
this
fount, however,
is
exactly the same as a capital S, having similar serifs both at the beginning
and at the termination of its form.
v, w, x, and z are exactly the same
as in the capital forms,
u is distinct
y has a commencement like capital Y.
from
its
in fact it looks
beginning and ending
n
turned upside down, except that the beginnings of the
very
two thick members are half instead of whole serifs. It would be interesting
all
much
to enquire
like an
why
this lower-case
is
out of
rest
of the
letters,
horizontal
form of u originated
the
first
Roman
some excuse
inverted n form
is
fount
for
is
in
Italy,
was
where
there
cut,
the
thinking
not the appropriate
that
one,
still
The
r
terminations of
klmnopqr
stuvwxyz
CHELTENHAM OLD STYLE
in use.
rni
abcdefghij
a,
c,
to.
e,
and
48 Point
t
In these
, r
W. r
Caslon &
Co.,
.
H.
FIG
Lower-case
Ltd., London.
Letters,
56
letters
we
the
The
in
letters.
peculiar
In the analysis of the forms of Old Face Caslon (Fig. 42) attention
was drawn to the slanted beginnings of the principal members of the letters
The same
of that face.
In b, d,
are horizontal.
(half size letters), and j and p (descending letters), the beginnings are from
Not only so, but the finishings as well as the
the left and are horizontal.
Notice that the beginnings are
beginnings are nearly all horizontal also.
serifs,
The
while
is
this
of the lower-case
height where
The
ascenders
it
letters.
is
usually
f,
for
of
this
instance,
made only
is
is
full
three-quarters.
shortness of
is
serifs
principal
lower-case,
Besides
all
all
made
This statement
historic basis
is
for
its
form.
rises
PLATE
XVII.
TA YLOR gg
AND
mmm
,
W'A TKINSON
ARE THE BIGGEST MAKERS OF
MACHINE CAST AND PLANED
Printers Leads
IN
& Clumps
TO
GOVERNMENT. WORKS:
H.M.
BELGRAVE FOUNDRY,
NEW BRIGGATE, LEEDS.
Code,
Telephone
4001 Central.
:
ABC
Italic,
48 and 24 point.
S.
Paper
Bramble Rideau Cover," stocked in 18 x 23, 40
Jones &
Ibs.
Ltd., London.
Cheltenham Old
and 10
point.
Telegrams
Pica." Leeds.
(Fifth Edition).
"
Ibs.
23 x 36, 80 Ibs
PLATE
XVIII.
POMEGRANATE ORNAMENTS.
Seven
units
employed
in the
upon
S.
W. CASLON &
of
Pomegranate
units repeated.
Ibs.
in
18x23, 4 8
5%.
Iks.
20x25, 58
Ibs.
20.^x30^, 72
Ibs.
PLATE
XIX.
ESTABLISHED
1853.
DANE&CO.
MANUFACTURERS OF
LITHOGRAPHIC AND
LETTERPRESS INKS,
DIE PRESS INKS, DRY
COLOURS, VARNISHES,
PRINTERS' SUNDRIES.
LONDON
STRATFORD,
(FACTORY)
(OFFICES)
91 and 92
SHOE LANE.
AUSTRALIA
EDINBURGH
(AGENTS)
SPICER BROTHERS
(OFFICES)
3
EAST REGISTER
ST.
(Colonial
(AGENT)
(AGENT)
AUGUSTE DESMET,
AUGUSTE DESMET,
155 Warmoesstraat,
56,
AMSTERDAM.
BRUSSELS.
&
Co.'s
HOLLAND
BELGIUM
Dane
E.
Ltd., London.
this
24, 12,
Publication.
and 10
Ibs.
point.
5%.
PLATE XX.
PATTERNS COMPOSED OF REPEATED UNITS.
One
below and
Two
rch Rideau
Units repeated".
on Plate
One
Unit repeated.
Two
also
Unit repeated.
Units repeated.
One
XXI.
Unit repeated.
PLATE XXI.
lrC'.St.lJ
\Jr
Two
units repeated.
unit repeated.
Three
units repeated.
Two
units repeated.
PLATE
XXII.
SamuelBRIDEWELL
Jones &
Go.
PLACE
LONDON,
E.C.
MAKERS OF
::
::
::
Works:
CAMBERWELL
Agent for Scotland :
B. MACNAUGHTON,
74 YORK STREET,
JOHN
GLASGOW.
This
is
Type by
in 18x13, 4* Ibs.
20x25, 58 Ibs.
20.1x30;, 71 Ibs.
(Roman and
66.
5%
PLATE
XXIII.
K
vj
>L-
;;
3]
A.
C.
Open
r~r?\
rilJlir^ tFrl
rTli *Jr;
V"
"^-
fu
i:
PLATE XXIV.
BORDERS.
Hrte-J
ELGIN
OF ORNAMENTS &
ORNAMENTAL INI-
CELTIC
JH1
CLUB
-J
;.
^KF^
')
BOOK WILL
BE
ISSUED BY
W.
H.
SESSION
1911-12
LhJTEJ
B.
units repeated.
ESTABLISHED IN THE
REIGN OF GEORGE I.
SOCIETY
H.W. CASLON
Co.
LIMITED
MANUFACTURERS
GEORGE
82
PROGRAMME OF
ARRANGEMENTS
composed
of r
83
CHISWELLST.
LONDON,
E.G.
ENG LAND
SESSION 1911-12
dler
&
aits
repeated.
Paper
Jones
" Bramble Rideau
Cover," stocked in 18 x 23, 40
&
London.
Ibs.
Ibs.
23 x 36, So
Ibs.
57
abcdefg
fY^ ^^
A
AAA
AA
AAA
ijklmn
opqrstu
v wxy z
^
1^%
-tf
**
-*
l^y
I .Am.
W.
Caslon
&
Lower-case, 48 Point.
practically
same
as
is
Old Face,
The
based.
j,
p, q,
and y might be noticed, while the pendash usually found to the right of g
rises
is
be
useful
for
readable
some
at
distance.
It
is
in
43-
though
For pure dignity and
the
FIG.
differences in
Old
less
elegant relation.
careful
unapproachable.
of
similar
founts
different
founders
reveals
minor
differences.
comparison
by
only
These are mostly in relation to the prolegibility,
of the
letters,
it
does so to a limited
The
extent only.
differences
great
in
principally by
the proportions of the letters, the form
of the rounded parts, and the character
style
of the
are
serifs.
characters,
is
allied
closely
based.
to
upon which
It
will
be
early
all
Roman
modern type
noticed that
Style
is
A BC D E F G
HIJKLMN
O P
R S T
U V W X Y Z
abcdefghi
k m n o p qr
stuvwxyz
LINING
OLD STYLE
Stephenson, Blake
&
NO.
5.
24
Point.
FIG.
44.
&
Sons,
58
and
member
of
in the early
longer than the second, which is longer than the third
forms those three were similar in length.
There is a tendency to uniformity
of width of capitals in this particular alphabet, which is common to all old
is
This
style founts.
normal, and in
The
is
H, O,
of this fount
capitals
than the
ABCCDE
FGHIJK
LMNOP
RSTU
Qry
VWXYZ
O
A V.
^J
JL
\^J
abcdefghi
jklmnopq
rstuvwxyz
Stephcnson,
BASKERVILLE 36 Point.
Blake & Co. and Sir Charles Reed &
Sheffield.
4S>
much
that
is
as beautiful.
might
of
the
legible,
and
tion of j
fine in
form.
The
termina-
is
The forms
in
Fig.
45
are
very
differences.
An
individual examination
members
and
serifs
is
necessary
in
members
the forms
letters
of the
are
thick
more
Sons,
same
features of an old
serifs,
59
ABCDEFG
HIJKLMN
especially of
curved instead
lower-case
stuvwxyz
BASKERVILLE
W, Caslon & Co.,
FIG.
30
Point.
Ltd., London.
46.
The
ularly
the
member
D, Q, and
S.
The
third
unfortunate in shape.
All the lower-case letters are of good
of
is
This fount of
Baskerville
H. W.
designs, in 1909.
The
which
exists
heavy
squarely on
sively
serifs.
their
The
ends,
serifs
and
are
slightly
letters.
first
mnopqr
H.
N,
issued
abcdefghij
1
and
OPQRST
UVWXYZ
k
finish
are
not
ABCDEF
GHIJKL
M NOPQ
RS T U V
X Y
a b c d e f
g h i j k 1
mnopqr
stuvwxyz
OLD STYLE ANTIQUE
Miller
&
No.
7,
Richard, Edinburgh.
FIG.
47-
36
Point.
6o
graduated in
form and
in
good
The
the
to
their joinings
as
in
members
satisfactory in proportion.
Old
Italian
serifs,
a fount in
is
Style
y^
J^
f]
p*
[j
as
(j- J-J
*
J^ \J
L, j\/[
Q) \
also
is
and thins
letters
LJ
\V
1\,
'*
if
no attempt
had
been
made
to
and
unfinished
such as Q,
Several letters,
call
for
air
special
attention.
about
R, and T,
Notice the
of the Q.
tail
it.
It
& Co
24
Point.
&
Sons,
Sheffield.
FIG. 4'
The
third
member of
caused by its
is the usual ending of such a member.
the upper serifs both
In the
point towards the left, instead of following the usual practice of pointing
it,
and
The bows
B, P, and
b,
d, h,
right.
i,
j,
k,
1,
m,
n, p,
r,
u,
are
serifs
which
slope,
6i
while w,
and y
x,
usual
as
serifs.
has
no
The endings are still more varied three forms are used.
beginning serif.
a, c, e, and t have link endings as usual, f, h, i, k, 1, m, n, p, q, and r have
horizontal serif-endings, while the lower
;
serifs
of
d, u,
fount was
first
Lining
The
Antique Roman
a fount
is
letters
are
as
though
B, E, F, and L,
as
letters,
better
form had
The
lower-
certain heavirequired.
ness is evident in this fount, due largely
to
the slight difference which exists
emphasis
is
the
the
thins,
and
also
squareness of
It will be noticed that in
uncompromising
serifs.
descenders
are
unusually
short.
This
ABODE
FGHIJK
LMNOP
QRSTU
VWXYZ
abcdefg
hijklmn
opqrstu
wx
ANTIQUE ROMAN
Stephenson, Blake
&
y z
36 Point
&
Sons,
Sheffield,
FIG.
49.
1902.
62
ABCDEFG
HIJKLMN
OPQRSTU
WXYZ
abcdefghij
k1mnopqr
stuvwxyz
ANTIQUE OLD STYLE
H.
W.
&
Caslon
capital
with
(Fig.
of
the
issued in
No
usually
52)
where
narrower and
Winchester,
the
only
1909.
open.
in
ball-like
The
shapes of M, R,
and S are very distinctive
the latter
The charappears in alternate forms.
acteristics
of De Vinne letters are,
less
the
letter.
f,
and
the
These are
y.
form,
in
but
in
this
were
of
character
nings of a, c, and
terminations of g and
De Vinne
identical width.
general
The
possible.
those
as
is
more
The
width
50.
fount
is
Point.
in
The
fount was
first
FIG.
This
30
uniform
ABCCDEF
GHIJKLM
NOPQRST
UVWXYZ
abcdefghijklmn
opqrrstuvwxyz
WINCHESTER OLD STYLE
36 Point
Stephenson, Blake
&
FIG.
51.
&
Sons,
63
however, more evident in the lower-case
It
will be noticed that the
forms.
thickest parts of the curves are not in
the middle but under the middle, and
this
throws
the
This
downwards.
letter
noticeable in certain
is
d,
c,
e,
it
lower-case
of
letters
of
fount
this
the
of
letters
and q
round
weight
The
are
are
ABCDEFG
HIJKLMN
OPQRSST
UVWXYZ
abcdefghij
klmnopqrs
stuvwxyz
Stephenson, Blake
&
36
Point.
FIG.
S3-
Sons,
abcdefghij
klmnopqrr
stuv wxyz
WINCHESTER BOLD
Stephenson, Blake
&
36
Point.
&
Sons,
Sheffield.
FIG.
exceptional
issued in
forms.
52.
The
fount
fount
(Fig.
54),
which
composed of well-proportioned
is
was
1893.
This
characterised
is
letters,
certain
by
"
"
in
the
freedom
of its
easy
drawing
members.
It is as if the letters had
specially
been made by a
skilful
penman, who
&
VWXYZ
begin-
DE VINNE
ABCDEFG
HIJKLMN
OPQRSTU
the
by writing
and with
64
ABCDEFG
HIJKLMN
OPQRSTU
V WX Y Z
little
resultant
fount
is
than
care
less
effect
is
kinds of printing.
The angularity of
the curves is particularly noticeable, as
also
and
is
different
members.
This
klmnopqr
stuvwxyz
about 1890.
MORLAND
Caslon
&
30
Inland
Type Foundry,
by the
issued
St Louis, U.S.A.,
Westminster
Lining
was
fount
is
fount
Point.
features
FIG.
the
abcdefghij
W.
and
pleasing,
H.
The
usual.
will
54-
be
of which are
noticed
that
introduced.
It
widths
and
the
are
common
incised
and
to the
early
Roman
The bows
in stone.
in
letters
B,
P,
good
effect
in
Notice the
fount.
which
modern tendency
letters
While
to
make
approximately
it is
the
the capital
same width.
H
O
B
I
C D
M N
W
X Y
abcdef
U V
ghijklmn
opqrstuvwxyz
LINING WESTMINSTER
OLD STYLE,
all
E F
J K L
Stephenson. Blake
&
FIG.
55.
24
&
Point.
Sons.
65
necessary in all the capital letters of one fount, this should be restricted to
such features as the relations of thicks and thins, and the character of serifs
is
and curves.
in a letter
is
when
a distance, so that
is
made
less
or greater than
its normal,
characteristic proportion, and therefore becomes less
a grave weakness where legibility is all-important.
Certain peculegible
liarities of some of the letters of this fount
may be mentioned. Notice the
it
loses
its
narrowness of the
J,
double V, making
remark
it
is
a real
calls for
any special
without at the same time having
;
None
and the
lost
any of
its
legibility.
is
sloping,
a rare feature in
common
serifs
in
u are unusual.
The
fount was
first
1905.
is
piquancy and charm to the fount, which when not overdone has a distinct
The varieties of the same letter suggest the human element,
artistic value.
which is seldom evident in the product of a printing machine.
Most of
H
66
R
^
A X
** '*
F F
P)
'
'
GHIIKLMN
G
/"~\
T~\
Y~\
~T
UVXY YZ
abc
M, N, O,
it is
S,
and
adherence
strict
to
While
to Z.
much upon
early
standard
member.
o pq
rs
u v
wxy z
second
thick
Q,
has
been
and
the second
same
56.
member,
of
first
in
length
as
the
second
member,
The
together with the sloping serif.
old form of the U, which contains a
adhered to.
The form of the
is
particularly chaste.
The
same
characteristics
daintiness
as
The
fount.
of
lightness
and
same
the
capitals
of the
skill
of the
type-designer
degree when
designing lower-case letters than when
deciding' upon the forms of capitals.
is
taxed
In
the
in
fount
greater
before
us
ascenders
the
is
case of
particularly
f,
noticeable
in
the
*,
r,
Ik
II
OO
EUl HH
If If
as well as
The unusual
writing-line.
of these parts produces an open
length
'
above
IF
the
character
when
the type is
composed, and this of course is one of
light
FIG
30
Point.
S7
67
ABCD EF
and
we
'find that
f,
w are so placed
The two
GHIJKLM
NOPQRST
k,
m
v's
produce a narrow
letter, which is, however, very pleasing.
This fount is of German design, and was
in
as to
UVWXYZ
ATHENIAN
Stephenson, Blake
in 1910.
&
Point.
&
Sons,
Sheffield.
FIG.
ABCDEFG
HIJKLMN
OPQRSTU
V WX YZ
abcdefghij
klmnopqr
stuvwxyz
HALLAMSHIRE OLD STYLE
&
36 Point
FIG.
59.
&
Sons,
58.
display
is
an outline
It
without great weight is required.
is clear,
legible, and of very good form.
Athenian
legible
letters,
is
which
however, as
uniform in width.
are,
nearly as possible
The difference between the thicks and
Stephenson, Blake
30
is
fount was
first
issued in
1889.
having the
is
fount
proportions of its
The letters
capitals distinctly narrow.
owe little of their character to traditional
forms.
general
This
particularly evident in
the curves of B, P, R, and S, and in the
is
68
precision in the drawing of the letters, has allowed an element of freedom
to enter into the
rendering of the forms, which gives the fount its uncon-
ventional
character.
Notice
that
the
member
second
of
not
is
The
ABCDEFG
HIJKLMN
OPQRSTU
VWXYZ
abcdefghi
jklmnopq
rstuvwxyz
LINING
MODERN
Steplienson, Blake
&
&
Sons,
Sheffield.
FIG.
60.
is
very
identical
which
of
twenty-two
are
practically
Charac-
serifs.
of the
tails
member
of
and Q, and
of R.
The
the form
in the third
lower-case letters
legible
and
distinctive.
it
is
at least
The members
have
all
no
The
serifs.
white
spaces
There
variety of width
quite
is
in
also a considerable
the
letters,
where
Z)
69
ABODE
FG
K L M N
O P Q R
S T U V
WXYZG
GROTESQUE CAPITALS,
Miller
&
36
Point.
Richard, Edinburgh.
FIG.
The
standpoint.
its thicks and
legible
certain
relations
that
to
This alone
legibility,
the
is
word
last
Abandoning the
lettering.
in
art
discuss
it
purely from
this
point
mum
line of this
this point of
It
view
to be a success.
In
characteristic
is
produced by
exist between
which
height,
as
ABCDEFGH
must
well as
JKLMNOPQ
R5TUVWXYZ
its
in
members
the
it
of view.
be
serifs,
In
separate parts.
the fount before us, twenty of the letters
are
to
said
nor any
standpoint and
the
letter
by the form of
thins,
61.
remembered
root form of a
be
may
be
illustrated in
the endeavour to
much
capitals of fount
most
abcdefghijkliun
opqrstuvwxyz
SANS-SERIF
Miller
&
No.
7,
36 Point
Richard, Edinburgh.
FIG.
62.
7o
are
is
The
less legible.
ABCDEF
GHIJ K
LMNOP
\STTU
vwxrz
as
distinctness
and
fount,
grotesque
height.
The same
portions
of
say
two-thirds
the
might have
been reached by using the same proresult
but
letters,
as
the
having
The
thick.
use
where
reap
the
sowing
has
been
niggardly.
in reference to
abcdefghij
klmnopqr
stuvwxyz
OLD FACE
H.
W.
Caslon
ITALIC, 48
&
Fj G
Co.,
63
Ltd.,
Point.
London.
particularly
of
the
f,
the normal.
in
are
r.
under,
The
Twenty-one
uniform
are
letters
while three
and
j,
in
and
fount was
width,
two over
first
issued
1906.
The
of
letters
are
Roman Old
very
close
Face,
with
Italic
in
71
right our writing
character of Italic writing
to
left
naturally
made
slopes
towards
the
The
right.
free
show
his skill,
of the letters
Some
and get off the conventional track once in a while.
in the alphabet under review, J, Q, T, Y, show this desire
The
in
This was
and was
carried
entirely in
is
it
Italic
a matter for
ideal,
and
ought
little
fount of
first
Venice,
as
to
it
it
Italic
for a
originally
for
the
by Jenson, who
Without doubt Italic
effect
1470.
regret that
is
was cut
intended
into
in
freedom.
it
is
not
more
is
extensively used.
appeal to
all
who
a beautiful face,
attempt to get as
For verse
space than
less
much
and
it
it
is
Roman,
printing as possible
into a page.
It
is
interesting
to
Face
Italic
lower-case letters of
letters are
not joined
Some of
the letters are particularly graceful in form, noticeOne characteristic of this fount is the harmony
ably the f, g, p, v, w, and z.
which exists between all the letters in it.
v, w, x, y, and z, even though
to
they are unlike any of the other letters in detail, yet are quite in harmony
This is more than can be truthfully said of the same letters
.with them.
in
in
relations
The
fount Fig. 64, based upon Cheltenham Old Style, offers the printer
alternate forms of several of the letters.
The opportunity of occasionally
introducing a more ornamental form of capital, if not overdone, gives a
certain variety, not out of keeping, in the use of Italics.
of course be introduced sparingly ; too much of a good
how
good,
is
good
for nothing.
Such ornamental
thing, no matter
variations cease to be
72
AjlBCD
upon
every
possible
The
occasion.
relation
of this fount
of course, similar to
is,
while this
HIJKLM
is
the parent, it
of the Italic.
The
shows the
latter
An
alternate
feature
teristic
form
of some
charac-
is
of the letters
where
h,
The
y are in duplicate.
similarity between the thicks and thins
of the lower-case forms is as unw,
WXYZ
a
and
fortunate as
CHELTENHAM OLD
H.
W.
Caslon
&
in the capitals.
On
Whether
genitor of all italic founts.
it
is
because the eye through long
usage has become accustomed to the
Face
Italic
forms,
or
whether
more
upon
It is
48
FIG.
is
Old
J^lmnopqrst
it
Point.
along
Roman
64.
with
in
Cheltenham
1900.
Old
Style
PLATE XXV.
ROSE, THISTLE,
PIECES.
cccoo
Ornaments by H.
W. CASLON &
Co.,
Lm
PLATE XXVI.
CHRISTMAS CARDS.
fmas
1911
Mr & Mrs
ST.,
this
Christmas Season
all
to
their friends.
Manfield
ROSE
Martin
J.
Boroughbridge
YORK.
Yorkshire.
Christmas 1911.
Mr # Mrs
^eorge Gross
^December 25t6,
Paper
"Toned M.F.
Printing"
W. H. &
A.
RICHARDSON,
Mill
No.
91, Springwell
Paper
Mills,
Jarrow-on-Tyne, England.
PLATE XXVII.
1763
COTTRELL
JACKSON
PICTURE TO YOURSELF
the
1794
THORNE
BESLEY
monk,
with
What a period of
printing a book.
invention and industrial activity lies
1819
BLAKE
1757 the
Reeds, and their
predecessors,
1792
CASLON
Since
Stephensons, Blakes,
1849
the
modern method of
this the
FOX
in
sitting
1838
mediaeval
development.
The
1819
GARNETT
and progressiveness
of the firm
1861
REED
1830
STEPHENSON
CHARLES
REED & SONS
of a century ago.
1841
STEPHENSON
BLAKE & CO.
SIR
Paper
"Glazed Amber"
Old Style
The
18 point
Sir
Sheffield,
8 point Winchester.
9,
Peterculter, Aberdeenshire.
PLATE
XXVIII.
LETTER HEADINGS.
Slock
in
Always
.
In
CANES
Garden
BULBS
RAFFIA
AND
Every
Season
AND SEEDS
BEDDING OUT
PLANTS IN POTS
TROWELS
LAW MOWERS
their
AND
Everything [or the Garden.
Requisite.
KNOX
GLASGOW.
ST.
SMITH
KEMP
&-
NURSERYMEN
SEEDSMEN
FLORISTS
725
GEORGE STREET
EDINBURGH
HAMPTON
BROTHERS
FURNISHING
IRONMONGERS
LEA ROAD
Type by H. W. CASLON & Co.,
Paper
Ltd.,
SOUTHSEA
JOHN
B.
&
MACNAUGHTON, 74 York
Street,
Glasgow.
Sheffield.
PLATE XXIX.
NECHTAN
WATERMARK
THIS
IS
A GUARANTEE
FOUR THICKNESSES
but only
ONE QUALITY.
JOHN
from
MACNAUGHTON,
AGENT FOR ALL CLASSES OF PAPERS,
74 YORK ST., GLASGOW.
B.
Type by STEPHENSON, BLAKE & Co. and Sir CHARLES REED & SONS,
Old Style No. 5 48 point and 18 point Windsor 14 point Italian Old Style
;
Paper
"
JOHN
B.
MACNAUGHTON,
Sheffield.
Italic,
14 point.
PLATE XXX.
MENU AND INVITATION
CARDS.
nn
MENU
TOASTS
SOUP
"THE KING"
Proposed by
Tomato
Clear
THE CHAIRMAN
FISH
"OUR GUESTS"
Baked Halibut
Salmon
Responder
Proposer
Mr
MASON
Mr MILLER
JOINTS
Roast Beef
Lamb
Roast
"THE PRESIDENT"
Cabinet Pudding
Responder
Proposer
SWEETS
Mr
BRAND
"THE LADIES"
Proposer
nn
ANDREW
Apple Tart
Fruit Salad
TEA
Mr
COFFEE
Mr
ICES
Responder
MANDER
Mr PURVIS
nn
ua
Company
to
Dinner
in
the
Art
Galleries,
Paper
" Glazed
Amber"
The
to Charles
on the
at Six o'clock.
9,
Peterculter, Aberdeenshire.
THE
GREEKS 6? ROMANS
THE
LIFE OF
DESCRIBED FROM
ANTIQUE MONUMENTS
BY
E.
GUHL &
W. KONER
F.
HUEFFER
LONDON
Paper
"Toned M.F.
Printing"
W.
H.
&
A.
RICHARDSON,
Mill
No.
91, Springwell
PLATE XXXII.
Eight ornaments composed of three Vine units repeated.
W. CASLON &
'
of four
Rose
units repeated.
73
The
capitals of
Fig.
of
any,
the
remark
for
call
letters
condemnation or
either
praise.
word
in
Italic
few
essential differ-
in
fact
founts in
the
is
the
last
direction
and
discretion
All
respectable
ponderosity.
the
have
respectability remains.
Fig. 66
is
of
to this family.
breadth
squarely
letters
finished
call
serifs.
Few
of
the
for
the
This lower-case
Italic
has a character
ABCDE
FGHIJK
LMNOP
QRSTU
VWXYZ
abode fg
h
ijklm
nopqrst
uvwxyz
CHELTENHAM HEAVY
H.
W.
Caslon
&
ITALIC, 48
FIG.
65.
Point.
74
ABCDEFGHI
JKLMNOPQR
STUVWXYZ&
which
of the same
difference
&
Stephenson, Blake
Style
Italic,
24
Sons,
Sheffield.
FIG.
66.
includes a certain
letters
imparting to
their
subtle
forms a
spring,
lively
The
here.
Point.
&
The
very
slight
thicks
and
thins,
fount.
between
the capitals
abcdefghijklmn
o pq rstuww x yz
LINING ITALIAN Old
harmony with
in
is
general
character
of
the
VEFGHI
JJKLMM
and
impairing in any
The
the letters.
evident in
serifs is
and
f,
g, h, k,
m,
like
z,
capital
made
joinings are
1,
m,
n,
t.
in
9.0
and
that
clearly
e and
still
t.
it
of
smaller.
Vestiges
evident in the h, i, k,
"
"
The
is
and
shows
combination
VWXYZ&
n, p, q,
r,
The
the legibility of
absence of terminal
way
RftSTTU
of
abcdefghij
klmnopqr
r
stu
first
issued
vw xy z
Blake
&
Co.
36
Sheffield.
FIG.
67.
Point.
&
Sons,
75
Winchester Old Style (Fig. 67)
a very
fount of
graceful
is
The
Italics.
similar
to
of the
that
somewhat angular,
as in
capitals,
being
v and w.
The
ABCDBG
HIJKLMN
OPQRSTU
VWXYZ
The
fount was
De Vinne
Italic
of
form each of
(Fig. 68)
its
members.
capital
is
abcdefghij
in all
De Vinne
with
respects identical
in the slope
issued in 1909.
first
except
Only one
and lower-case
klmnopqr
stuvwxyz
A'BC'DEFG
HIJKLMN
OPQRSTU
WX YZ
abcdefghij
klm nopq r
stu VW xy z
MORLAND
H.
W.
Caslon
ITALIC 30
&
Co..
FIG.
69.
Ltd..
Point.
London.
DE VINNE ITALIC
Stephenson, Blake
&
36 Point
&
Sons.
Sheffield.
FIG.
is
The
however given.
first
in
68.
1894.
Morland
Italic
letters
the
are
capitals
and lower-case
Lower-case h
(Fig.
is
letters
very
pleasing,
Q, T, and D,
v, w, y, and z.
perhaps the
least
satis-
The
fount
76
Writing of Gothic
character was confined
almost
Northern
of
nations
Europe, and
we
result
the
to
entirely
as a natural
find
that
the
The
principal
feature of Gothic or Black
Letter
straight upright
while
the
members,
white
inter-
Black Letter
selves.
r f0f)t jf1 1
seldom
round
acter
in
form
it
heavy
connected by
angular
thick and
thin joinings.
Gothic
char-
extreme
its
consists of
members
short
in
is
Like
Architecture,
it
home
the Southern
among
nations,
of
it
its
ORIGINAL BLACK, 48
H. W. Caslon & Co., Ltd..
FIG.
70.
Point
London.
among whom
itself.
it
found
77
When
diamond
is
it
size,
readable,
skill
but
Newspaper or book
quite illegible.
have had the clear
Roman
type,
is
work of
the early
was insufficient to cut type of pearl
as may be seen in Modern German
limited to
initials,
may
be said to be
The
appear smaller and lighter than the same letters printed in black.
The fount under consideration is very heavy, and is very distinctive in
"
"
it is well named
character
Black.
The letters are very wide
Original
in relation to their height, averaging over thirteen units in width to ten
letters
Some
units in height.
the K, which
is
as, for
instance,
Black Letters, apart from their form, differ much from Roman ones.
In the latter characters no unnecessary parts are introduced beyond serifs
in Black Letter or Gothic, on the other hand,
or beginnings and finishings
and especially in capitals, many of the features are introduced for ornament
;
ones
E,
thereby
tend
H, N,
The
to
W,
make
etc.,
lower-case
the
less
distinguishable.
Other
letters
such
as
extremely heavy, following the same proBoth ascenders and descenders are very short.
are
ascenders in b, h, k, and
1,
78
are split, a form naturally produced by
the use of a soft reed pen.
Each letter
is
One's attention is
quite distinctive.
peculiar ornamental
pen-dash seen at the left sides of b, h,
and k, and to the curious misshapen
attracted
the
by
Notice
makes
for illegibility.
designed and
about 1740.
The
by Caslon
engraved
I.
71 are very
harmonious in relation to one another,
in
letters
Fig.
form of these
capitals
are apt to be
The
another.
shows evidence
In
employed.
also
some
considering
this
fount
it
tinguish
is
the
form,
while
others
are
W.
No.
Caslon
&
4,
48
the
FIG.
71.
characteristic
form of the
letters,
Point.
nor do the short sloping thin bars connected together by short thick verticals ;
79
these are added solely for the purpose of giving a sumptuous effect, and as
has been noticed in the case of O, N, and V, confuse rather than differentiate
the
forms.
Letter
comparison of Black
generally and Roman
capitals
the
reveals
capitals
that
fact
the
in
latter
is
added only
by way of workmanlike finishings, while
the thicks and thins in Roman letters
D, E,
the serifs
etc.,
are
The
good and
are extremely
distinct in form.
They
no
having
legible,
Black No.
unnecessary
parts.
early in the
igth century.
Black
principal
No.
members
beginning
thin,
Most
4.
are
curved,
swelling
of
the
usually
gradually
to
more
than
letters
however,
no one being
at
all
more
likely
ANGLO-SAXON
H.
distinctive,
to
W.
Caslon
&
48
Point.
FIG.
72.
be mis-
80
33
2)
<L
The
are very
much narrower
Black No.
angles
while
4,
between
the
than those of
naturally
members
also
the
are
less
The
in
abcfcefgbij
hlmnopqr
TUDOR BLACK
36
Miller
&
FIG.
73-
Point.
Richard, Edinburgh.
They do
not seem
Fig.
73
is
of a particularly free
in
character,
it
tinctive.
No
all
to
likely
klmnxxpqr
is
Being open
very legible and disstyle.
one of the
letters
be mistaken for
is
at
another,
BLACK No
Stephenson, Blake
&
3.
36
Point.
FIG.
74-
&
Sons.
8i
a fault
common
in
many Gothic
Most of
founts.
the letters
show
their
The terminations of
A, E, K, L, P, T, and V.
H, I, J, M, X, and Y could not have been produced naturally with the
pen, while the thin members of C, G, and T would have been more appropen
origin, particularly
priate
The
their
are
a,
c, d, e,
good
in
qualities
as
The
the
letters
more stiff in
Tudor Black was derived from an
old
MS., adapted
for
type, and
issued
&
Richard in 1878.
Black No. 3 (Fig. 74) is a fount of black
by Miller
capitals of
letters
No
CHAPTER
FIVE.
by means of
circulars,
booklets, and
pages
such
an
in
modern
business,
magazines occupies
important place
that in such a book as this a special chapter seems
necessary for
in
the discussion of
its
principles, and
the illustration of
its
practice.
thrown away.
of
skill
worded or the
advertisement or booklet printed upon a low grade paper and from poor type
whereas the
badly displayed, cannot long escape the waste-paper basket
;
attractive booklet of good size and shape, with its message interestingly stated,
pleasingly displayed in good readable type, and well printed upon attractive
paper, cannot fail to achieve its end, and its pleasant appearance and character
will save it at least for some time from the fate of all advertising literature.
83
buyer
second,
interest
satisfaction.
mental
six
possible
be,
successive
states
Any
advertisement induce these six mental states in the minds of a large percentage
of people within the area of his possible clientage, is a business builder, and
will
September 1910.)
Twenty
The Fra,
in provincial
period the attention of the public was arrested by placards on street hoardings,
but
offering something, always in large type, sans serifs, for nothing
;
now
realise
of purses
interest of the public of former times.
illustrations
entirely useless at this date, and buyers are now satisfied if they can secure
a good article at a reasonable price, and the sensible manufacturer or merchant
now employs
legitimate
means only
An
is
Now
places.
in
The
displaying
successful compositor
84
he
anything
The performance
of such a feat
is
The page
should
Perhaps
it
may
for a less
satisfactory
word.
The
of attractive display
Under the freest conditions
possibilities
message will, through his expert arrangement of type, make its strongest and
most effective appeal to possible buyers.
Advertisers who are not thoroughly
acquainted with the possibilities of type-display, would do well to give such
an expert compositor a fairly free hand in composing their advertisements.
In any case, as the final proof must be submitted to them, they have the
ultimate decision as to the form their advertisement should take.
The two
component items
in
the
construction
of a display page
the idea, and its
of a single individual, though the two
which
compositor
may exchange
ideas,
85
In the first method each
of necessary contrast only, both of size and form.
line stands by itself, and claims individual attention on account of its individual
This
character.
on the page.
common
to see used a
No
twenty sizes of type.
page without irritation and
set in
If the advertisement
enterprising advertiser with the sympathetic reader.
reaches the class who are users of the goods advertised, business will
naturally result.
who
is
is
compositor has no
compelled to use type of a
case
the
The
size.
and try to
wooed, not
their general business capacities, resolutely avoids the firms which adopt such
If the advertiser has something
really worthy of the attention of
he
the buyer,
should display his goods judiciously.
There is no need for
tactics.
86
him
expose the whole of the contents of his shop on the counter at one
A printed advertisement should be so well and so attractively arranged
time.
that all who run may read.
Advertising in extremely small or illegible type,
to
CHAPTER
SIX.
HE
the size and disposition of the type has already been settled by tradition and
practical considerations, but the display compositor has still in most instances
a wide choice of founts and sizes to select from, and a variety of arrangements
is
open to him.
The
who
architect
more complex,
observed.
still
in
involve
may
more knowledge of
the
detail
and be
as well as
by
art considerations.
make
the most
of his opportunities
and the recognition of his
limitations should prove a help rather than a hindrance to him.
The architect
The designer is restricted
is limited in the size, site, and cost of his building.
works, to
to
number of
is
compelled
in
their
know
limitations they
they cannot do
free
work.
If they
recognise
their
that there are things they may do, and things which
and the success or failure of their efforts will be largely
87
influenced
Such
also
under which
they work.
His conditions
will likely
and words
letters
first,
that
they shall
The
ment,
great principle of order is necessary and inevitable in any developwhether national or personal.
The compositor who picks up his
types and spaces from his case, arranges them in lines, and after printing,
returns them to their separate boxes, constantly recognises and acts upon
this great principle of order.
The human mind, while recognising and
We
of order, goes a long way to making up the sum of our human experiences.
The repetition of the same actions from day to day co-operates in the
formation of order, so that repetition is also one of the great principles, or
In the examples of type-display illustrated throughout
at least is a part of it.
the
differences
between
one
letter
between
capitals
and
lower-case
letters.
all
Plate XL is in striking
by the reader's knowledge of the language used.
In Plate XI. the principle of contrast with its auxiliary
contrast to Plate X.
emphasis
is
introduced.
In
this advertisement
of the
As
is
set
in
capitals
k
ft
I
'
<L>
.3
o
OH
x
x
X
UJ
H
<
j
Du
">.
O
o
O
e*
1
00
c
-g
EX
EX
LIBR1S
LIBRIS
CHAS. A. SCOTT
ALISON LOTHIAN
Ex
ROBERT
CALLANDER
ALEXANDER
YSE
IS
Paper
FORBES
THOMSON
BOOK
W. H. &
Libris
A.
RICHARDSON,
Mill
No.
91, Springwell
Paper
Mills,
Jarrow-on-Tyne, England.
PLATE XXXV.
PROGRAMME COVERS.
Birmingham
Dramatic Club
ORPHEUS
MUSICAL
SOCIETY
SESSION
1911-1912
::
::
::
ANNUAL SUBSCRIPTION
at
Payable
Ladies
Opening
-
of
Gentlemen
Session
-
7/6
::
::
: :
::
::
Southern Fruit-Growers'
DERBY HORTICULTURAL
Association
ASSOCIATION
PROGRAMME OF
ARRANGEMENTS
SESSION
Paper
"Dark
1911-12
Apricot Art"
April
9,
&
9,
1912.
Peterculter, Aberdeenshire.
PLATE XXXVI.
ROUGH COMPOSITION SKETCHES - TYPE ONLY.
Paper" White
Antique
Wove" W. H. &
PLATE XXXVII.
ROUGH COMPOSITION SKETCHES
Paper
" White
Antique
Wove "
W. H. &
A.
RICHARDSON,
PLATE XXXVIII.
PATTERNS COMPOSED OF SHAMROCK TYPE
UNITS.
"Dark
Apricot Art"
The
Street,
9,
London, E.G.
Peterculter, Aberdeenshire.
PLATE XXXIX.
Paper
"
W. H. &
A.
RICHARDSON,
INITIALS.
PLATE
IIV/-\^V*;Q*JUtMUiv5Ul MUjvlUKaUaVBUIl
XL.
LJ*<;>*LJWJLJVLJ
U*vUlw JUvU
LJ*V*UkvlLJ*V**LJ<??tW?tVLJII
oooononDDDaz^zaDaDtotaaaazoiDDDDtotDDDa^rDDDa^tDaDa^raaan^tDDDDnonD^^-xx^ODii
1
^
_
X
DO*XXv0L_.
H ********
******<
D0X-M-X00II
To
iimmmm
IIX4X4
The Monotype?
the only single -type setting and
casting machine on the market. It gives
It is
00000000!!I
0OOOOOO0I1
oiiiiiiill!
material required
by the Jobbing Printer. It is the
at
lowest cost
all
III
DDDDDDDDII
DX0000XDII
MONOTYPE
BORDERS.
B0*XX*ODII
0X-0"frXODII
DX00O0XDII
DDDDnDDDII
:::*BOB*:::!
VaoVoVis*!!
{"BOB*:::
:X-*BB*-:-::!!
::-'-:*a:-:-::
89
by
only of one fount, he has employed two methods to produce emphasis
The larger type being more distinct and
contrast of size and by colour.
more easily seen, appeals to the mind through the eye with special emphasis,
and the inscription as read by an intelligent reader, bears a close resemblance
It is a
to the same statement delivered by the voice of a trained speaker.
visible oration.
One
calls to
youthful days, who, to show the value of accent or emphasis, repeated the
same sentence with many different inflexions, emphasising each word in turn,
and
in
may do
compositor
whole
its
significance.
In
By means of type of
limited
way
the
a larger size or a
compositor
in this
who
sets
each
end he has
new
in view,
is
line
in
XVII.,
were by a border of unprinted paper.
here to over-emphasis, and the compositor
it
as
it
a different fount of a
by producing crude
The
however important
effects
"
use of a " catch line
is
different size,
defeats the
XXVII.;
that after this has caught the eye of the reader, the
most
crafts the
(letters
only or capitals and lower-case letters shall be employed in the whole or parts
He must also determine the positions and general shapes of the
of the page.
masses of type employed, the relative importance of certain words and phrases,
and
also the
At
first
for variety
Plate
IX.
may
may
may seem
sight these
The arrangement of
printed surface and margins, some variety is possible.
Two similar panels of type,
type shown on Plate IX. is the obvious one.
each containing identical matter set in capitals only, are shown. In example a,
the space occupied by the printed matter is large and the margins are narrow.
In example d, the panel of type is smaller and the surrounding margins
correspondingly larger.
will serve to
illustrate
Any
effect.
among
printers as to
what
is
a suitable
assist
us to
come
to
some
definite conclusion
other
words,
each
outside
margin
and
the
two
inside
margins
taken
The
case.
Any
text
each
face
Practical
other.
considerations
make
it
necessary that the margin at the lower edge of the page should be the widest,
" handle " of the book
as this is really the
the part it is held by.
Were
it narrower the thumb and
fingers would cover the print, and necessitate the
is
last lines
and a
definite
amount
of printed matter is required to be placed upon it, he must first arrange the
relative width of the type margins.
After this has been settled, his next
consideration is the general disposition of the masses of type.
This depends
almost entirely upon the nature of the advertisement and the items composing
If the advertisement is mainly composed of a paragraph consisting of
it.
connected sentences (a form of advertisement eminently readable and clear)
the subsequent procedure consists mostly in
and setting them, as in Plates XI., XIV., XVI., XXVII., and XXIX.
In most cases the details of the advertisement suggest the most suitable
sizes
XIX.
In Plate
arrangement.
They
three
consisted
main
advertised.
The
by a
third item
rule.
The
two
name of
items.
is
first
are the
made up of
Each of the
parts
first,
the
name and
address
of
the
firm,
second,
the
the
lowest
contained in
goods
sub-
92
The
central
hand compartment
contains
particulars
manner, and
is
different
to
as
the
materials
manufacture, sizes,
ways, but the arrangement shown
etc.
is
at
least
been
readable, arranged
in
used
in
set
in
in
the
other
a sensible
The
the book.
This
arrangement of Plate XII. arises out of the necessities of the case.
the
of
the
trade
mark
of
the firm, which is surrounded
page required
display
border composed of two separate units
The spaces at
repeated.
each side of this central panel were suitable for the inclusion of the
necessary
by a
thistle
by the use of
the former
only or lower-case letters only
illustrated in Plate X. (a) and
(V) and in Plate XL, the latter in Plate
capitals
is
well
XXVII.
In Plate X. (a) the panel is set in one fount of one size, and
capitals only
are used
in (b) the same matter is set in one fount of one size, and lower;
an
are employed.
The
effect
in
each
dignified
where
arrangement
very
This arrangement was in common use among the ancient Romans for init
was the only arrangement possible in those early
scriptions on stone
suitable
is
(b)
The
second arrangement
as a whole,
With
variety
the
less
pronounced and
introduction of two or
of effects
is
increased.
Plate
more
XI.
93
Plate XII. has
of one fount of capitals only.
both capitals and lower-case letters are employed.
and
five
sizes are
used.
In Plate
XIV. two
five
sizes,
of
five
its
italic,
sizes
XVI.
is
composed
sizes, in
is
only are well contrasted in Plate XXVII. the latter being employed for
the central panel and the former for the surrounding border
similar contrasts
,
are
in
shown
in
form and
Plate
XXIX.
position.
the
CHAPTER SEVEN.
purposes
of type-display the
inclusion
of a
good selection
ornaments are the
These
type ornaments is necessary.
means of introducing variety into the page,
be used with knowledge and discrimination.
of
One
it.
is
the
but
It
they
is
must
quite
as
temptation
place
ornamental
unlike
units
together
on
page.
series,
tail
that
pieces,
is,
etc.,
units
of different
should
all
be of
the same style, so that if combined they will harmonise with each other.
Whether they will harmonise with the type or not, is quite a different
question.
Though the compositor is not called upon to design the type
ornaments he uses, he should understand the principles involved in their
design, so as to be able to
combine them.
The forms
may
sources.
They
from
natural forms, such as plants, animals, fish, etc., or from forms not directly
traceable to nature, such as the elemental geometrical forms
straight and
In the
curved lines, triangle, square, circle, etc., and their combinations.
former case the designer is apt to succumb to the temptation to imitate
nature.
He
forgets that
ornament
is
95
this to be
kept in view
when
designing type ornaWithout being too pedantic upon the question of historical accuracy,
ments.
there should be at least a natural if not an historical harmony between the
an imitation.
Especially
is
It must not
printed page.
Ancients themselves were not slow to borrow from
all
The
are
various items
letters
upon
on
the
printed
reader.
skilful
use
page
The
of the
be
symbols,
means of
as
to be
in
harmony with
the
The
if it
it
size,
has personality or character, the eye of the discerning will never pass
without recognition.
RINTERS'
existing
between
the
two
elements
associated,
viz.,
Other considerations
exist,
such
as the
and orna-
ment, the positions and sizes of the various units, as well as the community
of spirit which should exist between them. It would be manifestly unfortunate
that a fine fount of type should be associated with ornament which was trivial
in character, or that type which was poor in form should be printed along
with
fine
ornament.
96
is
The
he may,
compositor has not the option of rejecting undignified matter
He must make sure that his
however, set the matter in an attractive style.
When two coloured
part of the business is as well done as he can do it.
;
determined partly by the considerations already set forth, and partly also by custom and usage.
Type is a series
of symbols based upon pen writing, by means of which we communicate with
Most people in reading are so much occupied with the sense
one another.
Harmony between
is
contained in the communication that they are not consciously aware of its
form, arrangement, or enrichment.
They are, however, unconsciously affected
by the interest of the message, to produce which is the function of the writer
and by the value or proportion of emphasis and its agreeable arrangement and
His business
enrichment, to produce which is the function of the compositor.
;
and display his units of type and ornaments so that the message
The
of the writer shall be felt, and this with the greatest charm possible.
compositor is the first to appreciate the. intention of the writer, and in making
is
to arrange
the message easy to decipher and pleasant to read, he collaborates with the
writer, and by judiciously emphasising his meaning, he stands in the relation
own
and illuminates
his
are
In
serving
both
he
glorifies
craft.
HE
principles
The forms
upon the observation of natural form.
employed in ornament are similar to those created by nature
These forms exhibit symmetry or like-sidedness, as
herself.
based
in
leaf,
fs^pT]
or by the
\*BJ*fr4
flowers
ifv^ji
arrange
and of
t^^H ment
^*<^ men.
radiation
illustrated
by
the
petals
of
The same
junction of stems and leaves.
in the bodies of animals
parts is seen
S*^a
of
Other principles of construction
are illustrated
when
etc., etc.
97
In
the
The
important principle.
in the case of type, the twentyThese he arranges and combines under conditions.
of
art
printing, repetition
uses
a
limited
number of units
compositor
six letters of the alphabet.
Such also is the case in the use
is
an
He may
of his ornaments.
take a simple
placing each
type ornament, say a leaf, and repeat it in a horizontal line
Different borders may
unit close to the last, he may form a band or border.
;
be formed by using the same units and altering their positions (Plate XXIV. D).
Other variations are possible in the making of a simple border with one unit.
may
be
made by
using two or
more
Plate
the resultant
equal spaces and placed in horizontal lines
named an open diaper, so called because the ornamental units are
alternated with
is
pattern
B is a close diaper in
not placed close together.
C
close together, but point in different directions.
which the
is
a close diaper
composed
is an
of two repeated units.
open diaper composed of two floral units.
It will be noticed that the roses and leaves in this diaper are diagrammatic
The
The
use
it
occur in large numbers, both mind and eye become quickly tired in trying
A series of Initials based upon mediaeval capitals is
to decipher them.
illustrated
on Plate
XXXIX.
CHAPTER EIGHT.
HARMONY OF COLOUR
THE USE OF
PRINTING PAPERS AND INKS.
EFERENCE
materials
been
has
IN
made
in
an
earlier
for writing
upon
chapter
in
to
the
early historic
The
Immediately prior to 1455 vellum or parchment was used for MS. written
books, and also after 1455 for printed books of the best class.
Paper had been used in China as early as 200 B.C., but was first made
in
made of
cotton rags,
were combined
in
European country
while
in
The
their manufacture.
to
produce it,
The printers of our own country imported most of their paper from
suit.
The first English Paper Mill was established at
France and Holland.
English paper was made there by
John Tate in 1495. Rags were so cheap, there was no attempt to introduce
any other fibre into its manufacture till the end of the eighteenth century,
first
experiments with
with the view to their use in the making of paper.
to
try
other
vegetable
fibres
are
98
99
with three surfaces
and VII.
Plates II.
Antique Laid,
Wove
and
Plates
I.
and VIII
Glazed, Plates
III.
Wove Unglazed,
and VI.
The
first
is
in
finished
Smooth,
Plates
XII., XIII.,
XXVI., and
production of novels.
are finished in different
Antique Wove,
Plates
The
is
is
paper
is
soft or
porous
printing papers
paper pulp
is
Not only
produced by passing the paper between polished cast iron rollers.
does this make the surface of the paper smooth, but it presses the fibres of
the paper closer together, and makes it harder and less spongy.
When line
blocks
are
printed upon
soft
all
100
the resultant print will be poor and weak, both in colour and in distinctness.
The weakness of the print is due partly to the absorbency of the paper and
partly to the openness of
art papers
whose
its
surfaces
The
surface.
are
from
some
such clay.
The printing surface when applied to this paper makes an instant
and perfect contact, leaving a full deposit of ink, which dries
quickly and
does not spread.
HERE
is
no need
in
itself
with the
art
its
functions with
In any case the machineman likes to use an ink which can be depended upon
to
results
without
He
also
expects that after careful making ready every print shall be clear and sharp,
and that each print shall be perfect and all prints of the same standard.
These
depend not only upon the quality of the ink, but upon
many other things, such as the making ready, the good working surfaces and
qualities of the rollers, the appropriate surface of the paper, and the absolute
desirable results
results
this primitive
attained at the
dawn of
the
art.
101
RINTERS
colour process.
bright and pure yellow, a pure crimson red, and a strong blue.
The resulting prints from such inks are usually fairly like the
originals,
the
The
colours
pure.
neutral
pure, i.e.,
no blue or
red
in
in
yellow,
red,
colour.
its
the
if
Should
quantity of red it becomes orange, and if with blue becomes green.
it contain even the smallest
quantities of both of these colours it becomes
correspondingly duller in colour and lower in tone.
neutral red would be free of either yellow or blue.
it
slightly orange
of both would
and the
make
it
In the same
way
a pure
pure neutral
blue would contain no red or yellow, it would not incline either to violet
or green.
Such pure inks are entirely theoretical, and neutral coloured inks
as described
The
three colours
Though
different
from
these,
with yellow.
has been
in
fact
upon the proportions of each of the two colours employed. A wide range
of greens may be obtained, varying from one which is almost yellow to
IO2
one which
almost blue.
is
It
is
where
green ends and yellow begins, or to say when green ends and blue begins.
The same may be said of violet and orange colours. Vermilion, for instance,
usually classed as a red, contains as
may
Inks
may
be
made
lighter
much
With a little
yellow as crimson.
be made by mixing the three primaries
white and black also may be employed.
medium, which still
by the addition of white, which renders
by the use of
at first, or
printers' thinning
Brown
are produced.
of blue,
of red.
will in
all
cases
make
is
it
duller as well.
Though
it
is
the exact colour of ink required from the ink maker, it is sometimes an
advantage to be able to slightly alter the tone or colour of an ink in the
In any case a knowledge of the primaries and their comalways necessary in preparing trial prints in colour on the hand
machine-room.
binations
press.
is
are
more
or less
transparent,
and
as
in
any
case the film of ink on paper is always comparatively thin, the ultimate colour
of the print is dependent upon the colour of the paper as well as upon that
of the ink.
Bright inks printed upon neutral coloured paper will therefore
if
EFERENCE
ment
in
principles
design
come
made
to principles of
order,
repetition,
into operation
in
and
variety.
connection with
arrangeSimilar
colour,
By proportion
principally those of proportion and contrast.
is meant the
relative quantities of colours occurring in a
printed page, as, for instance, the quantity of black type in relation to the
The
white paper.
Black, white, and grey may be termed neutral colours.
So
dictionary meanings of black and white are identical, viz., colourless.
long as white paper and black ink are used together, very little can be said
103
about the relative quantities of these, but when any other colour is used with
black upon white paper, the possibilities of harmony or discord are increased.
It
when
a bright colour
in the
printing of a page, the' former will attract the eye more strongly than the
As has already been said in relation
latter, bu,t only up to a certain point.
variety of form,
produces confusion.
to
little
creates
interest,
but too
much
variety
use of colour in, say, an initial or a headline may
along with black produce a fine effect, whereas alternate lines or alternate
words in black and colour is anything but effective, being distracting and
variety
The
Type
The
its
colour
is
dull.
more commendation than the picture which lies inside it. The
is
employed and illustrated in the use of black and
principle of contrast
coloured inks upon white and tinted papers.
Jet black ink printed upon pure
calls
forth
white paper gives the maximum of contrast, whereas when the tone and colour
A
of paper and ink most nearly coincide, the contrast is a minimum one.
careful comparison of many samples of black ink demonstrates that all are not
equally black, and a print from a half-tone block will reveal tendencies to blue,
While
it
would be
when
the ink
is
form
is
not
necessarily
Colour harmony
is
produced by the
instruments.
inclusion
of
many
Harmonious
varied
parts.
104
of colours and
tints.
Two
colours,
as
a rule, are
sufficient,
one of which
dull.
Should
three colours be used they may appear in something like the following prothe greatest quantity of surface should be printed with the dullest
portions
colour, the middle quantity of surface covered by ink of a moderate tint, and
:
It
the brightest of the three colours should be employed most sparingly.
may not be out of place to explain some of the more common terms
employed
the
hue
in
first
The
terms bright and dull refer to the hue, and the terms light or dark refer
can thus have a bright light or a bright dark colour, a
to the tone.
dull light or a dull dark colour.
The proper use of such terms will enable
We
a colour
Many
kind friends
who would
never
THE END.