The Art & Practice of Typography / A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement

Example 306.—Artistic interest of a medieval character has been given this envelop corner by the use of Old-Style Antique, and especially by the decorative device in color. The design of this envelop is distinctive, and mail from this source would easily be recognized after one or two letters had been received.

Example 307.—Occasionally it is good policy to bring out the name of the business in a prominent way, especially if it can be treated in a decorative letter such as the one used in this instance. Not every business will allow of such prominent treatment, and in this matter the printer needs to use judgment. The type has been aligned at the left.

Example 308.—It is seldom that an envelop corner is treated so harmoniously and artistically as the one under consideration. The general character of the decorative device is matched by the style of the type-faces used. The squaring of the type group also adds shape harmony. This corner card, designed some years ago, is proof of the fact that good work is always good.

Example 309.—Seldom should an envelop corner card be as elaborate as this one, but when such an arrangement is allowable, as in this case, the design shown is worthy of consideration. The type-face is Caslon with Caslon Text, and the bands are made by using square ornaments with alternating blank space inside of rules.

The printer called on to produce a billhead has a responsibility seldom fully realized. He has a duty to himself, to his customer and to those who come after, which is best carried out by suitable and dignified type composition. A business house has been known to use the same design of billhead for fifty years, and it is a fact that many merchants cannot be persuaded to change the style of the billhead, no matter how homely it may be.

Billheads and statements should correspond in style to that of letterheads and other forms of stationery, and in changing the design it must not be forgotten that these other forms should also be altered to harmonize. The paper should be of the same finish and color, and the main features of type arrangement similar. The type-face must be the same on all.

The standard sizes of billheads for commercial purposes are:

Professional billheads are usually an inch or two smaller than the smallest size of commercial billheads.

There is a variety of sizes in statements. Popular sizes are those cut out of folio (17 × 22 inches), which then measure 5½ × 5⅝ inches, and 5½ × 8½ inches.

Whether ruled or not, it is customary to allow about 2¾ inches for the printed heading on both billhead and statement.

Because of the extensive use of “window” envelops, the heading should be so arranged that the name and address of the customer can be placed in the lower left part of the billhead. The exact position can be ascertained by placing a billhead over such an envelop and jogging the two at the head and left side. When held to the light the opening in the face of the envelop can be traced on the billhead. The billhead is folded to fit the envelop and inserted so that the name and address can be seen.

Example 310.—This specimen presents the main features of the average commercial invoice, or billhead. Usually there are conditions of sale which can be placed at the top of the heading with a rule underneath, altho they are sometimes arranged at the side or at the foot of the invoice. The name of the company is given most prominence, followed by mention of the commodity or product. The number, street and city naturally should be displayed so that the customer’s location can be referred to quickly in correspondence. “Sold to” precedes the space left blank for the customer’s name, and this, as has been explained, should be in the lower left corner. Blanks for the date, terms, invoice number, ledger number, customer’s order number and other notations of record may be grouped in convenient open spaces.

Example 311.—The composition of a billhead really begins with the composition of a letterhead. It should be possible to take any letterhead and by adding a few lines convert it into a billhead. The specimen under consideration shows how this is done. The original of this billhead was exhibited as Example 283 in the preceding chapter. The conventional phrase “Sold to” is placed in its customary position and the other phrases added at suitable spots. Printers should keep this suggestion in mind and, when laying out a billhead, design the upper part as they would a letterhead.

Example 312 (Insert).—This is an interesting representative of the non-stock-ruled heading, and it also illustrates the changes the typewriter has wrought in billhead printing. When bills were written in by hand, script type and dotted rule prevailed, but because of the use of typewriters, script and horizontal guide lines are gradually disappearing from the face of billheads. The example under consideration also demonstrates the effectiveness of Caslon lower-case for billhead purposes. When every line is in roman lower-case there is harmony, but sometimes there is also monotony. In this instance, however, the introduction of italic and small caps would alter the plan of the heading and detract from its distinction. The rule border and the panel for the insertion of customer’s name and address give distinction.

Example 313 (Insert).—There is here another demonstration of the transformation of a letterhead into a billhead. Remove the words “Sold to” and the ruling at the foot and the form is ready for the letter sheet. Kennerley type, altho primarily a book face, is also usable on stationery where neat, distinctive effects are desired. Capitals are spaced (as in the old books of Aldus), and italic is used with the capital lines, this use of italic also being suggested by the work of the Aldine Press. However, the specimen is not intended to be in the classic spirit of Aldus; it is merely a modern commercial suggestion.

Example 314.—Here is a billhead, or statement, in classic typography that suggests the style of the fifteenth century. The heading is practically in one size of type. Advertising distinction is obtained by using capitals for the name, capitals and small capitals for the business name and address, and italic for “In account with.” There is not much that is striking about this billhead, yet, printed on a fine quality of writing paper, it would make one really glad to receive a bill of this kind.

Example 315.—D. B. Updike makes plain by this specimen, as well as by the preceding one, that typographic art and good taste can be used in the designing of a billhead as well as in the designing of a book. The woodcut device has the same good quality as the typography. The old-fashioned “M” and “Dr.” are used, and blend well with the old dignity of the heading. The ruling on the lower part of both of these headings was printed from rules. There are other good printers who prefer brass rule to the ruling machine for billhead purposes. Machine ruling is convenient, but is not in good taste for billheads, statements and letterheads of really fine quality.

Example 316.—The stationery of a book dealer should have a bookish character—that is, the typography should be inspired by the same skill and taste evinced in the treatment of a good book. A well-designed type-face should be selected, and there should not be a great contrast in the sizes used. When it is possible to have two printings, the extra impression could take the form of a simple rule border in color, as on this specimen. The first type line runs almost from border to border at the head, and another portion of the copy is arranged directly under it in three even lines. The “Sold to” occupies its approved position. No guide lines are provided for the accountant’s part of the bill, as with a typewriter the various items can better be filled in without them, and a billhead really looks neater without the rules.

Example 317.—For printing on colored stock strong treatment is sometimes advisable—treatment such as has been given this heading. On white paper the type sizes should be kept small, as the light background illuminates the print. White and black form the greatest contrast. There is not much contrast between blue ink and blue paper, for instance, and it is necessary to strengthen the print by the use of a larger or bolder type-face. The arrangement shown is unconventional. A full line has been made of the business title, the name itself being slightly emphasized by printing it in color and giving an initial effect to the first letter. Other parts of the copy are grouped at suitable points, “Sold to” occupying the usual lower left corner.

Example 318.—Many invoices and billheads now have the lower part divided into columns for taking care of the various items peculiar to the business, as in this instance. The customer usually decides when he wishes to depart from the conventional ruled effect, and it is just as well for the printer not to suggest a change of this sort, as it means extra composition for which the customer may be disinclined to pay. The type-face on this well-arranged example is a good one for plain commercial headings. It would be well, for convenience, to place the “M” in the lower left corner and move the building address to the right corner, over the street address.

Example 319.—A decorator’s stationery seems to offer opportunity for effects away from the customary plain treatment of the average heading. This statement, in the same style as a letterhead that accompanied it, shows a decorative type-face and an arrangement that could possibly be called decorative. The upper two type groups are joined by the uncial initial, and the two groups at the left are connected by the flower ornament.

Example 320.—This is an unusual arrangement for a billhead. As the business is stated in the firm name, there is not the usual necessity for a second display line. While this arrangement could be carried out in some other type-face, the serifless “block” letter as here used is not displeasing. The grouping of the branch houses is good, and other groups are also well placed.

Example 321.—Most business houses find need for credit bills, to be used when goods are returned or some error has been made in billing. Such forms are easily provided by using the billhead, adding the words “Credit Memorandum” at the head and changing “Sold to” to “Credit.” In order that credit bills may look unlike regular bills, they should be printed in color as is here shown.

Example 322.—All professional stationery should be refined. The sizes of paper and type should be small and the whole effect restrained and polite. Such work seldom changes in style, and consequently there is little variety. The form shown here would probably prove acceptable for many years to men of the medical and similar professions.

It may not be out of place to remind the reader that an invoice (or bill) is a list sent to a purchaser or consignee, containing the items and charges of merchandise that have been forwarded to him.

As to the statement: It is a common practice to send each customer at the first of the month a statement showing the debit balance of his account to date, whether it is due or not, enabling him to compare the statement with the ledger account. In order to call the attention of customers to the fact that payment is desired, many business houses send a statement whenever a bill is due (when goods are purchased on January 10, as an instance, at ten days, a statement is sent January 20).

There are numerous other forms used in business, such as checks, deposit slips, drafts, promissory notes, bills of lading and the like, but there is not space to show them here.

Such forms, if possible, should be in harmony with the style of the letterheads, billheads and other stationery. The same type-face should be used and the arrangement of display parts should have similarity.

The effect of an attractive package is recognized to be of such importance that a widely known manufacturing concern recently sued a competitor for imitating the appearance of its packages and labels. However, not all business men feel this way about it.

After spending time and money in the production of merchandise of high quality, it is more than foolish to economize on the packing.

It is possible, with good clothes well selected, to make an unattractive person attractive, and it is also possible to make an attractive person unattractive by poor clothes ill selected. Apply this.

The wrapping paper should be strong, and of color and finish suited to the article to be wrapped. Some stylish city dry-goods houses use paper with distinctive stripes or small monograms printed over its surface. A well-known haberdasher wraps his hats in soft black paper.

The selection of the wrapping stock should of course be governed by the character of the business and the class of customers, but as in similar instances, it is dangerous to underestimate the taste of one’s customers. The persons who lack appreciation of a neatly wrapped and attractive package are very few indeed.

Among merchants, druggists are known to wrap the neatest packages. This seems to be due in part to their professional training. Not many printers give their product a similar attractiveness at the time of delivery.

The art of making a good impression also includes the fastening of the wrapper. Cord and twine are commonly used, and interest is sometimes added by selecting appropriate colors. Linen tape for a business of an exclusive nature gives distinction.

Gummed-paper tape, while convenient, seldom looks well, and when printed on looks worse.

Corrugated board when properly used adds both neatness and protection to the package. Some printers have cartons made from this board, in which their product is packed and delivered.

The printed label is of the most interest, as it affords a spot of attraction and furnishes information needed in the delivery of packages. All labels should be planned with the wrapping paper as a background. A label may look well alone, yet when placed on the package may appear weak and uninteresting.

In order to test this, two labels of contrasting treatment are pictured mounted on a sheet of conventional wrapping paper.

It will be admitted that the stronger label is more striking and catches the attention. There are those who will prefer the weaker label because of its neatness and beauty, yet we must not lose sight of the fact that labels, unlike business cards and letterheads, are not usually seen at close range when on packages. A business card is examined a few inches from the eyes, while a label on a package is frequently viewed from a point several feet away.

There does not seem to be any standard size for labels. They vary from four, five and six inches wide to three, four and five inches high. When The American Printer conducted a label competition it specified the size as five by four inches, and this seems to be a good average size.

The paper on which the label is printed should be stock that pastes easily. White is used to the greatest extent, altho a cream-tinted color such as comes in Japan vellum is preferred by some persons of good taste.

Example 323 (Insert).—As has been said, this label shows the effectiveness of heavy effects. A design such as this has advertising value. It can be seen and read at some distance, yet is not offensive in appearance. The red border is attractive, and merges the label with the wrapping background. The type-face has decorative quality. The combination of black, red and cream in strong contrasts is worthy of study. As will be noticed, all capitals have been used, and there is not much space between the lines or between border and type-face.

Example 324 (Insert).—For small packages and for a business that places emphasis on daintiness this label treatment would be just the thing. The classic simplicity of its design and the mere touch of color should appeal to many. The main line is set in fourteen-point capitals and the other three lines in twelve-point small capitals. Letterspacing adds decorative interest and merges the letters with the background by allowing the paper to show thru. The type-face is Goudy Oldstyle. The dots between the words are hyphens slightly cut. The border is arranged to suggest an architectural panel. This label and the preceding one have been composed merely to suggest possible effects. It would not be difficult to adapt most label copy to the styles shown.

Example 325.—This and other hand-lettered labels included in this chapter are presented as studies for the typographer. Hand-lettered designs by good artists are usually arranged with much thought, and the details give many ideas to those who have trained themselves to grasp them. It will be noticed that the border of this label is composed of three lines, a heavy and light line close together and a light line a trifle removed. At the head are two lines of roman capitals and one of italic. Do not overlook the smaller capitals “M” and “O,” and the close spacing of the words in italic. The device is small and in color. The use of roman lower-case, capitals and small capitals and italic in the lower group should be examined carefully. While it is not possible to obtain exactly these same results with type, they can be approximated effectually. It is well, however, to emphasize at this point that in approximating the effects of any good piece of lettering it makes a difference what type-face is used. It will be noticed that the italic capitals in this specimen have a decorative quality. Such an effect can be imitated in a small way by the use of the swash letters that are furnished with some old-style italics.

Example 326.—This is another lettered design that is rich in suggestion. No border is used, and the lettering is arranged close to the edges of the paper. Contrary to the treatment of the preceding example, the lettering is all slightly spaced. While it is well for the young compositor not to letterspace lower-case, such practice is allowable when the results are good. The effect here is one of antiquity, especially since the letters are not perfectly formed (note the “m” in the word “Amsden”). Caslon Oldstyle should be used in planning this style of work. An unusual feature is that a part of the copy is placed at the foot of the label so that the address is written between two groups of lettering. The same plan is found in the preceding example.

Example 327.—There is suggestion of Italian art in this label. Similar effects could be closely approximated with typefounders’ material. Attention is called to the manner in which the letters are treated so as to avoid an excess of blank space in such groups as the “ATA” in “catalogue.” Rule guide lines in a panel are provided for the address. This space is usually left blank on modern labels, altho conservative houses are inclined to retain the rules. In line with old ideas, the “M” is included in the address portion. This letter is usually omitted on labels for the same reason that it is left off of billheads.

Example 328.—Closely spaced black-toned lettering is still liked by some persons, and there is no use denying that when it is well rendered the effect is pleasing. This example presents a mass of black lettering in three lines of equal length, the lines merging with one another to preserve the mass effect. The border, formed of a heavy and a lighter line, is drawn with human irregularity that is in keeping with the character of the design as a whole. The “For” in italic affords contrast in both form and color. Also note the treatment of “St.,” which is made small and placed in a position above the base of the other letters. This treatment is typical of antique typography.

Example 329.—That artistic quality and interest may be put in a label form by means of typography is proved by this example. The lacelike border, the spaced Kennerley types and the words and rule in red blend attractively. Advertising value is present, yet it is so merged with the general composition and the label that it is not offensive. In fact, it adds decorative qualities. This label form would look well clearly printed on a rough-finished paper of good quality—a hand-made paper if possible.

Example 330.—Another typographic label of character, a study in black and white. The border (a combination of a heavy and a light rule) was made intensely black to contrast with the white background, an effect as of color. A type-face (Bodoni Bold) with similar strong contrasts was then selected, arranged with liberal margins in the upper part. A suitable ornament in dark tones added the picture element, and the words “Deliver to” were widely letterspaced, as they were used decoratively. This and the other typographic specimens indicate the possibilities that are present in the everyday tools of the printer and the material that is available. Many printers feel that they are not able to produce typographic work of real quality, assuming that special equipment is needed. The truth is that many are not able to produce good printing because their type equipment and decorative material have not been well selected. The fact that there is a lack of suitable type-faces usually reveals itself to them after they have learned that one type-face is not so good as another. In the finished work there is nothing seen of the presses, of the imposing stones, or of the composing frames, but the print of the type-face is on every sheet.

Example 331.—A specimen in Caslon, in which roman capitals and italic lower-case (the Aldine combination) make up an interesting label. The swash italic capitals add a specific decorative quality. The large lower-case “f” gives a graceful touch to the “for.” Dotted rule inside the black border is a change from the conventional continuous line. This form was printed on Japan vellum.

Example 332.—This is another hand-drawn label with qualities that can be approximated in typography. Border, decorative device and lettering are in the same key, and the harmony is agreeable. There are those who thoughtlessly condemn black borders as funereal, a judgment that is based on prejudice and not on an understanding of their use. It is well, however, to caution the young compositor against abuse of the black border; it would be well if he were to use no black borders until he had developed taste in the practice of typography.

Example 333.—An unusual label design that could probably be improved with careful typography. The initials of the text lettering are not exactly harmonious, and the space between words in the lower group is excessive. Printers should practice on the improvement of the design.

Example 334.—A characteristic Goudy type arrangement, with a freedom of treatment that is distinctive. How many printers would give the prominence to “From” that it has here? This suggests the custom of printers of the sixteenth century in starting a title-page with a large size of type regardless of the importance of the word or words.

Example 335.—This label was used in mailing to a special list some fine pieces of printing. The name of each addressee was printed in with type as shown by the reproduction, and, needless to state, attracted attention. The treatment of this label is uncommon in another respect—the modest inconspicuousness of the phrase, “From the Bartlett-Orr Press, New York.”

It would do no harm if printers also studied the stock labels manufactured by certain stationery houses. They will find much that is poor and commonplace and little that should be directly copied, but there are many suggestions in label making that could be adapted. The “reverse-plate” idea is one. The label is set in type and a proof sent to the photo-engraver, who makes a plate in which the letters show white and the background black. This plate can then be printed in color on gummed paper and the paper trimmed so as to “bleed” the edges of the printed background.

Polite society requires that a visitor shall be announced by a card bearing his or her name, and the courtesies of business call for this same formality. The man called on unexpectedly is placed at a disadvantage if he has not understood the visitor’s name and has no idea of his business. A card that clearly tells both name and business prevents embarrassment and misunderstanding.

The card makes it unnecessary for the caller to explain who he is. Without the printed information he would likely need to introduce himself thus: “I am James Johnson. I am president of the Johnson Manufacturing Company. We manufacture machinery for the making of paints. Our office is at 320 Broadway. Our telephone number is Worth 4653.” But with all this neatly printed or engraved on a card, dignity is maintained and embarrassment avoided.

The sizes of business cards are far from being standardized. Examination of about one hundred business cards showed a range of sizes from 3 × 1½ to 4 × 2½ inches. The size of which there were most and which gave an indication of standardization was 3½ × 2 inches. Fully one-quarter of the cards were of that size. From this investigation it would seem logical for printers to use that size unless the customer orders otherwise.

White cards predominated in the lot examined, and this suggests that it is in good taste for the printer to use white stock on most of the business cards that he is called on to print.

Example 336.—If an effort were made to standardize the contents and arrangement of a business card, the plan presented by this example would probably result. The customer’s name is placed at the point of greatest prominence, a trifle above the center of the card. The words describing the business are second in position under the customer’s name. The street and number are taken care of on the next line, and under the street and number is the name of city or town. In the lower left corner is provision for the representative’s name. The telephone number, for which a business card is frequently preserved, finds place in the upper part of the card. A variant for the position of the street and number and the name of the city or town is in the lower right corner.

Example 337.—Here is a card that is a model of dignity and of simple business-card treatment. A good word can be said in favor of using the individual’s name in the center of the card and the firm name in a less prominent position. When a card is handed to a business man, he looks at it first for the purpose of finding out who it is that wishes to see him. A card of this kind tells him instantly. In many cases the individual’s name alone would be sufficient. No business is mentioned, as it is one of those cases in which it is assumed that the name of the firm provides sufficient identity. In omitting mention of the business, one should make sure that the firm is as well known as he assumes it is. If the name is not familiar to the person receiving it, he will be perplexed, not knowing if the visitor desires to sell him books, insure his life, or buy a bill of goods. In the typographic treatment of this card Cloister Oldstyle, capitals, has been used for the smaller line and Cloister Bold, capitals, for the larger line. This slight contrast in the strength of lettering in many instances gives quality and legibility to steel-engraved and lithographed business cards and stationery. The printer by having a well-designed type-face in two strengths will be able to introduce similar good qualities in his work. The spacing between words on this card is closer than that usually allowed by compositors. Close spacing between words is a quality found in good lettering and in good typography.

Example 338 (Insert).—While the main purpose of this chapter is to encourage the use of typography on business cards, a specimen of hand-lettering is used to point out forceful treatment that, aided by good printing, liberal blank space and high-class card stock, may sometimes be effective for business-card purposes. The printer using a card of this kind would see to it that it was not presented to a prospective customer who had a dislike for anything unconventional.

Example 339 (Insert).—Conceding that a conventional arrangement on a white cardboard is best for most purposes, it cannot be denied that a design of the strength and interest of this one would often be received with pleasure by the man in the business office. It is not unlikely that the thought would occur to him that the printer who can produce a card of this kind is qualified to design and print publicity matter equally attractive for other purposes. Bewick Roman is the decorative type-face shown. The border and ornaments used are essential to the good results in this design. The card would not be as pleasing with the ornaments or the border taken off. This card, by the way, is one of the good things arranged by Will Bradley back in 1905.

Example 340 (Insert).—Quality is added by an attractive black monogram on a background of white supplemented by the gray formed by the type group. This is an interesting specimen of business-card typography, suggestive of architectural panel treatment. The lines (in Cloister Title) are graded in size according to their importance, the telephone line occupying an unusual position between the street address and the name of the city. Because of its position, it also adds a bit of legibility and prominence to both of these lines.

Example 341.—This treatment is similar to the preceding example, with the decorative device in color.