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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 cover

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

Chapter 3: LIST OF REPRODUCTIONS
By Edmund G. Gress
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About This Book

A combined history and practical manual that traces the origins and spread of printing while offering detailed, example-driven instruction for contemporary typographic practice. It explains core design principles such as harmony, tone, proportion, spacing, and ornamentation, and shows how to apply them to a wide range of printed forms including books, pamphlets, catalogs, letterheads, labels, business cards, posters, newspapers, periodicals, and house-organs. Hundreds of reproductions and color plates illustrate type-face selection, layout decisions, and composition techniques, with an emphasis on legibility, appropriate use of ornament, and the connection between historic models and modern craft.

LIST OF REPRODUCTIONS

  • The first printed Declaration of Independence, frontispiece
PART ONE
WHEN BOOKS WERE WRITTEN
Page 1
  • The scribe at work, opp. p. 1
  • Assyrian clay tablet, p. 1
  • Ancient Roman reading manuscript, p. 2
  • Roman waxed tablet, p. 3
  • The Egyptian “Book of the Dead,” p. 3
  • Evolution of the alphabet, p. 4
  • Capital letters of the ancient Romans, p. 4
  • Uncial letters of the sixth century, p. 5
  • Half-uncial letters, p. 5
  • Gothic letters of the fifth century, p. 5
  • Page from the “Book of Kells,” p. 6
THE ORIGIN OF TYPOGRAPHY
Page 7
  • Portion from Fust and Schœffer’s Psalter of 1457, opp. p. 7
  • French playing card, a block print, p. 7
  • Image print of 1423, p. 7
  • Bible of the Poor, from block book, p. 8
  • Text page from the block book “Ars Moriendi,” p. 8
  • Page from an engraved wood block, p. 9
  • Page from separate metal types, p. 9
  • Two pages from the Huntington copy of Gutenberg’s Bible, p. 12
  • Decorated page from Gutenberg’s famous Bible of Forty-two Lines, opp. p. 12
THE SPREAD OF TYPOGRAPHY
Page 13
  • The Venetian style of typography and decoration, opp. p. 13
  • The spread of typography (table), p. 13
  • Page printed by Koburger, p. 14
  • The first displayed composition, p. 14
  • A page from the famous Bamberg Missal, opp. p. 14
  • The first italic, a page by Aldus, p. 15
  • Specimens from Plantin’s Polyglot Bible of 1569, pp. 16, 17
  • Gothic ornamental pieces, from a “Book of Hours,” p. 16
  • Page by England’s first printer, p. 17
  • Page in English by John Daye, p. 18
  • The first Psalter in English, p. 18
TYPOGRAPHY IN COLONIAL DAYS
Page 19
  • A title-page of 1655, with much type display, opp. p. 19
  • First book printed in English America, p. 19
  • Title-page of a Shakespeare book, p. 20
  • First edition of “Pilgrim’s Progress,” (reset by Whittingham), p. 21
  • First issue of the London “Times,” p. 21
  • Page from a chap-book, p. 22
  • Page from “Description of Trades,” p. 22
  • French specimen of 1742, p. 23
  • Caslon types and ornaments, p. 23
  • First edition of “Paradise Lost,” p. 24
  • Two pages from “Poor Richard’s Almanack,” p. 25
  • Italian specimen of 1776, p. 26
  • Pages from Bodoni books of 1789 and 1806, p. 26
TYPOGRAPHY IN THE NINETEENTH CENTURY
Page 27
  • A Morris title-page and text page, opp. p. 27
  • Page from a “Book of Common Prayer,” p. 27
  • A design of the rule-curving period, p. 28
  • Title-page of 1810, p. 28
  • Title-page of 1847, p. 28
  • Title-page of 1872, p. 28
  • Title-page of MacKellar’s “American Printer,” p. 29
  • A banquet program of 1865, p. 29
  • From a type-foundry specimen book of 1885, p. 30
  • A business card of 1865, p. 30
  • A business card of 1889, p. 31
  • Stationery composition of 1870, p. 31
  • The panel as used in 1893, p. 31
  • A neat letterhead of 1897, p. 31
  • Title-pages by Charles Whittingham, p. 32
  • Bradley’s adaptation of the Colonial style, opp. p. 32
  • A Jacobi page of 1892, p. 33
  • A Bradley page in lower-case, p. 33
  • A Bradley page in Caslon capitals, p. 34
  • A De Vinne page, p. 34
PART TWO
(The index figures refer to the number of the example)
THE “LAYOUT” MAN
Page 35
  • Booklet cover-page laid out with pencil and crayon, 1
  • Anticipating the appearance of the printed page, 2, 3
  • Ascertaining color combination with crayons, 5, 6
  • Laying out copy for machine composition, 4-a, 4-b
  • Table for ascertaining the number of words to square inch, 7
  • Notehead set without instructions, 8
  • Business card set without instructions, 9
  • Label set without instructions, 10
  • Notehead laid out for compositor, 11
  • Business card laid out, 12
  • Label laid out, 13
  • Layout of a cover-page, 14
  • Cover-page as set from instructions, 15
  • Layout sketch for a cover, 16 (insert)
  • The cover printed as indicated, 17 (insert)
HARMONY AND APPROPRIATENESS
Page 41
  • Harmony by the use of lower-case, 18
  • Harmony of type-faces and borders, 19
  • An architectural subject treated appropriately, 20 (insert)
  • A booklet cover suggestive of the subject, 21 (insert)
  • Cover suggested by old lock-plate, 22
  • An old lock-plate, 23
  • Inscription on a Roman arch, 24
  • Cover-page for a catalog of books, 25
  • A plain page for a plain purpose, 26
  • Treatment appropriate for a church program, 27-a
  • Portion of a page of an old manuscript missal, 27-b
  • Cover-page for a catalog of decorative materials, 28
  • The Colonial arch, 29
  • Title-page in semi-Colonial style, 30
TONE AND CONTRAST
Page 47
  • Contrast in color and tone, 31
  • Uniform tone and contrast of black and white, 32
  • Four ornaments, each of a different depth of tone, used in the construction of four pages, 33, 34, 35, 36, 37
  • Extremes of tone on book pages, 38, 39
  • Blending of illustration and text, 40
  • Spotted black tone of border and text, 41
  • Blending of illustration and type-face, 42
  • Uniform tone in classic typography, 43 (insert)
  • A study in uniform tone, 44 (insert)
  • Tone-blending of initial, headpiece and text, 45
  • Emphasis of parts to be printed in light color, 46, 47
  • Display lines should match the border in tone, 48
  • Uniform tone by equal spacing, 49
PROPORTION, BALANCE AND SPACING
Page 53
  • One method of determining the page length, 50
  • Another method, 51
  • Three widths of type-faces, 52
  • Type page in which vertical lines predominate, 53
  • An architectural comparison, 54
  • The conventional page shape, 55
  • Type page in which horizontal lines predominate, 56
  • An architectural comparison, 57
  • Page in which ornament, border and type-face are in proportion, 58 (insert)
  • Pages in which the type-face is not in proportion, 59, 60
  • Mismated type-faces and borders, 61
  • Vertical lines proper, 62 (insert)
  • Horizontal lines not suitable, 63
  • A display line surrounded by other type lines must be larger, 64, 65
  • Type proportionately too large, 66
  • Type proportionately too small, 67
  • A proportion that is about right, 68
  • Out-of-center balance on a card, 69
  • Type grouped unusually high, 70
  • Exact center is too low, 71
  • The point of vertical balance, 72
  • An architectural example of out-of-center balance, 73
  • A disorderly arrangement, 74
  • An ornament that balances with the design, 75
  • Out-of-center balance on an announcement, 76
  • The effect of horizontal lines in a type page, and how it is avoided, 77, 78
  • Spacing letters to obtain even tone, 79
  • Emphasis obtained by letterspacing, 80
  • The obsolete practice of spreading the lines over the page, 81
  • The modern practice of grouping the type lines, 82
ORNAMENTATION
Page 59
  • The egg-and-dart ornament, 83
  • The bead ornament, 84
  • The egg-and-dart ornament as a typographic border, 85
  • The bead ornament as a typographic border, 86
  • Conventionalized papyrus plant, 87
  • The winged ball, 88
  • The acanthus leaf, 89
  • Palm-like Greek ornament, 90
  • The Doric pillar, 91
  • The Ionic pillar, 92
  • The Corinthian pillar, 93
  • Ornamentation on an entablature, 94
  • Square-lined, ornamentless furniture, 95
  • Square-lined, ornamentless typography, 96
  • Dainty, elaborate rococo ornament applied to furniture, 97
  • Similar treatment of a program title-page, 98 (insert)
  • Slightly ornamental furniture, 99
  • Slightly ornamental typography, 100
  • Monotony and variety in strokes and shapes, 101, 102, 103, 104, 105
  • Roman architectural border and roman type-face, 106
  • Gothic pointed ornament and Gothic type-face, 107
  • Natural and conventionalized ornament, 108
  • Extravagant wall border ornamentation, 109
  • Roman scroll ornament cut in stone, 110
  • Type ornament based upon geometric lines, 111
  • Type ornament based upon foliage, 112
  • Ornament based upon the inanimate, 113
  • Ornament based upon the animate, 114
  • Ornamental hand-lettered effect, 115
  • Corner ornaments, from bolts on inscription plates, 116
  • Decoration from a manuscript book, 117
  • Filling blanks with ornamentation, 118
  • Semi-ornamental ecclesiastic style, 119
  • Initials of various kinds, 120
  • Simple ornamentation applied to letterhead, 121
  • Appropriate ornamentation on a modern booklet, 122
  • Effect of alternating colors, 123
  • An ornament based upon the animate, 124
  • The significance of ornamentation applied, 125 (insert)
THE TYPOGRAPHY OF BOOKS
Page 67
  • Two model specimens of book typography, 126, 127 (insert)
  • Title-page of a book of classic poems, 128
  • Title-page with a nineteenth-century motive, 129
  • Two book pages inharmoniously treated, 130, 131
  • Two pages, composite Colonial and modern, 132, 133
  • Two pages constructed with care for detail, 134, 135
  • A text-page in modern roman, 136
  • A text-page in old-style type-faces, 137
  • Title-page with an Italian motive, 138
  • Page from a children’s book, 139
  • Harmony in tone of type-face and decoration, 140
  • A title-page of classic design, 141
  • Classic feeling in a modern title-page, 142 (insert)
  • Text-page of a Roycroft volume, 143
  • Text-page from a book by De Vinne, 144
  • Two pages from a small ecclesiastical book, 145, 146
  • Gothic treatment of a book of poetry, 147
  • Title-page with a French motive, 148
BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS
Page 75
  • Title-page by Goudy, 149
  • Two pages from leaflet in simple typography, 150, 151
  • Three easily-read pages by Sherbow, 152, 153, 154
  • Two typographic leaflet pages, 155, 156
  • Three pages in which rules are factors, 157, 158, 159
  • Label on a brilliant cover, 160
  • Admirable treatment for small amount of matter, 161
  • Adopting a photograph of wrong proportions, 162
  • Two artistic pages from type and rule, 163, 164
  • Rear and front cover designs of unconventional booklet, 165, 166
  • A prospectus page by Bradley, 167
  • Dignified typographic beauty, 168, 169
  • Hand-lettered cover page, 170
  • Representative page from a commemoration book, 171
  • Unconventional arrangement of a booklet page, 172
CATALOGS
Page 83
  • Page from an automobile catalog by Cleland, 175
  • Unusual treatment of a page, 176
  • Architectural title treatment, 177
  • Effective results obtained in a simple way, 178, 179
  • Inside page and cover of a publication catalog, 180, 181
  • German poster type on a catalog, 182
  • Title-page and inside page of a museum catalog, 183, 184
  • Rules on a book catalog, 185
  • Type matter prominently treated, 186
  • Unusual automobile catalog page, 187
  • Tabular rules in a wine list, 188
  • German wine-list treatment, 189
  • Title-page of an exhibit catalog, 190
  • Capitals and italic for descriptions, 191
  • Page from a sewing-machine catalog, 192
  • An attractive background, 193
  • Artistic catalog treatment, 194
  • Tabular matter in a catalog page, 195
PROGRAMS
Page 91
  • Program cover-page in ecclesiastical style, 200 (insert)
  • Economizing space on a program, 201
  • Missal style of church program, 202
  • Classic treatment of a church program page, 203
  • Program page in semi-missal style, 204
  • Generous margins on a program, 205
  • A dance card, 206
  • Page from a booklet program, 207
  • Unconventional treatment of a dance program, 208
  • The decorative border on a banquet program, 209
  • A halftone decorative background on a program, 210
  • A booklet program, 211
  • The banquet program in the form of a check book, 212
  • Humorous treatment of titles and odd arrangement, 213
  • Suggestion for a menu page, introducing a bit of fun, 214 (insert)
  • A classic menu page, 215
  • Program used by master printers, 216
  • Dignified style for menu page, 217
  • Treatment simulating woodcut decoration, 218
  • The missal style adapted to a menu program, 219
  • Unique arrangement of a menu page, 220
  • Excellent typographic treatment, 221
  • Refined entertainment program page, 222
  • Two pages from an entertainment program, 223, 224
  • Program page in lower-case, 225
  • The decoration was in color, 226
  • Program in Gothic style, 227
  • A well-arranged page, 228