Example 262.—Here we have a ticket of peculiar interest to women and the treatment is daintily appropriate. Caslon italic is an admirable letter for the purpose, as it is graceful and neat. Bold treatment and large type have been avoided, the main portion of the copy being grouped in the center and surrounded by liberal blank space. The outline illustration underprinting the type group gives added interest to the ticket and may have advertising value in the suggestion it presents of the evening’s pleasure. White card would be proper, and a buff or gray-blue stock might also look well.

Example 263.—This ticket presents the geometric, or so-called secession style; a mild example, tho. Because straight lines form its motive, some call it the mission style. There are possibilities in it for the typographer looking for fresh ideas with which to vary his work. Right here it may be well to warn compositors against becoming enthusiastic over every new style of type arrangement that may come to his notice. There are men who in their endeavors to do something to win fame—something astonishing and entirely original—set out on unknown seas without rudder or compass. The result usually is shipwreck. The printer who starts out to produce typography not founded on some proved and tried base builds a house in the sands that may come tumbling down at the first test of endurance. A type-face of squared shape such as the capitals of lining gothic is best fitted to accompany the squares and angular ornaments of the mission or secession style. A gray stock on which to print this example would be a wise selection.

Example 264.—This specimen will be recognized as an adaptation of the missal or mass-book style of treatment, mentioned in a previous chapter. It is an accepted ecclesiastical arrangement, and proves as pleasing on a ticket as on a title-page. Uncial initials (as are here shown in color) may be had of typefounders in slight variations. White or buff card admirably supports missal treatment.

Example 265.—Inspiration for ticket designs may even be drawn from the work of William Morris and the Italian printers who used the black-toned decorative border, altho this style should not be undertaken unless the proper border is available. The one here adapted carries out the idea fairly well. Old Style Antique set snugly to fill the panel gives the proper results, the capital lines also being necessary to this style. Tickets for educational and art functions especially lend themselves to this treatment and white card should be used.

Example 266.—The motive for this ticket form came from observing that art workers during the Middle Ages frequently engraved inscriptions around the margins or borders of plates, slabs, doors, and like objects. This suggested the adoption of the idea to carry a few pertinent words on an entertainment ticket. Cardboard of almost any color could be used.

Example 267.—Perhaps this arrangement could be described as a modern application of classic type effects. The display lines are in Cheltenham, a face that approximates some of the ancient Roman lettering, and the treatment of the ticket as a whole is chaste. The ornaments, surrounded as they are by blank space, emphasize the classic simplicity of the ticket. The type group is tapered to give proper symmetry.

Example 268.—This is purely a Colonial effect and closely follows the arrangements found on title-pages of the seventeenth and eighteenth centuries. Hair-line rules well separated by space were common in those days. The type here used is Caslon, a letter cut in the eighteenth century, and one especially suited to Colonial typography. Antique-finished card in white and buff is appropriate.

Example 269.—Dainty, refined effects are demanded by certain customers. This specimen demonstrates the effectiveness of such treatment on a ticket. Two sizes of type (Pabst), all capitals and slightly spaced, give the proper results. The ornaments are used as symbolic decoration.

Example 270.—The typography of this ticket is distinctly masculine. This result has been obtained by the use of capitals of a robust type-face, so distributed in size as strongly to emphasize the important phrases. Had this form been printed in one color, the two type lines now in color should have been reduced a size. It is well for compositors to keep in mind that when orange is used in combination with black, the portion printed in orange will be lighter in tone than that in black, unless the difference is provided for by bolder or larger type-faces. Any color of stock excepting dainty tints would do for this ticket.

Example 271.—This unusual arrangement was dictated by the nature of the cab ornament. The shapes of the type groups are built about it. Were the cab ornament not used, another arrangement would be necessary. There are social clubs of all kinds in every city, and balls are frequently held for which tickets are needed. An element of interest such as is given by the cab ornament would surely be appreciated by such customers.

Example 272.—Occasionally there comes to the printshop a customer wanting a ticket which cannot easily be duplicated by any one with a press and a few fonts of type. Instead of referring the customer to a lithographer the printer should ascertain if he is not in a position to produce such a ticket. The style of the one here shown is suggested for such emergencies. A type border printed in color forms the background. Over this print the reading matter, and for the display lines use a type-face that happens not to be possessed by other printers in the same city. In providing a border for this ticket a rule with double lines has been used, thus blending it with the double lines of the type-face. White stock should be selected for this ticket.

Example 273.—The corner decoration is in keeping with the subject of this ticket, and the arrangement as a whole is suggested for similar purposes. Any color of cardboard is suitable.

Example 274.—The decoration of early French books furnished the motive for the typographical treatment of this ticket. It is submitted simply to demonstrate that ideas for arrangement can be picked up in many quarters, and as a suggestion that typographers go thru the world with eyes open.

Is there a standard size of letter sheet and envelop for commercial correspondence? A look thru the letter files of any business house will reveal the interesting fact that most of the letters are on sheets measuring 8½ × 11 inches. Letter sheets of about this size have been in use for many years. From De Vinne’s Price List of 1871 we learn that 10 × 16 inches (8 × 10 folded) was the favorite size of letter sheet, and that for commercial letters the size 10¾ × 17 inches (8½ × 10¾ folded) was sometimes required.

Note sheets were then in two sizes: Commercial note, 8 × 10 inches (5 × 8 folded); and packet note, 9 × 11¼ inches (5⅝ × 9 folded).

The typewriter and modern commercial requirements have since developed use of the single leaf, altho for personal correspondence and certain refined business purposes the folded note sheet is proper.

In passing it might be noted that in the price list above mentioned the printer is urged to charge an increased price when “brass or French flourishes are used in excess.” The composition of “one plain heading, of not more than four straight lines,” was to be charged at seventy-five cents; “one ornamental heading with curved lines,” twenty-five or fifty cents additional.

As has been stated, the standard size of the present-day commercial letterhead is 8½ × 11 inches. Strange to say, the standard size of envelop (known as No. 6¾ Government) used for the carrying of these letter sheets measures 6½ × 3⅝, tho if a snug fit were required the envelop would be about 5¾ × 3 inches. The standard size, however, should usually be selected, as all sorts of enclosures are made to fit it.

The large “official” envelop is also used extensively for business purposes, the most common size (No. 10 Government) measuring 9½ × 4⅛ inches. It takes a letter sheet of two parallel folds, and also provides for business and advertising enclosures larger than those planned for the standard envelop of smaller dimensions.

Distinction is given business stationery by folding the standard letter sheet twice so that, folded, it measures 5½ × 4¼ inches, and by using an envelop (Baronial) that measures an eighth or a quarter of an inch larger each way. For private or semi-private purposes this kind of envelop is preferred, especially if the letter sheet is used as a double note sheet. The heading is frequently printed on the fourth page of the double note sheet, so that when the message is written on the fourth and first pages and the sheet is opened, the letter appears as two pages in a book.

Another size of men’s personal correspondence sheet measures 5 × 8 inches folded once. After being written upon the sheet is again folded, and it then measures 5 × 4 inches. When the customer is willing to pay a price for which the best quality of stationery may be furnished, the printer should secure from houses specializing in society stationery envelops that are made with a more stylish flap than those commonly used for business purposes.

Another size of letter sheet, used for men’s personal correspondence and for giving an exclusive appearance to commercial stationery, measures about 7¼ × 10½ inches. The paper is given two parallel folds and fits in an envelop that measures about 7½ × 4 inches.

Since the typewriter is in such general use, ruled letter sheets are seldom called for; in fact, ruled correspondence sheets of any kind are now in poor taste.

The old-time notehead is also little used, the half-letter sheet (8½ × 5½ inches), and the two-thirds letter sheet (8½ × 7⅓ inches), printed the broad way, taking its place for brief business messages.

The typographical treatment of letterheads and envelops should have some relation, and it is now generally conceded that the paper should be the same in both cases. A good grade of paper is now considered essential for bona-fide correspondence, a cheaper grade being allowed for form letters. A light-weight paper of a high grade is preferable over a heavy-weight paper of a low grade. Quality isn’t a matter of weight, altho if it can be afforded the heavier weight is not in the least objectionable. Twenty-pound folio (17 × 22) seems to be most easily obtained in the various papers.

As to the style of typographic treatment, the printer must in all cases consider the tastes of his customers, and especially the business or profession for which the stationery is to be used. As an instance, the style of typographic treatment of doctors’ and lawyers’ stationery seldom changes.

It should be kept in mind that simple, neat, refined typography is appropriate for almost every order of stationery, while elaborate typography in many cases is inappropriate.

Color is seldom well used on stationery. Most letterheads that the writer has seen which have been treated in three or four colors would have been more pleasing if given but one printing. A test of typographic skill is to design a letterhead that in one printing will look attractive and distinctive. The heading should usually be printed in black or some darkened color, and if another impression is desired a very small part of the design printed in orange or vermilion will add a touch of bright color.

All the reproductions shown are reduced in size, those on the inserts being only slightly smaller.

Example 275 (Insert).—Lithographers and steel-die printers really furnish the styles for the conventional arrangement of letterheads. They work along standardized lines and usually produce well-balanced, appropriate headings. Typographical printers should study stationery produced by these processes and observe how the parts of headings are grouped and the advertising points emphasized; for a letterhead is one form of advertising. There are limitations, however, in the copying of such letterhead arrangements. Only plain designs should be studied for this purpose. Imitations of shaded and ornamental lettering are seldom successful. Example 275 demonstrates how a good letterhead can be designed along lithographic lines. The effectiveness of this heading depends a great deal upon the use of both light- and dark-faced type. Where there is a great deal of matter, as in this instance, the heading would likely appear flat and uninteresting and would lose some of the advertising qualities it possesses if the light-faced type were used thruout. This is no argument for bold-faced type on stationery headings as a usual thing, but refers to the kind of heading here shown. The parts in the dark-faced type include the firm name, the nature of its business and the city in which the firm is located. The names of the officers are arranged in the upper part of the heading, and this position of the names seems to be satisfactory in most instances. The telephone number and cable address are in the center near the date line. The type used in this heading is Card Litho and Card Light Litho.

Example 276 (Insert).—Professional stationery must be treated with dignity and refinement, and the type should be small. Treatment such as this would undoubtedly meet with approval from the professional customer. It would be a mistake to apply to professional stationery the variety of attractive and interesting arrangements that are applicable to stationery used for many business and advertising purposes. The printer would save resetting of the work and more surely please his customers if, in filling orders for doctors, lawyers, architects, engineers and other professional men, he attempted nothing but the conventional dignified treatment illustrated by this example. The type is an imitation engravers’ gothic slightly letterspaced to give the effect usually found on steel-die work.

Example 277 (Insert).—Ministers, included as they are in the professional class, like to have their stationery dignified and neat. At the same time they do not object to the use of text type, as it has a churchly suggestion. This type, too, must be small, that used here being eight-point in size.

Example 278 (Insert).—Stationery for a lawyer, like that for a doctor, should be dignified and refined. It is well to give him the professional customer’s style of typography such as that of the doctor’s heading, but if a departure is to be made from the imitation steel-engraved lettering, it is possibly well to use a modern style of type such as the Bodoni, and letterspace the capitals, as was done in this example. But one size of type-face has been used here (eight-point), capitals, italic, and small capitals being utilized.

Example 279.—Practically never should a letterhead be treated with the elaborateness of this one unless the customer expressly desires such treatment and is willing to pay for it, or the letterhead is the printer’s own, as in this instance. The reproduction, unfortunately, does not present the rich qualities of the original, which was printed in green-gray and red-gray on a gray hand-made paper. The typography was merged with the paper stock, and there was not the contrast found in the reproduced specimen.

Example 280.—Old-Style Antique, as this heading shows, is a good type-face for the letterhead of an art publication company. Capitals have been used thruout and grouped so as to form a symmetrical arrangement that harmonizes well with the decorative device placed under it. A feature of this heading is that all matter is included in the one group, excepting the name of the city, which is placed to receive the date line.

Example 281.—Successful treatment of a heading like this depends upon the typographer’s ability so to arrange the copy, without resorting to letterspacing, that all lines are the same length. It is necessary also to use all capitals of an old-style face of dark tones in which the letters set fairly close together, a result such as can be had with Old-Style Antique or Cloister Oldstyle. The decorative device in its shape harmonizes with the formation of the group of type lines above it. The liberal blank space that surrounds this heading is an important factor in its attractiveness. The original was on brown paper.

Example 282.—When the printer receives copy as brief as that used for this letterhead he experiences difficulty in producing an effect that will be attractive. With the customary engravers’ type-faces nothing very satisfactory is possible, but by using a type-face of character, such as Caslon Oldstyle in its original form, as was done here, artistic interest can be added. Two sizes of capitals, spaced, were used for the firm name. Italic was selected for the word “Grocers,” with a swash or decorated capital that accompanies the old Caslon type-face. Capitals and small capitals were utilized for the date line. A touch of decorative interest was added to the heading by the use of a rule, on each end of which was placed a dagger, such as is usually a part of book fonts. This treatment could be made even more effective by printing the letterhead on a white bond paper of good quality.

Example 283.—This letterhead is offered as a suggestion for artistic treatment when not much copy is furnished and it is possible to use a small decorative device. The type-face should have old-style qualities of an artistic nature and should be slightly letterspaced. The lantern device on this heading is really a monogram, cleverly designed. The original was in black and orange on buff-tinted paper, and as shown by the reproduction, the heading was placed very high on the sheet.

Example 284.—For some reason a border made of a heavy line and a light one harmonizes with the type matter in Caslon Oldstyle, especially when liberal blank space separates the type and the border, as in this instance. It is well usually not to have the border darker in tone than the type matter, but on this heading it would be a mistake to lighten the border, which, however, would look well printed in vermilion or orange ink. A buff-tinted paper of an antique finish would blend with the Caslon typography. It is a departure from conventional methods to place the names of the firm members in the lower part of the panel. This was probably done so that the name of the bindery would stand out without interference from type matter above it, but as a concession to conventionality it would probably be well to place the names in the upper part of the panel.

Example 285.—The printer is frequently called upon to arrange for an organization a letterhead which contains an announcement of the next meeting of the society. The example under consideration shows how this may be done; the meeting announcement is presented plainly, yet a letterhead appearance is retained. The name of the society crosses the letter sheet and is joined on each end by a group of officers. The reference to the meeting occupies the space directly under the name of the society. In the original the main part of the heading, which now stands out so strongly, was subdued by the use of gray ink.

Example 286.—There is suggestion of the architectural panel about the arrangement of this heading. The suggestion is continued by the use of a classic Roman type-face mainly in capitals. Panels are not as successful on letterheads as they would be if more judgment were used in forming them. This heading should prove helpful in working out the panel idea. Its proportions could be smaller with good results. The original was printed with green-black ink on a primrose color of bond paper, but would also look well on white stock.

Example 287.—A letterhead is successful if by its treatment it suggests the line of business for which it is used. This one measures up in that respect. By the use of the old text type and Maltese crosses an ecclesiastical touch is given. The old church missal books of the manuscript days were brilliant in rubrication, a feature of which were ruled lines, crosses and initials in vermilion. The arrangement of this heading is also one that could be used for many purposes. Some of the facts about the business are blended with rules in a decorative band that gives breadth to the heading.

Example 288.—Letterheads arranged so that all lines are the same length, especially if such arrangement allows proper emphasis of the firm name, usually look well and have artistic interest. This heading is one such as almost any printer with a good old-style type-face could produce. Like Example 281, this treatment requires the use of capitals. Lower-case in square or block formation does not shape up harmoniously. Capitals exclusively should be used when such effects are planned.

Example 289.—A letterhead for a general store invariably presents a problem to the printer who wishes to produce a harmonious and well-balanced heading. It is difficult properly to display copy which includes such a variety of articles as furniture, jewelry, stoves and coffins. The typographer responsible for this letterhead set it in Caslon Oldstyle, grouped it as well as he could, and introduced decorative value by means of florets printed in color. The name of the merchant was given the most prominence, and “Furniture” was featured for the reason that it seemed to constitute the principal part of the business. The printer who objects to this arrangement should try his hand at resetting it. As copy, this heading is in strong contrast to that supplied for Example 282.

Example 290.—This example is a resetting of a letterhead on which the printer had imitated bricks by using oblong border units printed in red. His effort was too literal, and in rearranging the heading the purpose was merely to suggest bricks and tiles in a light-printing border. Spaced Caslon capitals completed an effect that is unusual and distinctive. The line “Brick and Tile” could be printed in color.

Example 291.—There is a dignified yet novel attractiveness about this heading. The light cross-rules give shape, and individuality is injected by slightly spacing the letters and confining the color to three small initials. Gothic (sans-serif) type looks well treated in this manner. As will be seen, liberal blank space is necessary for a right effect. The original was printed in black and vermilion ink on gray bond paper.

Example 292.—The designer of this letterhead planned to get something different and succeeded. He did it, too, with the good old Caslon type-face. This type has proved its worth in commercial job work, and there seems to be no limit to its usefulness. By spacing the letters in this heading a peculiar tone has been obtained which gives the letterhead much of its character. The position of the lamp ornament is odd. Black and orange ink and white paper were used.

Example 293.—While it is safer to print club stationery in the conventional style of professional stationery, there are clubs which will appreciate any individuality and attractiveness the printer may introduce on the letter sheet. This heading is a suggestion of what might be done in this direction. Washington Text has been combined with decorative initials.

Example 294.—The problem here was to produce a letterhead for men who appreciate typographic neatness, and the problem was met by setting the heading in Caslon lower-case and introducing italic in several places where it would be of the most value. As will be seen, the names of the officers were grouped on the left, and balanced on the right by a group that tells of the things the store has to sell. It is likely that copy such as this would meet with different treatment from the average compositor, who would be inclined to distribute the copy over all parts of the letterhead. The lesson to be learned is that the several parts of copy should be orderly apportioned to positions on the letter sheet, as in this instance.

Example 295.—This is an excellent example of a good letterhead, originally produced by the incised copperplate method. Study of its details would benefit the typographic printer for the reason that, as mentioned in the beginning of this chapter, designers of letterheads produced by lithographic and intaglio processes have given much thought to letterhead arrangement. The main part of the heading is symmetrically arranged in a group in which attention has been given to spacing. The illustration is disposed of at the left, and an added line has been placed in the upper right corner and printed in red. The neatness and dignity of this letterhead are an inspiration.

Example 296.—The copy of this letterhead presented a problem which was solved by making two distinct groups of the type matter. In the main group were placed the matters of national importance, and in the upper group in smaller type such copy as refers to the state organization. Compositors should observe how the “Y” at the end of the main line has been extended into the margin so that the group alignment might be retained. The printing combination was black ink and white paper.

Example 297.—Perhaps the use of italic capitals exclusively would have been more consistent, yet the one line of roman capitals does not detract from the pleasure the neatness of this heading affords the admirer of good printing. The distribution of color is uncommon. The italic short-and (&) adds a touch of decoration to the heading. Typographers will find that these old-style italic short-ands look well in display lines substituted for the spelled-out “and.” The roman short-and (&) is severe in character and is not so pleasing.

Example 298.—Occasionally it is advisable to inclose type matter in a panel, altho in most instances the typographer will find that a letterhead is neater if no rule panel is used. However, there is something attractive and different about the panel treatment of this letterhead. Without the rules the heading would be neat, but would lose a distinction that is now given it by the rules. The type-face, Packard Oldstyle, possesses a quality found in hand-lettering and looks well on this heading.

Example 299.—A line border finishing off the edges of the letter sheet adds a quality to the appearance of the stationery that makes it worth while when the printer uses the idea on his own stationery or a customer is willing to pay the increased cost necessary for such an effect. On the Fell letterhead the border was in a shade of ink lighter than that used for the type. The arrangement of the heading is worthy of study, especially the disposition of the officers’ names, which are placed one under another instead of being conventionally arranged in a line at the top of the sheet. While this heading is hand-lettered, it is suggestive of similar effects that could be produced with good type-faces of an old-style design.

Example 300.—Another letterhead in the Caslon type-face, roman capitals and italic lower-case being used. Much of the attractiveness of the heading is due to the spot of decorative color made by the shop device, which in design blends well with the type-face and because of its position brings the eye to the title of the press. The names of the officers are placed above the center, and the service rendered by the press is outlined in the end groups.

Example 301.—The cross-line panel is here adapted to letterhead purposes with some success. The decorative border is a suitable one for such arrangement and affords relief from the plain brass rule. However, it only departs from the plain rule sufficiently to add an interesting touch of irregularity to the lines. Text type has been used for the center, and where Caslon capitals are found in the panel they are letterspaced.

Example 302.—While German treatment in advertising design and typography is usually thought to be strong and forceful, yet certain classes of work are produced in a dainty yet characteristic style. This letterhead is presented because of the interest it will doubtless have to American printers.

Example 303.—This notehead printed in two sizes of capitals is interesting in that it is the work of a noted book typographer. The larger capitals are not letterspaced, but the smaller ones are. A triangular formation of periods adds a touch of decoration between groups. This notehead was printed on the fourth page of a folded sheet in dull-finished black ink on white bond paper.

Example 304.—Humor in a notehead is questionable and should be used only in exceptional cases. Mr. Glover, however, has used it to good advantage. Printing has always been such a serious business that customers may welcome a printer who can smile even on his note sheets.

The envelop is an acknowledged convenience in correspondence. It not only protects the letter from being soiled or tampered with, but is a convenience to the post-office and a means of advertising. The first use that the printed part of an envelop has is to inform the postal authorities of the name and address of the sender so that if a letter cannot be delivered it can be returned. On government-printed envelops this information is given in the briefest and plainest possible way. However, the greater number of business men recognize the advertising possibilities of the envelop, and not only have the paper match that used for letterheads, but see to it that the typographic treatment is also in accord with that on the letter sheet. The treatment of the face of the envelop should be neat. It is not only in poor taste to cover the envelop with printing, but is against the post-office regulations. There are those who prefer to print the type matter on the flap of the envelop, and others who print the type matter in the usual corner and the trademark on the flap.

Example 305.—This is a specimen of a conventionally treated envelop corner in imitation steel-engraved lettering. The old-fashioned “After five days return to” as here used is not much in vogue, and printers would do well to omit it unless the customer insists upon its inclusion. This envelop corner is in the same style of typography as the letterhead that accompanied it.