f^NE.PRE.^1 ^ 50 THE GIFT OF Av^^l/f?*^ ^^(ioh%0y. 7673-1 The date showa when this volume was taken. * HOME USE RULES: -^mzTr^^^^^"^ fc««i»iiM»At-;_-S2^iiii^BS! All Books subject to Recall. Books, npt used for instruction or respsrch are rsttirnable within 4 weeks. , Volumes of periodi- cals and of pamphl^s ajf held in the library as much as possible. TwJ3^^BwBmS!MMgli^Tt far \:>y^J&x..Qjs^...., M}...■^t:^y^AJLDL.....JLL/^AAA/, ro....\:sAj&X.. WITH COMPLIMENTS OF 'THEO. l. de Vinne & Co. PRINTED IN A LIMITED EDITION FOR PRIVATE CIRCULATION AMONG THE EMPLOYES, FRIENDS AND PATRONS OF THE HOUSE. NOT PUBLISHED FOR SALE Cornell University Library Z250 .D48 Types of the De Vinne press specimens f olin 3 1924 029 499 765 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029499765 >> The date shows when this volume was taken. 'OE(j .9:9 1 c ■p^^S^'B!^ T JBMOOBCI A^ HOME USE RULES: All Bocks subjeqt. to Recall. Books, not used for instruction or resparch are returnable within 4 weeks. , Volumes of periodi- cals and of pamphl^s a^ held in the library as much as possible. For special purposes they are given out foir a limited time. ' Borrowers should not use their library privileges'f qf tlie bene-> fit of other persons. Bboks not needed during recess periods should be returned to the librajry, or arrange- ments' made for their return during borrow- er's absence, if wan^ted: Books needed by more than one person are held on the reserve list. . . Sooks of special value and gift Ijooks, when the givir. wishes it, are not allowed to circulate. ' Readers are asked to report all cases of books marked or muti- lated. Do not deface books by marks and/writing. / Cornell University Library Z250 .D48 Types of the De VInne press specimens f olin 3 1924 029 499 765 TYPES OF THE DEVINNE PRESS TYPES OF THE DE VINNE PRESS SPECIMENS FOR THE USE OF COMPOSITORS PROOFREADERS AND PUBLISHERS 395 LAFAYETTE STREET, NEW YORK 1907 A. ^17^34- Copyright, 1907, by Theodore L. De Vinnb & Co. PREFACE THE DB VINNE PRESS as it now exists is the outgrowth of a small printing-house es- tablished about 1836 on the second floor of an old building at the corner of Pine Street and Broadway. Since then it has had, as might have been expected, many changes of owners, foremen, workmen, types, and machinery, but it has every year shown steady increase in its service to the printing public. These specimens show that its present collection of printing t5^es, some in large but others in limi- ted quantities, which have been diligently gathered from leading foundries of this country and Europe to please the tastes of many customers, has received and is receiving a generous appreciation. Some of its styles have been made for the exclusive use of this house and are not now to be had from any type foundry or other printing-house. PREFACE Its large and varied collection of Roman text types shows approved new and old styles in fall series upon more than two hundred bodies. Novelties of real merit are constantly added and are usually in large fonts. The newer faces have been cast on the American system of point bodies. Old-fashioned styles of merit that are no longer made, but that still find favor with discerning customers of the house, are on the old irregular bodies. For the service of those who requii'e large amounts of composition in haste or in unlimited quantities, composing machines of recent construction have been provided. For the gracing of book and pam- phlet pages, head-bands, initial letters, borders and tail-pieces are in abundant supply. Many of these decorations have been specially made by artists of eminence, in varied designs for each chapter but harmonious in general effect; others are faithful copies of designs produced by masters of printing in the fifteenth and sixteenth centuries. The electrotype foundry, press rooms, and book- bindery are equipped with the best machinery and expert workmen. THE TYPES OF THE DEVINNE press FOR THE USE OF COMPOSITORS AND PROOF-READERS The ant) ecclesiastical jTorms^ it Jas fairly earneti ti^e name of OXiX) 6(ii(^ljIBIi. Boofeis J men agree in rating tjis as tl)e ^tantiarti form of 3$lacfe4etter. The 'Black-letters of the te))tatton«^,toitt) ^omt obb accent^ carcip jirobibcb for anp otfier font of iBlatk, ^fjisS ^fjilo:; 6iWon tppe anb tf\t J^dpa^ef tpjie on {lage 7 are j^referreb ftp Boofet^f) men for tfje re^rintins of <©Ib eVinne 'Press OLD BLACK ^en slses of tbis ®lb Blacft, x\Q\)i\^ grabeb from IRonpareil to forti^^elgbt point, are In caee, anb eome of tbe fonts are In goob suppli^. ^be larger sisee are preferred; 6»»point is selbom required. |f)I$ f)GLYA$ XyPG feafaitDful reprotiuction of tlje t^e useti 65 ffiUpfem lie SHorDe in i)i£i etiition of i^elpas or iftnigl)t of t|)e ^toanne, liateli JLonlion, X513» Ee= prmteti from tibe unique coup of i*li^' Robert i^oe, ftp ti)e (ID»rolier Club of ^e Citp of jljeto gorfe. 3lt toas cast in tl)e tppe=fiaunlirp of ^ir Ct)arle£i Eeeli's ^ons of JLonlion, tDJ)0 are ^e otoners of ^e surbibing punct)e£i anti matrices of tlje ^tar= Chamber fijunbers anb tfteir prebecessors, %W face anb tftat of tl)e Pftilobiblon letter are preferreb bp all booli=lobers fbr t|)e reprinting of €)lb (l&ig= lisl) tejrts, in boolis of compact or conbenient form. THE HELTAS TYPE H large an& open initial ® bas been selected for page 6, because its Decoration agrees well witb tbe open spaces witbin tbe letters of tbe test t^pe, anb witb tbe wi&er spaces between tbe lines. H bense an& closely engraveb initial © woul& not be in barmons witb t\iz tspe. ®l& Slacfi is not a favocfte for commercial an& miscellaneoua iob wort;. Vt mas I>e see lecteb witb conflbcnce for article beabings an6 for MsplaseS lines in literary circulars or pampblets, but not for orMnar^ mercans tile aftvertisements. Its lowerscase is rounS, clear, anb quite as reaftable as tbe Sataniclk, Vt mas also be selected for tbe title-pages of pampblets on booMsb subjects, ant) for lets tersbeaoings tbat call for tbe use of mans sises of tbis face. Its greater breaStb Mb clearness mas tempt tbe compositor to use it foe one sbort line in a titlespage, but tbis selection is sel&om pleasing. ®ll> Slacfi is at its beet wben composed in a mass. The ^lack-letters of the ^eVinne e or BefotP t^e fine. The ^lack-letters of the 1)eVinne ^ress OLD FLEMISH A^'i^U fift3e0 of t^t Ofbjffmia?, ^uU^ VC^ from Qtonpareif ^o ^onrMnt ^ica (6ob^ 48, 6^ feerman e^anbatb), are in caae, (3^ff fon^0 ate compfe^e hii^ ftgutee, anb ^|e father 0i3e0 ?a^e ^^e (Berman umlaut C6mi>oB(ftontnaff(gfac8«fe«et, neaffg ayaceb onb without f afce btDiBtonB, anb in a narroou meaeure, tB tiBuaffga ttiorft of Bome bifftcuftg. Cft^jifafB onfg cannof Be uBeb for en* fire toorbB : f 5ere are no Bmaff ca^n« fafB; inbi«iBt6fe worbB or BgffaCfeB ore common. ^^inB^jacingof singfe fefterB, fo mafie a fine foo B^orf fiff f 0c meaBure, iB nof a^roueb Bg fpe crificaf, gef if ia jJOBBtBfe in Bomeiofo fo BuBafifufe smaffer faces of f^e Bame BerieB for frit;iaf i»orbB anb farger faces for f 0e <»orbB of more im^jorfance, ob ^as Been yreuiousfg BuggeBfeb. (JJlong anb (JWiBeaffgiJeB ma^ Be goob BuBsfifufeB for f^e Ub' offotweb ca})ifafB. ^ome ftcense of inconsiBf encg in f 3e free use of €^ifi> faf fcefferB sgoufb Be ipermiBsiBfe fo ^jreDenf unsig^f fg Bracing, i»gic3 is a muc^ greafer fauff . ^Vjdrbs as arrtttisO I'ncopgmuBf not it UJ c?ons«> t»tf ?out B|)ec(o{ ipermft from fgewnfer. 'Brt, in some circumstances, afisofufefj refuse fo fiudge,— -to^crefore theories must grocefuffj uieR>, on& aWoto, it mog fie, a ttoo«fetfer diinston eDCn in a tniZie measure. CS^" are fgrannicof, on& ftiiW somefimes perpetuote sotectsms under t^e p{ea of necessity. ' ' e^tB Bigfe of tgpe t»a0 cdffeb 6g edrfg Stench founbete it 00 "bciB^in^, ^)tctuw6<^tte, dnb ef*6otdte." (Qldng Cdpitdf Eetfew of Ofb ^fzmiB^ are CKeebtn^fg uncouf ^, 6ut 4eg dre Befbom oBjecteb to in tunning titke, dnb mdg 6e Befecteb occdBiondffg for Jnitidf EetfetB. 9 The ^lack-letters of the eVinne Press SATANICK Cbis Style of Cype was designed for the reprinting of medieval boohs or subject matter, but it has been and is now freely used for modern boohs, and even for mercantile advertisements and circulars. Its lower-case letters are fairly readable, but some of its capitals are extremely uncouth and can- not be made pleasing in any combina- tions. Lines of capitals that contain the characters fJl^Z^andX are usually rejected in the proof. TTTXUtam Moms was the t^esigners of the printing Cypes VW first to perceiw that ty- "^ *''* nineteenth century mod- fo ftafcS oSS"flta' trseTStfo/Serwn^Tp^p^. to stand on its own feet with- pute printers, and vainly triiSTto out cnitcbes from rival arts, reproduce all their rcftnements. Che Be saw that there was merit in hair-line of every letter approached bold print, and possibilities of i^viaVBHity, and its form was oma- ^wlopment in the eruditv of Sflo^Shlf ?g^*fm?^X^ Old Boohs and even of Chap- showed care and skill, butthegeneral boORS. (Not content with bis effect of types so made was that of first experiment in strength- feebleness. /$ Letter-press printing ening the Roman character, he ^^^^^y degenerated until it became undertook this new departure ^^^S.^'S^etit^^^^^orlS from the old6othic model, and had to wait for Morns to revive a the 'Croy t)7pe was the outcome, really Tirile Typography. Z,Yoy XType met the fate of other tnnoTiationa. Hdmirers of the then prevaiUng taste for feminine delicticy in printing derided it as an affectation of Medievalism. Hovers of old boohs hailed it as the revival of old- fashioned Tirile Cypograph^. On one feature all were agreed. Boohs in Croy type were well made. fTever before had there been better edi- tions than those of the Kelmscott press, as shown in the Chaucer, the Golden Legend, and the Ristoryes of Croye. Slow of sale at first, the boohs in the new style soon attained an unprecedented appreciation, JMany were out of print soon after publication, and have been sold at auction at four and five times the price first ashed by the publisher. Chey are still in request and command extravagant sums, due not to the beauty of the type but to the care given by IMorris to the minutest details of worhmanship. Che pressworh of the boohs is faultless, but it cannot be reproduced worthily on dry and cheap paper and by hasty methods. 11 The ^lack-letters of the 'DeVinne 'Press SLOPING BLACK not ofi^ti required, hut it ntdg h^ used ver^ efjfedivd^ in ^mv ^hnk§ for nn^ di§= phged ^hr^B^ or word lik^ ^ndmtnu at in H ^ompasitian hrgetg or ^xcln= sivelg set in ^Mic or ^nclimd ^cri^U oil ^^ ^fi^^ disfihg foti whicfi this^tgt^ hn§ been ^elected, ^t is not reconj= mended foil ^^^Sk ^^^^^ ^f dis^h^ iii m^ composition of tt^right letter^. Ji'ft^ otheii forms of ^hck=hihr, it shows to hest ^dvHn= taqe wheij it i§ massed in h pdrngmfik 12 The ^lack-letters of the 1)eVinne 'Press ANGLO-SAXON ©life llaA-Wter OF MODEEN CUT IS FOR DISPLAY LINES IN agitzm^s AUGUSTAN BLACK |s tl^e 'Burnt Qxbtn ia k Jig^l-faab §Iatk-ktto 0f similar Jfas^inir mis of '§,mt Jfonn, of Jnl^ir^ toe nofo \inbt Jfour usefxtl Si^es, dSKSt-primer, ^ka, 3?0Kg- pTinur,an3> ^nb'ux. '§.11 ai t^t oi^CT si|ts ^abi ban biscHibei). 13 The ^lack-letters of the 's> Black-letter in outline is the copy of a design by Christopher Van Dijck, that was admired and reprinted by Moxon in his Mechanich Exercises of 1683. It was made in type for the special use of the De Vinne Press, as a letter of display. To Diplomas and Certificates this Moxon Black imparts a quaintness desired by many customers that cannot be given to these documents by the Black-letters of modern design. It proves most satisfactory when used as the shading outline in black ink for a specially engraved central letter printed in red or gold. See proofs of the central letters in the Office Specimen Book, page 364. A more generally useful style of Black-letter capital is the Out- line Uncial capital now shown on an advanced page of this work. 17 The 'Black-letters of the 'DeVinne 'Press TYPES NOT IN CASE The angularity and intricacy of many characters of Black-letter have been constant temptations to the making of other variations that once were admired by customers of this house for whom they were specially purchased. Some of these variations had a tempo- rary popularity, but most of them have fallen into deserved disuse. In addition to the fonts here exhibited we have other styles rarely called for biit not deserving of the room they occupy in case. Of occasional service and in too good condition to be thrown away, they are packed in paper and reserved for the few customers who insist on the re-use of types of the fashions of the last century. These paper-packed varieties should be selected only by special request. GERMAN TEXT No. 580, so named in our Office Specimen Book, with its profusely decorated initial letters and its petty and indistinct lower-case, in a series of five sizes, has been thrown away, as unfit for modern practical work. It will not be renewed. See Office Specimen Book, pages 22^-A. SAXON, almost as profusely ornamented in its capitals, and with detached flourishes intended to make, but that seldom do make, exact connection with the letter, has met a similar fate. These styles are mentioned only to show that the profuse ornamen- tation and delicacy attempted by the designer, once esteemed oi great beauty, have defeated his purpose and have really made the style valueless to modern buyers of printing. O. S. B., pp. 224-5. BLACK ORNAMENTED, even when the letters are reasonably distinct, is not improved but damaged by its excess of orna- ment. Some of the larger sizes are of limited service as initial letters, but the lower-case sorts are generally disliked. 0. S. B., pages 232-3. A NOLO BLACK, an attempt to simplify the standard Black- l\. letter form by the rejection of hair-lines and spurs to angles, is not an improvement, but a degradation of the character. Sim- plicity when it is carried too far becomes a positive coarseness. O. S. B., page 240. FLORENTINE BLACK, in two sizes, with capital and lower- case on different bodies, is also in paper. Select only when requested. 0. S. B., pages 235-6. 18 The 'Black-letters of the 'DeVinne 'Press ITALIAN TEXT, an absurd style, of a needlessly intricate construction, is seldom called for now. See Office Specimen Book, page 238. MEDIEVAL TEXT, CARD TEXT, and FANCY TEXT, styles once in frequent request, have been destroyed and will not be renewed. O. S. B., pages 218-22. A study of these fanciful styles, coupled with our present know- ledge of their entire inapplicability to any modern work, should teach every compositor that alphabetical letters are not approved as subjects for profuse ornament, and that ornament does not make a printed line attractive, but may make it bewildering and unacceptable. The conclusion so reached may be extended and applied with equal force to the present fashion of inserting or- naments in composition where ornament is not really needed. When ornament does not help, it does hinder. Yet the caprices of fashion have not always been wise, for they have authorized a rejection of the following serviceable styles. AUGUSTAN BLACK and CONDENSED BLACK are really x\. useful forms that may be restored to their old popularity when they have been shorn of their needless ornamental pen- dants. The flourishes at the tail of the capitals, once thought crowning graces by the designer, seem to have been the pretext for their entire neglect. The disciplined buyer of printing may tolerate eccentricity in form, but he does not tolerate ornament that even partially obscures or confuses the plain intent of the letter. 0. S. B., pages 207-9. It should be noted that the variations from the old standards of Black-letter that are now in most favor tend toward greater simplicity, or to some tolerable eccentricity in the direction of flourish or decoration. TEUTONIC OUTLINE, once approved as a decorative letter even in mercantile forms, is now out of fashion. 0. S. B., pages 216, 238. COMPOSITE is another attempt at simplification. For many years this style was preferred as the best letter for display in the script of legal documents. Why it should have been preferred to the neater cut of Borussian is an anomaly that cannot be explained. O. S. B., page 239. 19 The ^lack-letters of the 'DeVinne 'Press MEDIEVAL, so-called, is an old attempt to make a pleasing letter without the aid of hair-lines or light strokes of any kind. It is another undervalued style. It shotdd be called Byzan- tine, for it was largely used by scribes of the Eastern Empire, and its density and simplicity seem to have inspired the designer of the type for Gutenberg's Bible of Forty-two Lines. To those who love eccentricity the capitals are useful as initials. See Office Speci- men Book, pages 217-8. BLACK OPEN and TITLE TEXT OPEN are other forms of ornamented Black that have had their day of service and are no longer desired. 0. S. B., pages 212-5. OUTLINE BLACKS are not favored by this house ; they are frail and soon lose their sharpness and beauty when printed by cylindrical impression upon hard and dry paper. These outlines and other styles of cross-lined and shaded Black-letter make a creditable showing only when per- fectly new. Few printers care to renew them after their too brief service. Outline and ornamented Blacks, of doubtful value even in ceremonial printing, should never be selected for mercantile work. 8@" Unless specialhj requfsted, do not space single letters in lines or words of Black. The spirit of old Blach-letfer mils for a close fittiiig of all characters, as well as for great compactness in composi- tion. Black-letter shows to best advantage when words, not letters, are thin-spaced. Avoid the composition of a title-page or a circular exclusively in Black-letter by the method of open display. The lower-case catch-lines of small Black that may be required between lines of bold display damage the general effect. If catch-lines have to be used let them be in small roman capitals. Black-letter is most effective when set compactly, either as a paragraph with large initial letter or in half-diamond indention. Initials of large sizes that span three or more lines at the beginning of a compact composition should be of approved old- style form. Kelmscott initials, the Caxton initials, and others of similar quaintness are best. Initials of modern design are inappro- priate and ineffective before the old faces of Black-letter. ALHAMBRA BLACK is of simpler and neater design and has XJL a readable lower-case, but its profusely ornamented capitals render it distasteful to readers of the present time. 0. S. B. page 234. 20 The 'Black-letters of the 'DeVinne 'Press THIN-SPACING- of single letters may be prevented sometimes by the use of a large square initial letter at the beginning of the paragraph, but the initial so chosen should line with the first line of text letter and make no noticeable gap of white. Sometimes the large initial narrows the measure and makes difficult even spacing and neat justification. To prevent these faults, a larger size of Black-letter may be selected for the more important and a smaller size for the less important words. The capital letters of the Monk and Missal series can also be used for this purpose. Extra justification will be required by these irreg- ularities, but the improvement so produced in the appearance of the composition is worth the additional trouble. The uncouth- ness and unworhmanKhe show of the thin-spaced letters of a word within a solid text should be prevented at any cost. The combination, justification, and even-lining of different sizes in a solid text call for skill and patience, but these troublesome expedients are to be preferred to slipshod letter- spacing, which is as unworkmanlike as the uneven leading of a book page for the purpose of making that page of sta,ndard length. CAPITAL letters of a lower-case font with lower shoulders make trouble. When a letter of this form is needed, send it to the foundry, and have its objectionable shoulder cut off. The value of an initial is largely in its close fitting to the text type, and especially so in a Black-letter text. The initial that compels a broad gap of white below is not a grace ; it is a positive disfigure- ment to any composition. Uniformity of style, commendable in many forms of open dis- play, is not possible in all compositions of Black-letter. IN A TITLE-PAGE, the standard style of Black-letter may be selected for the name of the book as the main line of display, when there is reason to believe that it will be acceptable to the author and publisher. It is usually acceptable when the book treats of liturgical, bibliographical, or Old English subject matter, but it is not so wise a choice for a book entirely modern in matter and manner. The thinness and boldness of Black-letter often tempt the compositor to select it for the main line of display when that line has too many letters for proper prominence in roman capitals. Black-letter wiU give the boldness that is not possible from the use of thin-stemmed Two-Une Condensed capitals, but it makes dis- cord with the roman capitals of a title-page. 21 The 'Black-letters of the ©e Vinne 'Press THE MEASUREMENTS OF LOWEE-CASE ALPHABETS IN EMS OF 12-POINT STANDARD BLACKS ?t abtftefoliiilUmnopiii-BtutiVDTO 123^567890 ffiffltHlfttiffdfl Brevier Black No. 2, E. S. 8 6 abcbcfgliijklmnopqrstnBtDXD? 1234567890 fiffflffiffl Long-Peimer Bt/ACK, A. D. F. & S. 10 Long-Primer Black No. 3, R. S. 9 D ab£liEfiail)iffelmnopqrstu»tDcp5 1234567890 ^l^fedfffiftaflfffiffiiir^ Long-Primee Black No. 4, E. S. 8I2 (E obcbefghifklmnoiJJirstntJtn^Ea^ 1234567590 fiflffffla^ Long-Peimer Black No. 4U1, Bruce. IOI2 i? abcDrfgljifblmnopqwtufatDic^j 1234567890 fttitknirfl 12-POINT Prioet Text, A. T. F. IO34 (^ abclrefs1)iifelmn0pqr2itubtDi:pj jipar ioffpq[q[g'?p Pica Black No. 3, E. S. (Helyas) 1284 i$ amdgH^ijhlmmptimuMWr? 1234567890 fl^fim Pica Black No. 4, R. S. (PMlobiblon) 12 31 abcDefg]^i|ftlmnopqrja!tubtrjjCt? ffiafffiftfllfl) English Black No. 3, E. S. 14 Great-Primee Black No. 1, R. S. 201q Great-Primer Black No. 2, R. S. Igio 22 The 'Black-letters of the ©e Vinne 'Press STANDAED BLACKS Double Small-Pica Black, R. S. 25% M abcliefg|)ijfelmnopq[rstubto]c? Double Small-Pica Black No. 2, R. S. 20I2 Double English Black No. 1, R. S. 30 Double English Black No. 2, R. S. 26 Double Great-Primbr Black No. 1, R. S. 40 Double Great-Primer Black No. 4, R. S. 30I2 Canon Black No. 1, R. S. 57I2 alJCtiefBljijfe Canon Black No. 2, R. S. 49I2 23 The 'Black-letters of the 'De Vinne 'Press OLD BLACK 6-POiNT Old Black, A. D. P. & S. 7^ 36 abc&cf8bljftlmnopqratuvwjB3 1234567890 a^^tgn Brevier Old Black, A. D. F. & S. IOI4 a abc&efgbtjl?lmnopqrstux>wjg3 Tffiitl>fi1lTtffi Lono-Primer Old Black, A. D. F. & S. 12I4 2) alJcbefGbiiklmnopqrstuvwyips laaog^ 12-poiNT Old Black, A. D. F. & S. I4I4 l£ abcbef Qbij klmnopqrstuv wy^ Great-Primer Old Black, A. D. F. & S. 19 3f abcbefgbijhlmnopqrsu Double Small-Pica Old Black, A. D. F. & S. 22I2 (3 abc^ef^bijhmnt 36-POiNT Old Black, Boston T. F. Soi^ lb abcbefabiihl 42-poiNT Old Black, F., L. & Co. 44 1[ abcbefgbih 48-POiNT Old Black, A. D. F. & S. 51 24 The 'Black-letters of the 'DeVinne 'Press OLD BLACK Sabcbefg 72-poiNT Old Black, A. D. F. & S. 70 THICK-FACED Double Small-Pica Blace No. 400, Bruce 33 Double Great-Primer Black No. 400, Bruce 53 BLACK Nos. 400 and 401 a aScUtfsiiifftlmniipqrBtuSfaisj 123456J890 Nonpareil Black No. 400, Bruce 6I3 38 ait!)tfa1)ijMmtt05J[r«tttS&iis? 1234.567890 Brevier Black No. 3, McK., S. & J. 784 Brevier Black No. 401, Bruce 8I4 Small-Pica Black No. 400, Bruce 12 Pica Black No. 400, Bruce I534 25 The 'Black-letters of the »fmnofe Vinne 'Press AUaUSTAN BLACK Brevier Augustan Black, Bruce 7 abtbtfg^ijKImnopqratebfa^gj 1234567890 g.C|@J#i Long-Primer Augustan Black, Bruce Sig Pica Augustan Black, Bruce III4 Great-Primer Augustan Black, Hagar 15 ANG-LO- SAXON Pour-line Pica Anglo-Saxon, MoK., S. & J. 37 Five-line Pica Anglo-Saxon, MoK., S. & J. 4458 Eight-line Pica Anglo-Saxon, MoK., S. & -J. 76 31 Initials Initial Letters UR collection of initial letters is large and varied. Those made expressly for the general service of this house have all the letters of the alphabet. Some have added blocks for two or more colors, and some are single letters only. Other complete alphabets from several European foundries are on foreign bodies that differ from our American standard. They have been collected to give proper expression to fashions of book work in different countries and centuries, and should not be used indiscriminately. The letter that is a grace in one book may be a blemish in another. The suggestions that follow will serve as guides to selection. INITIAL LETTERS are great helps in making print attractive. Readers who prefer a severe simplicity in print and who dis- like words or lines in types of bold display, or a too frequent recurrence of descriptive subheadings, seldom object to a properly selected large letter at the head of a long paragraph. They are really needed to make easy of reference the short chapters of the 37 The Initials of the ©e Vinne ^ress Bible and the different divisions in hymn-books and manuals of devotion. In many other kinds of printed matter they could be selected oftener with advantage. A proper initial at the beginning of a first paragraph always gives attractiveness to the composition. It is the feature that first catches the eye. The letter selected for this service may be plain or ornamented, but it should be fitting in size and style and appropriate to the subject. A large or ornamented letter at the beginning of a chapter or paragraph, as high as many lines of the text type by its side, and lining neatly with its first and last lines, is known as an Initial. The roman capital letter of large size and in a similar position is called a Two-line letter. " Two-line" is not precisely descriptive, for a type so called may span three or more lines of its mated text, but it is not a two-Hne letter if it does not line. The capitals fur- nished with large lower-case letters, sometimes used as substitutes, do not fairly serve as initials, for they have shoulders at foot that leave an unpleasing gap of white space at the last line. To prevent this fault, type-founders provide for initials special types with small shoulders so that they will truly line with text type. SIZE is the feature to be first considered. For small type on a small page of the ordinary book, select a plain two- line roman letter that will span two lines of the text ; for large type on a large page, a letter that spans six or more lines may produce a more pleasing effect. A small initial on a large page makes the entire composition seem petty. Yet there are limits to the use of plain two-line letters, which are not so accept- able, even for large text type, when larger than four- or six-line pica. The size of an initial should be controlled by the si^e of the type. A letter of the height of two lines of text type should be enough for the double-column matter of an 8vo or 12mo page. When the text type is very small, as of 8- or 6-point, a three-line initial may be better. If the text type of an Bvo is in 12- 14- or 18-point, an initial spanning three or four lines will not be too large, and may be still larger with propriety. The two-line should agree with the text in style as well as in line ; a page in Caslon or in Elzevir is more pleasing when it has an initial of similar characteristics. Two-Hne letters of Caslon, Modernized Old-style, Ancient Roman, or MacFarland, Chelten- ham, etc., are consequently requii'ed. 38 The Initials of the T>eVinne 'Press TWO-LINE LETTERS call for another requirement. For text types in 10-point or smaller size the ordinary width of roman capital is satisfactory, but for a text in 18- or 24- point, the two-line initial is more pleasing when compressed. For very narrow measures of small text types, the two-line letter is of better shape when it is decidedly condensed. For large two-line letters of roman capitals a face moderately condensed is to be preferred. Letters like A J L T Y, with struc- tural lines that do not entirely fill the body, make awkward gaps of white space that are disfigurements to the general effect. It was the perception of this disfigurement that induced the early book-makers to fill this vacant space in the letters of irregular form with tracery or decoration. A two-line 4 is to be preferred to the broader form \ letter of this / \ that makes a more unsightly gap of / \ thinner form -L A- blank space on each side. _£ \_ The broader form of letter is also objectionable when it has stems much thicker than the type of the text about it. Never select any expanded form of letter for an initial when it makes harsh contrast with the shape of the small types of the text. For the same reason avoid using extra condensed two-line letters. One initial of large size is enough for a page. There is, at times, a need for smaller initials on that page, but those that are added should be much smaller. Two or more initials on the same page of the same size confuse the reader and nullify one another. They may be acceptable on a pamphlet cover page, where they are relieved by abundant surrounding blank space, but they are not pleasing on the page that is full of small type. When one large initial only is used, that initial should be very large, and it is most effectively placed at or near the head of the page. A small decorated initial that spans but two or three lines of text type on a large page and is filled with closely engraved lines may not be so attractive as the plainer two-line roman capital. STYLE is of importance. As a rule, the plain roman two-hue initial is preferred for books or circulars of serious subject matter, but there are some exceptions, not easily described or classified, for which the decorated initial may be an improvement. The small ornamented initial is best fitted for small type, but it can be used sometimes as a secondary attraction in the para- 39 The Initials of the ©e Vinne 'Press graphs that follow a first large initial. When two or more are to appear on the same page the first should be very bold. Under no circumstances should the first be small in size and niggled with dense or closely engraved ornamentation. The small ornamented initial instead of improving really degrades the composition. On a page of large type one small initial always seems out of place. In the early days of printing when paragraphs were not made, and when a chapter of many pages had no break of white space from its beginning to its end, the first letter of the new chapter always began with a big and ornamented letter. To prevent an excess of the paragraph signs d. % initials of very small size were occasionally used by early book-makers in very compact composition to divide the subject matter of separate sentences, or to distinguish versicles from responses. Initial letters made before the invention of printing were de- signed for two or more colors. When color printing was found impracticable, the outline only of the letter was engraved, in the belief that the future owner of the book would fill in the outline with any bright color. The desired color was seldom added, but designers have followed the old fashion of preferring initials en- graved to show white letters. Lines or vines that fill the gaps of white around the more irregular parts of the letters are added to make a light-and-shade contrast of black, white, and gray. The initials now most approved by publishers are those that have letters that appear as black, with light and open decoration about them that seems gray in print. An engraved initial in which the letter has been made obscure by eccentricity of shape and by a profuse tangle of surrounding intertwisted lines or vines is seldom pleasing ; it is spoiled by what artists eaU niggling or overworked decoration. Decoration about an outline initial should be open, and should mate with the gray color of adjoining lines of text type. ^■L»He nUmiSCDKTIC on 8-point body, first made in ■ j type for the lettering of old seals and medals, is a small ^^*^ size now used for the petty initials of some books, but it cannot be used effectively for this purpose within the limited space of an 8-point body. It has not enough of blackness and boldness to give distinction to new subject matter, and the types, very close fitted, always need hair-spaces between letters. Its best use is for the letters of the word that follows the large initial. 40 The Initials of the 'DeVinne eVinne eVinne 'Press 60 points. Beed No. 1 Complete alphabet. Color blocks for B D I J 36 points. Keed No. 2 Complete alphabet. Color blocks f or B I J 11^ inches Incomplete alphabet ^ 22 points. Conner Complete alphabet Jti -^ 28 points. ^Esthetic. A. T. F. Complete alphabet We have this .a)sthetic face on bodies of 24- and 16-point 38 points. Bruce No. 13 Incomplete alphabet 56 eVinne 'Press Swrna: 32 points. Caslon No. 3 Incomplete alphabet. Color blocks for T 36 points. A. D. F. & S. Complete alphabet 62 points. Bauer Complete alphabet. Color blocks for S 60 points. Cincinnati No. 48 Complete alphabet. Color blocks for A M 30 points. Cincinnati No. 46 Complete alphabet c*-^*-^ 24 points. Cincinnati No. 4.5 Complete alphabet 57 The Initials of the 'DeVinne eVinne e__Q>ftriTr»ft.Q-5' j-ccP^M^''-rKy3^ 48 points. Filigree. Complete alphabet 65 The Initials of the 'DeVinne 'Press INITIALS WITH TRAILS This letter E has blocks for color only in the square that has the letter. All tlie large in- itials on this page have been made indistinct with excess of ornament and are relatively unpleasing when printed in black ink only. They need added color to show a distinction between the letter and the or- nament. Select them only when specially ordered. In any kind of composition the left side of the fetter should be made to line ver- tically with the type work of the paragraph. Ornamenting lines be- yond the letter should always project in the margin. The irregular projections at the top, right side, and foot of the letter call for cor- responding changes of measure in the type work, and this irregu- larity is always un- satisfactory. 66 Extreme height, 2^ inches 72 points 60 points Extreme height, 23g inches The Initials of the ©e Vinne 'Press INITIALS WITH TRAILS Tints for various colors cut for initial 67 The Initials of the T>eVinne ^ress INITIALS WITH TRAILS Text type must line with letter Extreme height, l^s inches. Bruce No. 12 Incomplete alphabet Extreme height, 1^ inches. Bruce No. 22 Incomplete alphabet Extreme height, l^a inches. Hagar Incomplete alphabet When it is possible, widen the measure, and let the purely deco- rative lines of the initial stray out in the margin, keeping the letter part in vertical line with the type of the text. 68 The Initials of the T>eVinne 'Press INITIALS WITH TRAILS Text type must line with letter Extreme height, 27 points. M. & R. No. 3 Complete alphabet Useful with very small but not with any large text type Extreme height, 48 points. Conner No. 10 Incomplete alphabet Extreme height, 48 points. Bruoe No. 14 Incomplete alphabet Extreme height, IH inches. A. D. F. & S. No. 13 Incomplete alphabet The obscurity of the letters in Conner No. 10 and Bruce No. 14 warrants the new teaching that letters should always be simple and readable, and that decoration, if needed, should be outside of the letter. These initials should not be selected without order. 69 The Initials of the 'De Vinne 'Press INITIALS WITH TEAILS Text type must line with letter Extreme height, 21^ inches Complete alphabet 3 W.eVinne 'Press INITIALS WITH TRAILS SILHOUETTE Extreme height, 2I4 inches. J. K. No. 24. Complete alphabet Italian Renaissance. Useful in bold and open display Not so effective in solid or compact composition 74 The Initials of the 'DeVinne 'Press CAPITAL LETTERS MOSTLY FEOM EEaULAE FONTS WITH ATTACHED LOWER-CASE. THEY CAN BE USED FOR INITIALS 48 points. Blaok 60 points. Black U^ (^ 36 points. Blaok 72 points. Sloping Black #3ia®|4«S 48 points. Anglo-Saxon 75 The Initials of the ©e Vinne 'Press 60 points. Anglo-Saxon 1^4 inches. Anglo-Saxon 13g inclies. Ornamented Black 60 points. Moxon Has solid centres for some letters. See page 65 ^jjCM Mm lii ii 28 points. Church-text 76 The Initials of the ©e Vinne 'Press FILIGREE From American Type Founders Co. 48 points 92 36 points 66 24 points 45I2 ^^SSP^K^^^^ISH 20 points 37I2 24 points 4812 18 points 34 12 points 25 10 points 201^ 7T The Initials of the 'DeVinne ^-'}^'f* 36 points 35I4 48 points 49I4 In a similar style of ornamentation, we have a series of Black- letter (Bruce 532), in three sizes of Double-pica or 24-point, Double Great-primer or 36-point, and Canon or 48-point, with attached lower-case. As this face is rarely requested, it is not kept in case. It must be used only when specially ordered and when no other style will serve. GFFLORG$(fGn(fG 30 points Of this face we have six smaller sizes, which will be of service as connecting letters between a large initial and the smaller text type. 78 4834 The Initials of the 'DeVinne ^ress SINGLE LETTERS mm The Initials of the T>eVinne 'Press SINGLE LETTERS The Initials of the 'DeVinne 'Press SINGLE LETTERS Chancery "West BLOCKS FOR TWO COLORS 1^1 H W West 82 The Initials of the eVinne ^ress TWO-LINE CONDENSED From American Type Founders Co. THIS STYLE OF A CONDENSED ROMAN CAPITAL IS lO-point No. 1 16 WIDER AND TO BE PREFERRED FOR TITLES 12-pomt No. 1 I8I3 BY THOSE WHO LIKE A THO LETTER 14-point No. 1 21% FOR THE SMALLER SIZES OF TYPE 16-point No. 1 24 A PINCHED FORM IS DISLIKED 18-point No. 1 26I4 IN TEXTS OR TITLE-PAGES 20-pomt No. 1 301^ WHEN LETTER IS LARGE 22-point No. 11 32 THINNESS IS PROPER 24-pomt No. 1 38 TALL AND STATELY 30-point No. 1 45 97 The Initials of the 'De Vinne ^ AMBROISE FIRMIN-DIDOT, J\_ the son of Firmin, was born at Paris, on the 20th of December, 1790, and died on the 22d of February, 1876. He was eminent as a printer and as the publisher of famous books ; was a punch-cutter and type-founder, the president of several typographical associations, a diligent collector of books, and the most learned typographer of France. ^ One pair of cases for roman and one job case for italic. French Light-face (Roman No. 7). Body 10. Mayeur 136 The Text Types of the ^eVinne ^ress FRENCH FRENCH TYPE-FOUNDERS made a departure m their types about the beginning of the nine- teenth century. Rodoni of Italy had set them enviable examples in the roundness, clearness, and openness of his new faces of type, which compelled the admiration of all readers and the imitation of printers in every part of the world. The Didot Prmting House at Paris was not satisfied to be a servile imitator. It maintained the roundness and clearness of the Bodoni letter, but it shortened ascending and descending letters and produced all the needed open- ness of print by use Measurement of alphabet in 12-point ems of more leads. Its ROMAN CAPITALS . .20 new characters were ot^ajt r,^T,rrv^To 1 . -n • -1 SMALL CAPITALS .... 14i« made a trifle wider y than those of Ro- Lower-case 1414 doni, and barely es- ITALIC CAPITALS . 2034 caped the censure of italic lower-case . . . i4 2l"»tMcrsJk: ..3456,890 ...^5fi,*,o w^as widened and the EEEEQ EEEEQ eeeeq hair-line and its serif aa666e ii 6uuiiQ adeeee lioMii made sharper. It /((i»cdefghikimnorstvjj / \ Avas supposed that the legibility of print would be increased by broad- ening the thick strokes and by sharpening the hair- line — a treatment that emphasized the contrast. The new^ face thus made by the Didot Printing House found favor in England even among printers w^ho had refused to make use of the excessively black and corpulent faces produced by Robert Thorne . Readers weary of the hard angles and stiff forms of the Caslon model accepted the new Didot face as a welcome improvement. ^ We have one pair of cases for roman and one j oh case for italic. Didot-face. Body 12. Mayeur 137 The Text Types of the T)e Vinne 'Press FRENCH AUX YEUX DU PUBLIC PROFANE, il semble qu'on \ n'ait a s'occuper que du format, du papier, du carac- i~\ tere, du nombre de pages, pour que le premier prote venu puisse mener a bien une impression de volume. — II en est tout autrement, si Ton sent en soi I'amour du livre, aussi bien que le respect des traditions. II ne faut pas tout d'abord blesser les regies typographiques ni s'y renfermer aveuglement. Le papier une fois choisi, dans le format in- 18 ou in-8°, il s'agit d'arreter la hauteur de page et la justification, c'est-a-dire de mettre le texte en harmonie avec les marges ; il con- Measurement m 12-point ems . . jjf. i_i- 1 .•. . RHMAivrAPTTATQ ^ d etablir le titre courant, tlUM AJN LiAFl 1 ALb .16 jg j ^g^j. ^j^g ^j j^g^g interlignages, SMALL CAPITALS ... 11 (jg recommenccr dix, quinze, Lower-case . . . . n vingt fois le type specimen d'une ITALIC CAPITALS 1714 Page, observant, critiquant, cli- Italic lower-case . . 11 f^"* ^f, ^^f' i^'f.f '\^^^. iaof.KanQ f^^-oon la ponderation parfaite ait ete *,^,l^^^^^, ,^^^^^^^ atteinte; puis, cela fait, viennent EEE^ EE EQ EifcEfig les questions des blancs, les fins aaeeeeiiouuiic de chapitres, « I'habillage » des a a i e e e I I 6 il a u q vignettes et enfin le titre. / „ a c d e f ghikimorstv /\ Lc titve ! cela semble tout simple, mais rien n'est aussi malaise quede le combiner dans sa perfection, selon les regies de la typographic et du bon gout ; on en compose dix et ce n'est pas cela; on recommence; de la capitale on passe aubas de casse, du has de casse a la lettre fantaisiste, on cherche dans le moderne, dans Velzivir, dans la renaissance: on combine, on melange les races de caracteres; on coupe, on divise, on subdivise, on resserre les textes ou bien on les aere, et ce n'est qu'apres un labeur parfois incroyable qu'on obtient le titre reoe, serieux, qui fait plaisir a voir et en- gage le lecteur a pousser plus loin dans les colonnes serrees du volume. CI We have one pair of cases for roman and one job case for italic. Compressed French-face. Body 12. Mayeur 138 The Text Types of the 'De Vinne 'Press FARMER IN 1804 Elihu White and William Wing, of Hartford, Connecticut, under- took to make types without any experience in type-founding, and even without any knowledge whatever of the construction of the approved form of type-mould. After repeated failures, they were obliged to send one of their workmen to the foundry of Binny and Ronaldson, of Phila- delphia, but he failed to get the knowledge needed. After doing a limited business in Hartford, White separated from Wing, moved his foundry to New York in 1810, and made type in an old building on Beach Street. The business was continued by his son, JohnT. White, who was succeeded by Norman White, and when his son was admitted to the partner- ship the firm-name was changed to Charles T. White & Co. Charles T. White retired in 1854, after selling the type-foundry to his em- ployees, who carried on business under the name of Farmer, Little & Co. The business is now carried on by William Farmer, under the name of A.D. farmer & Son Type Founding Co. ^1 Of this font we home two pairs and one job case for roman, one for italic, four for accents, and two for astronomical and mathematical signs. 8-point No. 13, old body Measurement in 12-point ems CAPITALS .... I2I2 SMAll, CAPITALS . . 10 Lower-case 9 ITALIC CAPITALS ISi^ Italic lower-case ... 8I4 1234567890^^5.456 7590 AA.AfiBAtt6ufrO<;M6M6€gcggn aaaaaaaaaaaei6ligy z^ CS'ddda ChShThThWhOungowcfh^ «^«» M"* ?^ '?V A « i^ ^ ^^ a h e d e f g h i j k I m T Pont includes all regular accents Measurement in 12-point ems 13 9I4 9 14 8I2 IN 1806 EGBERT LOTHIAN of Scotland tried and failed to establish a type- foundry in New York. His son George B. Lothian, who had been taught the trade of stereotyping in the stereotype- foundries of John Watts of New York and B. & J. Collins of Philadelphia, and had also received instruction from his father and from Elihu White in type-founding, undertook to establish a, type-foundry in Pittsburgh, Pennsylvania. It was an unsuccessful enterprise, and Lothian returned to New York. In 1833 he undertook to make type for the old firm of Harper & Brothers. The face of Greek which he cut for the Anthon Classical Series was very much admired. Soon after his death, in 1851, the foundry was bought by Cortelyou & Giffing. In 1875 the business of the foundry ceased. One aqua/re inch of this type in leaded composi- tion takes in about twenty-three words of ordi- nary length, q Of this font we have two pairs of cases for roman, one for italic, and one for accents. 8-point No. 15, old body 139 CAPITALS .... SMALL CAPITALS . . . Lower-case .... ITALIC CAPITALS Italic lower-case . . 1234:5e'7HS01 S3 466 7 890 fifigN EtfigS £ Q :S' aaaaaSaeeeeiog dddaadaeeeeloQ 18 8456 7890 1834567890 1/1Z3/1<^2/ ><%x---n-=l 3 3ft/V Font includes all regular accents and signs The Text Types of the 'De Vinne 'Press FARMER Measurement in 12-pomt ems CAPITALS . . SMiLL CAPITALS Lower-case . . 13 10 9I4 DAVID BRUCE, Jr., son of David, at a very early age gave close attention to the mechanics of type - casting. The machines of Wing & White, of Starr & Sturdevant of Boston, and William M. Johnson of Hempstead, had been tried and rejected by the trade. In 1833 D. Bruce, Jr., made a machine that was generally adopted and had no worthy rival for more than fifty years. He also invented a type -rubbing and dressing machine of merit, and was fairly successful as a punch-cutter. Many meritorious forms of letter were designed and engraved by his hand. David Wolfe Bruce (born in New York in 1823) succeeded to the business of George Bruce, which he continued, in partnership with James Lindsay, under the name of George Bruce's Son & Co. David Wolfe Bruce retired from business in 1890, transferring the foundry to his em- ployees, and died in 1892. ^ Of this font we have four pairs of cases for roman, one for italic, one for accents, and four for mathematical signs. 9-point No. 15, old body ITALIC CAPITALS 14 Italic lower-case . . 9I2 1334567890 1S34567890 AlMiovQ A A A.M6 VQ ^aaaaa&^Ioufi? dbMaau&'&h 12346 1294687890 ft7890 «i'°^lb><>TrrATQ Figures for italic, CAPITALS . . .5.. ^ . . ' SMALL CAPITALS . I8I4 roman, script, as t n \- J 1 A Lower-case . . 1713 well as tied letters and many accents V f . ,^ CAr^ 28 for educational ^^^^'^ lower-case le^ work, are provid- 1234567890 1^S4 ed for books that 507890 ^23^567 caU for odd sorts 8(j0 iSSJ^SbjS'qo^ of irregular form, asiaaaaaaa aaeiouyy Do not confound aaa^ggngsyy o"oo^ this N0.4 face with da ee ti 06 uu yy the larger font of Oh Sh Tli Th Wh Ou Great-primerused ngowouththWh^dh for the Jade book. The transfer of the odd sorts of one style to composition in another style may pro- duce trouble, fl Of this font we have two pairs of cases for roman and one job case for italic. Seven words to one square inch., solid. 18-pomt No. 4, old body 145 The Text Types of the 'DeVinne 'Press FARMER SAMUEL NELSON DICKINSON, born 1801, died 1848, a notable type-founder of Boston, was taught the trade of a printer in the State of New York, but afterward was employed as a compositor in the Boston Type and Stereo- type Foundry. In 1829 he began business as a master printer. The style once known as Scotch -face was modelled by him in 1837, but cut and cast to his order by Alexander Wilson & Son of Glasgow, fl Of this font we have two pairs of cases for roman and one job case for italic. 12-point No. 18, old body. Parmer Measurement in 12-point ems CAPITALS . . 1913 SMALL CAPITALS . 14I2 Lower-case. . . 14 ITALIC CAPS. 21 Italic lower-case . 13 1234567890 1234567890 No accents I9I2 13 THIS ENGLISH or 14-point No. 4 of American Type Founders Company is a font of small size, reserved for repairs or the additions to electrotype plates previously prepared from this face of type. Do not select it for any compo- sition of length. Its small capitals are unnecessarily small, and its italic is un- usually condensed. It has lower-base accents and dia- critical marks. ^ Of this font we have one pair and one Job case for roman, miej'ob case Measurement in 12-point ems CAPITALS . SMALL CAPITALS Lower-case . . 1312 ITALIC CAPS. 201^ Italic lower-case . isi^ 12345 i2^*^"««» 67890 d,k^aaaftaa6eei6oooo douGuim yy giin§s:5: th l[§||Jt*ii4itlf for italic, and one accent case. 14-point No. 4, old body. A. T. F. Co. 146 The Text Types of the TieVinne 'Press CONNER GREAT-PRIMER No. 4 from the - Conner Foundry was the letter selected by a committee of the Protestant Episcopal Church of the United States authorized to prepare a new edition in folio of the Book of Com- mon Prayer according to the standard of 1892. A limited number of copies of this edition in p 1 . . I T T t Measurement in 12-pomt ems lolio, suitably dec- orated, was printed CAPITALS. . 24 in 1893 by the De ^^^^ capitals 19 Vinne Press. Lower-case . . 13 This 18-point type ITALIC GAPS 26 was also used by the Italic lower-case 15 De Yinne Press in 1234567 4567890 printing the great folio of Heber Bishop, descriptive of his collection of Jades now in the Metro- politan Museum of Art. Selection of this face was made after a critical examination of many styles shown in the specimen books of the leading type-founders here and abroad. ^ Of this font we have five pairs of cases for roman and one job case for italic. 18-point No. 4, old body 147 The Text Types of the ©e Vinne 'Press M. &R. NONPAEEIL No. 22 of Miller & Richard waa designed and cast by that Arm for the small text type of the Century Dictionary. It is now made by the Bruce Foundry of New York. For Dictionary service it was provided witti a great variety of accents for the two series of capitals and lower-case. It is also equipped with superior and inferior figures and letters for reference. It has piece fractions upon the 3-point body. Algebraic, astronomical, and physical signs are other serviceable additions. Please note that this letter is a compressed type of thin face with lower-case sorts that are below the standards of the Typographical Unions, and are consequently paid for at an extra rate of composi- tion. This face can be selected with propriety for side-notes or cut-in notes of a text that has been set in compressed types on a large body. For side-headings or for displayed words in the text choose the antique of Miller & Richard as used in the Century Dictionary. It does not line truly with the romau, but it is preferred by most writers over all other styles for words of display. This nonpareil when set solid takes in about forty-seven words to the square inch ; if leaded, about thiriiy-four words. Do not mix its sorts with types of other fonts. | Of this face we have twenty-Jive pairs of Hooker cases for roman, twenty-five for italic, and seven cases for accents, 6-pomt No. 22. Bruce Measurement in 12-pt. ems ROMAN CAPITALS 10 SMALL CAPITALS 8^4 Lower-case .... 7I4 ITALIC CAPITALS IOI4 Italic lower-case ... 7 1234667890 1234567890ia34B67890 abcdeifehUklmnopq JkimnopqrBtQvwryz llAAAAA^MEBfili!n666o OtrttWOtgSS A&Aaaft^ftAftsa ^56ee^e6eeillnI(i560ood56$giiJl(k liutlljuuftuu bftd^fe^nftngttyyyy ddaddd £ ie e e iM'il 6b6 53 HiiHilii ■Q. Vy "Sv VV f^ w^w.A^- = X+ -^ ± <*> V "'"t ^ @ '^ Its/BlbSS NONPAREIL A of Miller & Eichard is a very small font that should not be selected with- out special order. We have two pairs of cases for roman, one for italic, five cases for accents, and one for astronomical signs, etc. The font is of use mainly for almanacs. Note also figures for roman and italic. Please take special care not to mix the sorts of A and 22 with other faces of nonpareil or 6-point. Measurement in 12-pt. ems 10 934 7 61^ ROMAN CAPITALS SMALL CAPITALS . . Lower-case ... ITALIC CAPITALS , Italic lower-case . , 1234567890 123^567890 HJHHM AA.AAKE(,:tfJ6tl UAAAQfimd didJUlQ 666eeS HiilluuLtdoftiliiftuim AAAJjtld UgMoMiHiddu^ii^ T B no SI TTEctTH,* vsoffKOocp >V'e Vinne ^ress A. T. F. CO. No. 313 HIS FOURTEEN-POINT was se- lected for the minor matter of the great Jade book (leaf 19 x 24 ins.) of Hebbe Bishop. It is a Scotch face of the nineteenth century, and seemed a proper mate for the Great-primer selected for the text of that work and also for the folio edition of the Book of Common Prayer, These faces were probably designed by the same artist. During the past seventy years many new styles of roman type have been introduced. They have had their day of favor, but they do not now supplant older styles of merit. The Caslon face of 1732, the 1828 face, this Scotch face, and the Scotch -roman are exam- ples. After a careful sur- vey of all the styles, discerning critics say that the old forms have not been surpassed. Every large printing-house has condemned as out of fashion and out of use fonts of type that were in excellent condition, and has put in their places other styles of inferior merit; but it is not proved that the new is always better than the old. ^ Of this font we have two pairs of cases for roman and one job case for italic. 14-pomt 152 Measiirement in 12-point ems CAPITALS . 2034 SMALL CAPITALS 1423 Lower-case . 1423 ITALIC CAPS 2012 Italic lower-case 1223 1234567890 115.13.5.7.11.1 4248888336 CAPITALS 9 SMALL CAPITALS 6I4 Lower-caa6 . . 6 ITALIC CAPITALS 8 Italic lower-case 534 1234667800 hh\k%%Jiih% The Text Types of the ©e Vinne 'Press BRUCE. No. 11 FIVE-POINT, or PEAKL, ia a small size that finda but little employment in ordinary book work. It ia some- times selected for the eide-notea and foot-notes of small pages, but rarely ever, and seldom wisely, for quoted Unes of poetry or similar extracts tliat may be inserted in the middle of the text. It haa to be used occaeion- atly with larger type, when it is selected for the words that more fully explain a large illostration and that could not be set in a type of larger letter. When books are to be of very small size, with leaves about two Inches wide by three inches long, a 5-pomt body does good service ; but the demand for books in minute type is not large. They are bought as typographic curiosities; few book-buyers have the eye- sight that enables them to take pleasure in reading microscopic letters. Measurement in 12-pt. ems Manufacturers find 5-point type a serviceable letter for books of pocket sizes, containing tables of fi^:ures that give a fulness and exactness of descrip- tion which cannot be trusted to memory. Many years ago the New Orleans " Picayune" refused to enlarge its sheet for the steady increase of advertisements, which it ordered set in Pearl type. The change was not a profitable experiment. Experience showed that Pearl type, difficult to print with clearness on good book paper, was much more troublesome on ordinary news paper. The sballow counters of the small type soon filled up with ink and made muddy presswork. iilgurea and fractions on en body were illegible. Advertisers and readers complained that the printed advertisements were hard to read. Another discouraging result was the exceeding frailty of the letter ; although the new face of Pearl cost much more than its approximate larger size of Agate, it wore out too soon and had to be condemned when it bad received relatively few impressions. One square inch 0/ pearl, in solid compoGition, takes in about sixty-nine words; in leaded matter, about fifty words. \ Qf this No. 11 face we Tiave tJiree pairs of cases for roman and three Job cases for italic. Figures a/re on en and %-em iodies. FractioTie are on em tody. T/iisfont has no accents. 5-point, old body SEVEN-POINT, or MINION, is a neglected size. It is too large for ordinary news- paper worli, either in news or advertisements, and too small for the text of the ordi- nary book, yet it has to be kept in stock in every large printing-house, where it finds nseftd employment in foot-notes, extracts, or the index matter that supple- ments a text type of larger size. French printers make frequent use of it in gazetteers, encyclopedias, and thick books of reference. Minion is still a term of endearment for pets and children. Early printers and type-founders applied it to this size when it was the smallest size of type manufactured. Do not confound Mmion with Minlonette, which last-named word was used by a. Philadelphia type-foundry of the last century to describe a new body for combination borders— a size between Measurement in 12-pt. minion and nonpareil, which size was the body 6 of the CAPITALS . .12 9 83-4 7^2 Freneli point system. small capitals The English unit for measuring composed matter is Lower-case . . the en-quadrat. The number of ens in the line to be ITALIC CAPS measured is multiplied by the number of soUd lines. The Italic lower-case unit is different, but the method of measurement is the 1234567890 V4%%lis%%% same as that of the United States. One thousand ens AlllfllOUN AAlMibv English equal five hundred ems American. a&aa^6eelili666ooiiMu9u In the French method the space taken by the twenty- AMlOtJgNd&daeXSUfn four letters of their alphabet is computed as twenty-four letters. The number of letters is determined by filling the line to be measured with repetitions of the alphabet, and counting the letters that can be put in the stick. The number of letters so ascertained in one line is multiplied by the number of solid lines in the matter composed. One square inch of 7-point or minion, solid composition, takes in about thirty-eight words; of leaded matter, about twenty-seven words. ^ We have six pairs of cases for roman, one job case for italic, and two for accents. This 1 -point face has superior figwes and ordinary accents. 7-point, old body 153 The Text Types of the 'DeVinne 'Press BEUCE. No. 11 /^ y PA OE occupied by type. One pound of metal type, as packed by type-founders, covers ^^^ about three and eix-tentlis square inches. To find the weight of one page in high 1 ^^ spaces, divide its number of square inches by the figures 3.6. To find the weight of ^v._^ a font to compose a given number of pages, provision must be made for a surplusage. The proportion of this surplus is variable. For a small font, the type-founder's rule is to add one half to the computed weight of the composed types. A surplus is needed. For a font of two thousand pounds Measurement in 12-pt. ems «^ '^°^^' *^^^ surplus need not be relatively as great, and addition of one fonrtb to the weight of the composed mat- CAPITALb . . 10 ter may be enough. All calculations of this kind are but SMALL CAPITALS 8^2 guesses. No printer or type-founder can exactly foresee Lower-case .... /;p3 how unequally copy yet to be written will exhaust sorts. ITALIC CAPITALS. 11 4 Sow weights of fonts are calculated. For all work that Italic lower -case ... / has to be done in haste, for newspapers and magazines that 1234567890 i4s§§s&4f bave to keep in type postponed articles or alternated adver- gN5Naaaa66geilii666oouufiu(;n tisements, a font of twice the weight of the composed (jUt ddddaiieeiiiUddoo uuUiign matter will not be enough. A large and well-sorted font is always economical as to service. It enables a master printer to complete work quickly without delays or stoppages for sorts. It wears better. One font of one thousand pounds will give more service than two fonts of five hundred pounds bought and used successively. When a font of a new type has been put in case, it should be set up until one sort is exhausted. If after composition there be left in case a large surplus, a list of the characters most needed should be ordered from the foundry to make the assortment even. But after a repeated resorting of the cases it will always be found that a large surplus is unavoidably left Q Of this font we have five pairs of cases for roman and one for italic. 6 -point ^~^OME charactera are deficient in italic. A full font of roman text type, as sold by the founder, ^^ always bos italic, which should be of the same style as the romau, but the Bcheme for italic 1 ^ does not give so many characters as for roman. Small capitals for italic are made only to ^""—^ order. Figures, fractions, reference-marks, and some of the points of the roman serve for such series. Italic figures are furnished to some fonts by some foundries. All the characters specified in a scheme are furnished by the larger foundries with every entire font of roman from Agate to Pica. In English and sizes above, many of the minor sorts and all the accents are omitted. For sizes above Great-primer, small capitals are uncommon. Brilliant has no small capitals, or fractions, or accents, and few of the minor sorts. Although it may be rated as complete, the small scheme for romau has no accents for roman capitals or small capitals, and none for italic capitals, but these accented letters may be obtained in small quantities df one or two ounces to each character on order. Accents are not alwa/ys provided. The scheme includes all the characters needed for ordinary work, but for foreign lan- guages, or for scientific books, other characters are needed. ■^^ educational works require a large list of long and short 1234567890 lisJg&iii vowels ; dictionaries, a large number of diacritical marks, most of which have to be designed and cut to order; and Portu- guese, Danish, and other languages have peculiar marks which must also he made to order. As a general rule, eventheordinary accents are to be had only for the book types made by larger foundries. The number of characters in a full scheme of hook type is 253, but If characters were required for the accents of all foreign languages, for the signs and marks used in dictionaries, and for hooks about mathematics, chemistry, bibliography, astronomy, etc., the number might exceed five hun- dred. No type-founder pretends to Iceep charactera of limited use for every fuitt ; probably nopHnter has a complete aasortmenl of all accents and signs for any font. | Three pairs of cases for roman and one job ca^e for italic. 5J-point 154 Measurement in 12 -pt . ems CAPITALS 9% SMALT. CAPFFAia . vi^ Lower-case . . 7 ITALIC CAPITALS . 10 Italic lower-case . . 6I4 The Text Types of the ©e Vinne 'Press BRUCE. No. 11 Measurement in 12-pt. ems PROPOSALS FOR THE PRINTING of a large Bible, by WUliam Bradford, January 14, 1688. These are to give Notice, that it is proposed for a large house-Bible to be Printed by way of Subscriptions (a method usual in England for the printing of large Volumns, because Printing is very chargeable). Therefore to all that are willing to forward so good a Work, as the Printing of the holy Bible, are offered these Proposals, viz. : 1 It shall be printed in a fair Character on good Paper, and well bound. 2 It shall contain the Old and New Testa- ment, with the Apocraphy, and all to have useful Marginal Notes. 3 It shaU be allowed (to them that sub- scribe) for Twenty Shillings per Bible : (A Price which one of the same volumns in England would cost). 4 The pay shall be half Silver Money, and half Country Produce at Money price. One half down now, and the other half on the delivery of the Bibles. Of Bourgeois we have seven pairs of cases for roman, two job cases for italic, and one accent case; of9-point we have two pairs of cases for roman and one for italic. O-point 14 1034 934 I4I2 8^ CAPITALS . . SMALL CAPITALS Lower-case . . ITALIC CAPS Italic lower-case . 1234567890 1234567890 1234567890 AaEIOOUQN AAilotJgN d&,&aa6&6eii£i66&6uu1iu ^n lIMOOlJgN daaeidiign 5 Those who do subscribe for six, shall have the seventh gratis, and have them delivered one month before any above that number shall he sold to others. 6 To those which do not subscribe, the said Bibles will not be allowed under 26s. a piece. 7 Those who are minded to have the Com- mon-Prayer, shall have the whole bound up for 22s., and those that do not subscribe 28s. and 6d per Book. 8 That as encouragement is given by Peoples subscribing and paying down one half, the said Work will be put forward with what Ex- pedition may be. Of Brevier we home twenty-eight pairs of cases for roman, eighteen cases for itaUc, and eighteen for accents, etc. ; of %-point we hdve five pairs of cases for roman, two for italic, and three for accents. It is the face used for the large type of the Century Dictionary, with many signs and accents. 8-point 155 Measurement in 12-pt. ems CAPITALS . . 12 SMALL CAPITALS . 9 Lower-case . . 8I4 ITALIC CAPS . 1234 Italic lower-case . Th. 1234567890 12345 67890 1234567890 ,„„- '^Rnaon AAAaa^N AllAAiidtgN d^aaaaaaaaaaaS. 6eei6dgooo liuuuuuu^yy focd ggninstz AAlAJtMlliOotftJgN ©®«0©C l)Q,'i3°"' x=-t--|lL=Ft/ZII<-H-: The Text Types of the ©e Vinne 'Press BRUCE. No. 11 PEN-POINT, or LONG-PRIMEE, is an approved size for novels, travels, poetry, and tlie literature of amusement. Not unwisely, French publishers regard this 10-point size as the smallest that can be used with satisfaction to the general reader. The smaller sizes of 9- or 8-point may be selected with advantage in encyclopedias, gazetteers, dictionaries, and educational work, but they are not acceptable to the lover of light reading in the ordinary 12mo or 16mo book, even when they have been widely leaded. The sale of novels diminished with each decrease in the size of type. This belief of the French pub- lishers is shared by every English Measurement in 12-point ems and American bookseller. The day CAPITALS .... 16 of the paper-covered novel in small SMALL CAPITALS . . . 12 type is ovcr. Lower-case ii Following the teachings of Wil- ITALIO CAPITALS . 16 liam Morris, there are reformers of Italic lower-case . . . lO printing who claim that types are 1234567890 HUM VAlle^ ™°^® readable when close -spaced, 1234567890 ijiu^Z^p wlthout Icads between lines. This AAAAAfifij&EllllOOOOlJ compacted treatment does not im- iTtrtJQN llAAE^BEf[lii66o prove the No. 11 series of type. It tJutrtygN&aa^^eeiiiidooiiiiii^n is readable solid, but more readable Alll ilME ntl 0066 '"^lien leaded. rjWtJgN dMaaM^efe One square inch of this size, set eeiiim6d6dddii^4uuu(:n solid, takes in about twenty-one words ; leaded, about sixteen words. In estimates for the space to be covered by composition, allow- ance must be made for the style of the writer: the Latinized style of long words needs more space, the colloquial style less space. Of Long-primer we have fifteen pairs of cases for roman, three job cases for italic, and one case for accents; of 10-point we have thirteen pairs for roman, two pairs and one job case for italic, and two cases for accents, which contain the usual assortment for roman and italic. The ordinary forms of reference-marks have been supplanted by superior figures. Types for this 10-point No. 11 face have been properly nicJced for service on the type-setting and distributing machines. Matrices of same style will he found on the Mergenthaler machine. 10-point 156 The Text Types of the r A" / \ A I no mannerisms of imnecessary quaintness. Its letters are close -fitted. Each character fills its body as fully as its design permits, but all the characters connect neatly with one another ia every possible combination of letters. Uniformity of style is „ ^^«^ ..,/^^■i „ maintained throughout to a aaaaaeeeemioouucn , , , , -rm X ri-f/i TT^ vt- ' - ". •• ' - remarkable degree. When set AEIOUCNaaeioucn v j -j. • ^i j j ^ ^ solid it IS a gracerul and read- able letter, but leading gives it an improved appear- ance of lightness and delicacy. The general effect of print in this type is that of sustained symmetry. The eye picks out no letter for unevenness or other fault. Of Pica we have one pair of cases for roman, one job case for italic, and one accent case; of 12-point we have five pairs of cases for roman and one joh case for italic. One square inch of this size, when leaded, takes in about eleven words; solid, about thirteen words. 12-point 158 The Text Types of the ©e Vinne ^ress BRUCE. No. 19 J MALL CAPITALS are often unsatisfactory. A word in small capitals should be more prominent than one in italic ; but as now made they are thin, weak, and make no show. Some publishers prohibit their use in the text, preferring to make distinction with the lighter faces of antique or clarendon. This weakness comes from planning small capitals of Measurement in 12-point ems the same height as the round CAPITALS . . . . 1513 letters of a small lower-case. In this small capitals . . 1113 reduced height it is not possible to Lower-case .... 10 draw small capitals of a becoming ITALIC CAPITALS 15I2 prominence without widening the let- italic lower-case ... 914 ters to a degree which makes them 1234567890 bad mates for the larger capitals. A ready remedy is to plan them taller and give them more breadth. Some French type-founders now make small capitals of greater height and width ; others put them on a wider set, so that they seem to be hair-spaced. For the small capitals of most of our fonts hair-spacing will usually be found an improvement that gives increased clearness and distinction. Small capitals were once an approved style for the running titles of books, but they should not be selected for a running title of few words. Small capitals of 12- or 14-point are distinct, but sizes smaller than 10-point will prove unsatisfactory in this exposed position. At the head of the page they receive too much wear under impression and their shallow counters are soon choked with ink. Small capitals are rarely used now to indicate emphatic words. The rule that forbids a too frequent use of italics is equally severe on small capitals. They are much too weak for side-headings of dic- tionaries and catalogues. The lighter faces of antique and title-letter are now preferred. For the subheadings under chapters one line of small capitals is acceptable, two Imes may be tolerated, three lines are offensive. Plain lower-case of small size is a better choice. As usually made, small capitals are more diflBcult to cut than capitals or lower-case, and this tempts founders to make one set of small capitals serve for two or more distinct faces. An inexpert can seldom detect the mismating. ^ We have two pairs of eases for roman and one 36b case for italic. 10-point, old body 159 The Text Types of the ^eVinne ^ress LINDSAY MODERATELY compressed face is needed for a narrow page as is a round or broad face for a quarto. The reader who loves order and symmetry in print is annoyed when he notes in a page of poetry lines of words that evenly fill the measure while following Hues (and often there are many of them) have only the overrun of one short word or syllable not to be placed within the upper hne. The short lines have to be followed by great gaps of white that give a general raggedness and an unworkmanhke appearance to the entire composi- tion. This mangUng of the cadence or harmony in- tended by the poet is un- Measxiiementinl2-pointein8 aVOidablc whcU a letter Of CAPITALS . . 2012 broad face has been selected SMALL CAPITALS 16 ^^r use in a narrow measure. Lower-case . .131, EquaUy unpleasing is the TTATTPCAP^ appearance of a broad type mi.niiy o^z-o 22 q£ large size on a narrow Italic lower-case 1234 page. To avoid the faulty 1234567890 division of words (for in the widest measure words must occasionally be divided), the compositor may have to thin-space the words in one line and put em-quads or more between the words of the next line. Types are inflexible ; they cannot be squeezed or stretched out. As we have large types for foUos and small types for newspaper advertisements, there should be a similar adaptability in the construction of the tjrpes intended for poetry and narrow measures. This tall and stately form of letter is as admirable when properly selected as any other in this hook. ^^ Four pairs of cases for roman, one job case for italic, and one accent case. 14-point No. 19, old body. Bruce 160 The Text Types of the 'DeVinne T*ress LINDSAY YPE-FOUNDERS grade types one point apart from 6- to 12 -point. The point is .0138, about one seventy-second of an inch. Skipping hut one point, founders next ad- vance to 14-point; again, skipping three points, they go on to 18-point. The intermediate size of 16-point is seldom made of a face acceptable for a modern book. Ordinary 18-points are too coarse for a neat book ; their t3^es are wide and make uneven spacing between* words. To provide a large type, of approved face and free from this defect, the TV -XT' Tk 111 Measurement in 12-point ems Ue V mne r ress had made ^ . ^jit a t q for its exclusive use this ^^^^^^^^ • • 21 Lindsay face on 16-point f^^^ CAPITALS 17 body. It was originally ^^.TJ^^^^., .. Jj;^ designed for the smaUer V^^/^ ^^^^ '' ^ body of 14-point by the f ^J^^ , f ^To n'n late James Lindsay of 1^^4567890 ■ I 1-, YT\ -n 1 Small capitals unusually tall the rJruce lype 1^ oundry, as a combination of approved features in the French-face and the Scotch-face that unite neat- ness of form with great clearness and compact- ness. This 16-point will take in about one hundred and twenty-five words solid to the ordi- nary duodecimo page, yet it will not produce the unduly stretched-out effect that is noticeable in (wer -leaded composition. ^ We have four pairs of cases for roman and three joh cases for italic. 16-point Koman Scotcli-face. Bruce 161 The Text Types of the ©e Vinne 'Press No. 1828 A NOTICEABLE peculiarity of the 1828 face on . 10- and 12-point bodies is its remarkable boldness. It is amore readable letter than the lighter faces that were ap- proved by publishers between the years 1840 and 1890. It has the thicker stem and the flat lower-case t of the Scotch- roman, which seems to have served as the pattern. The critical reviewers of the last century who advised its dis- charge as an out-of-date style would be astonished if they could read recent praises of its beauty and superiority. ^ Of this font we have seven pairs and one job case for roman^ two job cases for italic, and one accent case. 12-pomt. A. T. F. Co. Measurement in 12-pomt ems CAPITALS . . 20 SMALL CAPITALS I4I2 Lower-case . . 1223 ITALIC GATS 211^ Italic lower-case . 1213 1234567890 E :fc :& g N i) E E g J^ d,aaaeeeeiii6666uTiuu9n daadeeeeiiidodduiiiXiiqn THIS face, the work of an early American punch-cutter of ability (possibly Edwin Starr), was put out of use in 1828, for during that year it was consigned to a type-founder's vault as if for burial. There is now no known reason for this neglect. It is a letter of good design, a real improvement on a style pre- viously introduced by type-founders of London. Types of inferior design were kept in fashion there and here for many years afterward. After a burial of about seventy years, some lover of Americana had it taken out of the vault and fitted to a mould on the point system. It was accepted by the readers of the Shenandoah edition of Stockton's novels as a type of remarkable merit, fl Of this font we have five pairs and one job case for rotnan, one pair for italic, and one accent case. lO-point. A. T. F. Co. 162 Measurement in 12-pt. ems CAPITALS . .16 SMALL CAPITALS 121^ Lowercase . .11 ITALIC CAPS. 16 Italic lower-case . 923 1234567890 miM AiilOtjgS' litotgN AaM6eeeiili66661ii1i gfi Ai]i!dug:StdHdugfi The Text Types of the ^eVinne ^ress BRUCE No. 12 ^^^^i<^^'',^^^^^'^?^fj\ " ^^"^^ '*''« ^^^ »* ll-point, or small.pioa, In vertical meas- oost n?n?w «i'J?. J seem to the Inexpert an exceedingly small reduction of body, not worth the a^fnt ^t ^e^^S. It ilnde its greatest service In the advertising columnB of newspapers, and It may be considered as the limit of minuteness in that t,„»P»pei», servioe. It is known among English type-founders as Bnhy. ' This reduction in size has been accompanied by a serious change in the shape of its letters. The smaU letters of the lower-case are relatively much broader than those of larger sizes. Ascending strokes like b and d are shorter, and descending strokes like p and q are very much shorter The widening of the small letters has enabled the punch^ cutter to put more white in the centre of each character and to give more width to the thick stroke. This treatment has made the faces almost as readable as the larger sizes of 6-point. For this reason it was selected by the late firm of McKlllop, Sprague & Co. for their voluminous Commercial Register. One square inch of this face, in solid composition, takes In about 55 words ; of leaded matter, about 44 words, ly Of this font we have two pairs of cases for roman, two for UaUc, amd one for accents. It Tias superiors for marks of reference, also two sets of figures— one set on en body and the other on two-third em body. IVactiona are on em body. 5i point, old body Measurement in 12- pt. ems CAPITALS . . SMALL CAPITALS Lower-case . . 11 8I4 7I2 11 67890 9oiHi*.ii§ ITALIC CAPITALS Italic lower-case . . 1234567890 12345 1234667890 khhk% iNUm »4aa6S6emie Vinne 'Press BRUCE No. 13 FOURTEEN- POINT BODY of this face was selected by a judicious buyer for a new edition of the Bible recently printed by the De Yinne Press. Types from many houses were critically compared, and this No. 13 face preferred as combining all the more desirable qualities. It shows graceful shapes in aU of its characters, and a skill in the combination of unlike forms that has rarely been equalled. The demands of readers for Measurement in 12-pomt ems j^^g^ ^^^^ readable typCS CAPITALS . . 23 are increasing, and are SMALL CAPITALS 1714 more urgent now than Lower-case . . is ever. The double -col- ITALIC CAPS 2312 umned octavos in non- Italic lower-case 1413 pareil or in minion are 1234567890 neglected. The greater 1234567890 cheapness of white pa- per has encouraged this preference, but a proper care for waning eye- sight should be a more important reason. The books that can be read with comfort, and that have received highest approval of librarians and collectors, are always in a large type, and some of the sizes can be used with advantage for the ordinary octavo page. § Of this font we have thirteen pairs and two job cases for roman and one for italic. No accents. 14-point 164 The Text Types of the 'DeVinne 'Press BRUCE No. 13 lOLD-FACED LETTER of modern cut is not yet on I or IftSniOn. At Measurementinl2-pt.ems is seldom selected Lowlse! : : It^ fi 1 -, -, Italic capitals . . SS^a tor large books, but KaUc lowercase 211^ it is effective in advertisements. THE ITALIC of this size is a readable letter. ^ One case for roman and one case for italic. 22-point, old body CAPITALS OF THIS 13 SERIES can be used in Title-pages with pro- priety as mates for the 105 Series of Two- line letter, or with the Half-title. It is a type of great grace, is neatly cut, and makes useful plates. This font has the ordinary accents, and figures and fractions on the en body. ^ OF THIS FONT we have one pair of cases for roman; one case for italic. 16-point, old body 165 Measurement in 12 -pt. ems Capitals . . . 25 Small capitals . 19I3 Lower-case . . I623 Italic capitals . 2534 Italic lower-case I5I4 The Text Types of the ©e Vinne 'Press BRUCE No. 13 A USEFUL TYPE in Capital Letters for a bold title-page upon the large leaf. ITALIC is plain. Capitals . . . 595^ Italic capitals . 6II2 Lower-case . . 3784 Italic lower-case 3523 No small capitals No accents One pair of cases ; italic in half of upper case 36-point, old body. ERVICEABLE in Display Line of Ad- vertisements or in other work to be read quickly. Has readable ITALIC Capitals . . . 44I2 Italic capitals . 491^ Lower-case . . 29I4 Italic lower-case 29 Two pairs of cases ; italic in half of upper case 28-point, old body 166 The Text Types of the 'DeVinne eVinne 'Press BRUCE No. 16 CORRECTION of the construction or rhetoric of copy before it is given to the compositor is not a part of the duty of the master printer. On much of the copy sent to him are written these orders : "Follow copy; do not change capitals, italic, punctuation, or con- struction." Experience has warned him that it is hazardous to correct even where correction seems to be needed. He rightfully assumes that the copy of a new book is the work of a person who has prepared that copy properly. His estimate of the cost of composition is based on that belief, and this is also the belief and practice of all master printers. This estimate includes the proviso that changes subse- quently made by the author in the proof must be regarded as altera- tions from copy. There are authors who seldom change a word or point in proof, but there are others, educated and competent but unsystematic, who pre- pare copy negligently, with small regard for uniformity in the use of capitals, italic, points, Measurement in 12-pt. ems quote-marks, etc. To follow their copy ex- CAPITALS . . IS^s actly would be to the joint disgrace of all Lower-case . . 9% concerned. Copy of this description, too often 1234567890 iA# written and printed in haste, when it cannot be revised by the author, should be corrected by some one appointed by Mm, before it is put in type, but the author is seldom willing to do or to have done this needed work. He does not see its utility. The faults that afterward seem so glaring in print may not be seen by him in his copy. Nothing is more deceptive than the written expression of thought; what seems proper in manuscript to-day, will seem improper in type to-morrow. There are few writers whose faculties are always in such exact working order that they never change the words first written. Changes are needed in almost every manuscript, but they are more economically made in a type- written copy before it is given to the printer. If changes are not made then, they must be made in the proof at increased expense. Some copy contains the statement that it has been hastily prepared, and the printer is asked to correct negligences before it is put in type. This extra work is cheerfully done on short matter, but when manu- script is bulky, requiring hours for a revision, compliance with the re- quest is impossible. When compositors are directed to correct copy in the processes of type-setting, their work may be unsatisfactory to the author. It should not be expected that two or more men can maintain the perfect uniformity of style that is desired. lO-point, old body 169 The Text Types of the 'DeVinne ^ress BKrCE No. 16 The Superiority of a COMELY TYPE Is Most Apparent in Its Larger Sizes Capitals, 5484. Lower-oase, 33 36-pomt, old body. One ease GREAT-PRIMER is seldom asked for in books smaller than cap 4to ; few let- ters can be put in each line *■ , , Measurement m 12-pt. ems and even-spacmg is made ^^^^^ . . . . ^4 difficult. ^This font has smaii capitals . . 2012 small capitals. The italic offered for its proper mate is too thick. It takes in about seven words, set solid, to the square inch. This font, being rarely called for, is now papered. 18-point, old body. Bruce 170 Lower-ease ... 13 No italic The Text Types of the ©c Vinne Press BRUCE No. 16 A Four -line CAPITAL ives beauty to a P^enerous Title-pa^e 1895 No italic Capitals 90I4. Lower-case 54 48-poiiit, old body 171 The Text Types of the ^DeVmne e Vinne 'Press LIGHT-FACE PROFESSIONAL MEN, and even men of business wlio wlsli to avoid in a concise circular tlie selection of bold type that conveys the idea of advertising ostenta- tion, and are also equally dissatisfied "with, the feebleness and fussiness of ordinary typographic script and the commonplaceness of the common faces of roman and italic letter as made for books, find in this style of light-face the clearness and simplicity that they are looking for. Print from this type is visibly unlike Measurement in 12-point ems that of the usual forms of CAPITALS 16 roman and italic. Lower-case isi^ Like all broad- faced and 1234567890 open types, it needs for its &3,6&Si66Qu.tLgS. neat presentation a proper background of -white relief. If it is set solid with thin spaces between words and with a narrow margin, the effect so produced will be disappointing. For the ordi- nary page, double-leading is the treatment advised. It will be of service for special paragraphs in pamphlets that require frequent change of type, but not of a face that overbears the needed lines of display. What has been written on the previous page about the durability of electrotypes from this face may be repeated. A paragraph set up in ordinary faces of 6- or 8-point is liable to be worn and made almost unreadable when it has to be printed, as is often required, In a hurry and without proper make-ready on a cylinder machine. An electrotype plate from this face may have its lines thick- ened by rough treatment under press, but It will retain its legibility longer than it would if cast from ordinary roman text type. Of this size we have five pairs of cases and one job case. There is no Italic for this light-faced series. This font has only a few accents, but it has very clear figures that could be used with advantage as an aid to other fonts that have weak figures. 8-point, old body. Farmer 175 The Text Types of the ©e Vinne 'Press LIGHT-FACE AN IMPOETANT PART of this font of a\. Pica or IQ-point Light-face consists of its accents for foreign languages, diacritical , . ,„ ^ marks, and the crossed and Measurement in Iz-pt. ems ' CAPITALS 211 conjoined letters made for T ^^„^ „„„^ -,.-, educational work. In a cir- Lower-case . i5^ -, -, .^ n r, 12S4567890 ^^^^^ letter oi lew words on AXt-FTTOf)TTri^ a page with wide margins, AAJLiH^iiUOUV^ and intended to be easily ^l??^°?°v^?!? read without show of dis- Th&^^i^W^C^it play, this Hght-face often proves more attractive than other ordinary styles of roman letter. ^ We have two pairs of cases and one accent case. 12-point, old body. Farmer Useful in Advertisements DE. JAVALi upholds type-founders In their practice of giving more "Width to the small letters of a text type with each decrease in the height or body of the type. A 10-point of good form has a lower-case alphabet of 18 of its own ems, but a 6-point of the same face must haye an alphabet of 16 ems. If greater clearness is desired the letters must be made still -wider, as is done in this font Measurement in 12-pt. ems "^"^ ^ lower-case series of 19^ ems to the alphabet. The wider letter calls for wider CAPITALS .... 1.^ 4 spacing between words, more leads between Lower-case .... 10 lines, and generous margin around the page. 1234567890 r^j^g pleasing general effect of this light- faced letter is spoiled when its types are set solid and thin-spaced, and when they are printed on a leaf with a scamped margin. This style of letter is too wide to be recommended for poetry of long lines in a narrow measure, but for short bits of prose composition it will prove of good service, and will be relished by the reader, q Of this font we have two pairs of cases and one job case, and two job cases of copper-faced letter. fi-point, old body. Farmer 176 The Text Types of the ©e Vinne 'Press LIGHT-FACE This Graceful Series of Type HAS I^O SMALL CAPITALS Italic, or Fractions, but it is much esteemed by those who want clearness and no display. 1234567890 Capitals 32. Lower-ease 22 18-point, old body. A. T. F. Co. Of this font we have two pairs of oases Please note that this Type HAS SLEl^DEE SEKIFS that are easily bruised by rough or careless handling. It is as delicate as Script. Capitals 38. Lower-case 25 22-poiiit, old body. A. T. F. Co. 177 The Text Types of the 'De Vinne 'Press LIGHT -FACE Of good service IN HALF-TITLES on Full Folio Pages. Has plain fignres. 1234567890 Capitals 47I4. Lower-case 35I3 36-pomt, old body. A. T. F. Co. An Approved Type m SCHOOL-BOOKS For Yonng Children Needs Abmidant Space. 1234567890 Capitals 43I4. Lower-ease 301^ 28-point, old body. A. T. F. Co. 178 The Text Types of the 'De Vinne 'Press CASLON OLD-STYLE EVERY equipped book-printing house of the middle of the nineteenth century was supposed to have two faces of roman letter for the most used sizes of type. There was a bold face and a light face — perhaps a thin or a condensed face — but no face showed serious departure from the standard of form then generally observed. A difference of cut in a new style did not much change the structural form of the letter. Change was usually prompted by intent to give more of boldness or of lightness to the print. Not all of the new forms of type were needed; too many were the outcome of caprice. About the middle of the last century the trustee of a New England printing-house of high repu- tation, then in financial difficulties, reported that that house had seventeen distinct faces of Long-primer roman. It is difficult now Measurement in 12-pt. emS to understand what need there ever could have been for so many ^ faces when all were supposed to have been made from a common CAPITALS . . 10 model on similar lines of construction. At the request of any Lower-case . . 6^^ publisher who admired a new face of type as shown in a type- i2?i?678qo founder's specimen sheet, the proprietor of that printing-house bought a font of the desired letter. Neither he nor the publisher No italic seemed to foresee that the appearance of this new face must be seriously affected by changes that must be suffered in its appearance from a coarser texture of the paper selected, in the quality of printing-ink, or in varying conditions of presswork. This want of foresight was a misfortune. The new face that was pleasing on hot-pressed paper in a carefully supervised type- founder's specimen book was sure to present an inferior impression when it had been hurriedly printed, as was customary, on paper made for ordinary news or cheap book work. To the book-buyer the new face was not always an improvement. Many preferred old types as more distinct and readable. It is a mistake to assume that a new face entirely different from any other must make a new book acceptable and more salable. Its success depends more on the choice of suitable paper and the aid of an expert pressman who has pride in good work. If half the money spent during the last century on the cutting and casting of new styles of roman letter had been paid for a superior quality of paper and a higher grade of presswork, our American books of that period would have been more prized by readers, even when printed from old types. Q Of this font we have one job case. 6-pomt No. 15, old body. A. T. F. Co. OLD-STYLE TYPE was practically out of fashion in i8oo, and Charles Whittingham (the uncle) seems to have been the last London printer to abandon its use. It was soon after despised by publishers, readers, and book reviewers as an angular, old-feshioned type, not to be preferred, as was vainly tried, to the rounder forms then in favor. It was condemned as entirely unsuitable for any book of merit and in every way inferior to the graceful types of France and Italy. Connoisseurs of that time did not unite on any style of letter as the model of good form, although thick and thin, black and light . • , o + , 111 r 1 ' c ' — iVLeSiSuremeiitJ in Ji— -t)c.6iiis faces were then produced by type-rounders m prolusion. ^ William Pickering, a publisher of London, unable to find CAPITALS . . 113^ from his printer Charles Whittingham (the- nephew) the small capitals . . 8 type that he desired for a proposed book in old dress, went Lower-case .... 7 with him, about the year 1843, to the Caslon type-foundry, ITALIC CAPITALS I2I2 and induced the proprietors to take out of their vault the /^a//c loiuer-case 7I4 Old-style matrices made by the first William Caslon about 123^567890 i234S6y8go the year 1732. The face selected was Great-primer or aA£EC^^^^£CJV i8-point ; the book to be printed was " So much ot the ,.„,.... „ DIARYoi LADY WILLOUGHBY as Relates to her aaaaeeeeii 1 1 oooouuuu^n Domefik Hifiory, 8c to the Eventful Period of the Reign aaaa'eeeet tVt 6iiouuuu ^n of Charles the Firft. . Imprinted for Longman, Brown, Green & Longmans, Patemofier Row, over againft PTarivick Lane, in the City of London. 1 844. ' ' The font so cast contained the long f, with all its doublets, and every other peculiarity of the time. Proper names and their synonyms were also in italic, and capitals were freely used for nouns and verbs. In this book of 1844 we may note the beginning of the present profligate use of italic as an affectation of quaintness in places where it is not needed. Will any one explain why italic, once used with some propriety as an emphasizing letter for words of real or supposed importance, should now be selected for trivial particles that need no distinction ? q Of thhfont we ha've three fairs and one job case for roman, two job cases for italic, and one """"""'• 8-pointNo.71. A.T.F.CO. 179 Measurement in 12-point ems The Text Types of the ^eVinne ^ress CA8L0N OLD-STYLE CASLON I made his Old-style type in series from pearl to six-line pica, and all sizes showed mutual relationship. Sizes from great-primer to six-line pica are admirable even now for their remarkable legibility, but small sizes, from pica to nonpareil, do not deserve unqualified commendation. Minute examination will show that all sizes were unwisely cut in a geometrical proportion. The reducing instrument that we now call the pen- tagraph was unknown to Caslon, but he must have reduced his sizes geometrically by the aid of reducing-glass. His types of nonpareil are strictly in proportion with his types of pica — the alphabet of 26 letters in each size (as he cast them) contained the same number of ems of its own body. Type-founders now give to the smaller sizes a wider set, but a Caslon nonpareil or brevier of modem casting is still a lean letter, disliked by compositors and by the average reader of print as condensed, huddled, somewhat ob- scure, and a strain on the eyesight. It has to be used by book-printers as the proper letter for foot- and side-notes or in the index or appendix to a Caslon text of larger size, but it is accepted unwillingly even by the admirers of Old-style letter. Its out-of-line arable figures are especially objectionable in table work, for they interfere with one another in different lines of composition, fl Of this font ive ha've three pairs of cases and one job case for roman, one job case for italic, and one for accents. 9-point No. 71. A. T. F. Co. CAPITALS . . SMALL CAPITALS Lower-case . ITALIC CAPITALS Italic lotuer-case . 1234567890 1234367890 AA64;955 AAEifJ AltigS aaaaeeeeiiiioooouuuii^n aaa dee eeituoooo-Uuuufii 1323 10 I2I2 81^ Measurement in 12-point ems THE geometrical reduction of type so that each size shall be in true proportion with other sizes is contrary to the teachings of optics and to the practice of type-founding. It is well understood by all type-founders that each size of letter must be made increasingly wider with every decrease in its height. The great-primer of the "Diary of Lady Willoughby" is a readable letter, but the nonpareil and brevier made by Caslon are not so readable. They seem huddled and confused in composition, not from ignorance or carelessness, but from an unwise adherence to geometrical proportion. Here it may be remarked that, contrary to the teachings of some modern reformers of typography, Pickering and Whittingham did not give solid composition to the "Diary of Lady Willoughby." Its lines are widely leaded, and the composition was made more readable by this leading. Solid composition is at its best when the type selected gives a perceptible lane of white space between its lines. This lo-point was used by the De Vinne Press for Messrs. Crowell b" Co.'s reprint in i2mo form of the first folio of Shakspere. ^ Of this font we have seven pairs and two job cases for roman, two job cases for italic, and two accent cases. lO-point No. 71. A. T. F. Co. 180 CAPITALS . . SMALL CAPITALS Lower-case ITALIC CAPS Italic lower-case . 1234567890 1234567890 AAA££feug5I AAA See aaaaeeeeiiiioooouuuujfi aaaae'e e e iiiioiootiuiiufn 1434 10 9I4 15I4 884 The Text Types of the ©e Vinne 'Press CA8L0N OLD-STYLE COMPOSITORS serve two masters: the buyer who orders the work and has the right to direct its style, and the master printer, who is responsible to that buyer and to the reader for the workmanship of the composition. The buyer rightfully expects the compositor to correct indefensible negligences in his written copy, and to arrange types in a tasteful manner. The master also re- quires the compositor to produce workmanship in good taste. Here comes occasion for possible disagreement. Types selected by the buyer (or even by the master printer) may be composed as directed and yet not produce the good work desired. Types are inflexible; they must occupy a fixed space, and they may not mate tastefully one with another. The arrangement of types intended by either party must be modified to some extent by the compositor. Good taste is not one of the exact sciences. It has few absolute rules. Measurement in 12-point ems What is tasteful in one composition CAPITALS . . . n\ is not in another. What is pleasing small capitals . . 1134 to the author may not be pleasing to Lower-case .... I0I3 the master printer. The compositor's ITALIC CAPITALS . 17 notion of good taste may diffbr, and ^^^^.^ lou>er-case . . 9I3 the three parties may be at complete ^ ' 12^4567890 12^4367800 variance. r^ - f^ ~ Good taste should be understood as AAEE^Naaaaeeeiiii66uu9n a synonym for propriety. It means AARkQlfaaadeeeeimoooduit^n order, symmetry, and the observance of seemly arrangements that have the sanction of age and authority. In type-setting it means the putting of right types in right places. It does not mean departure from methods that have commanded general respect. Composition is but the architecture of words, and it must be governed by general rules of law and order that are observed not only in architecture but in every kind of worthy construction. Positive directions from the writer of the copy must be obeyed, but when the compositor has a free hand he can safely disregard popular fads and fashions and arrange types to suit the intent of the writer. He will not try to improve the supposed graces of a new style of type, or to add to the eccentricities of a designer or engraver, or even to show his own skill as an original combiner of odd bits of typographic building material. He will try to keep the author or writer at the front always. If he does the work by easy and simple methods, it is more than probable his composition will be approved as in good taste. CI Of this font we have two pairs of cases for roman, one job case for italic, and one accent case. 11-point No. 71. A. T. F. Co. 181 The Text Types of the ©e Vinne 'Press CASLON OLD-STYLE ENGLISH PRINTERS of the seventeenth century bought their choice types from founders of Holland, who grudgingly supplied their rivals In London with type- making materials. In his "Mechanick Exercises" of 1683, Moxon commends Van Dijk of Amsterdam as a prince of letter designers, and the tracings that he gives of Van Dijk's model letters justify the praise. The best English books of this period were printed from types that had been cut in Holland or cast in Eng- Measurement in 12-point ems i i r t^ i land rrom Dutch matrices, for England had no punch- SMALL CAPITALS ... .13 ° . . -,xt-ii- , cutter or merit when William Lower-case 1134 « , , ^ 1 ITALIC CAPITALS .iss^ ^^'f "j''^'" '' type-founder Italic lower-case ... .11 123456789 1234367890 England did have Its share AAAAEfifiEiiJCN °^ P"'y founders, who cast , V » .. , ^ A .. .. ^ .. _ obsolete designs from worn AAAAEEEEIOUCN ° aaaa eeee iiii 6666 uuuu 9 n "^"^^'^^ ^"^^ carelessly fitted AaAAEEEEIOUCN "i^trices. The capitals of daadreeeiiU6oddliMu(;n ^o^^^ °f ^YP^ ^^en offered as new may have been cut a century before by one punch-cutter, the lower-case series (that did not fairly mate with the capitals) by another, while the italic was the product of a third incompetent. Types so constructed made sorry show in print ; they were unequal in height and out of line. The University Press of Oxford, England, which once cast all its types, preserves as curiosi- ties many fonts of types of differing heights to paper. There is a somewhat similar face of Pica, known as No. 15, on the opposite page, which shows the mixing of two series. ^ Of this font we have ten pairs of cases for roman, one pair and one job case for italic, and one for accents. I'-'-point No. 71. A. T. F. Co. 182 The Text Types of the 'De Vinne 'Press CASLON OLD-STYLE GASLON I and his successors had to make, at the request of fastidious buyers, changes from the orig- mal design. In the specimens as printed by Luckombe in his " History of Printing " of 1776, the critical reader has to note a No. 1 and No. 2 face. In the authorized Caslon Specimen Book of 1796, beautifully printed by Charles Whittingham, one notes also a No. 3 face, and others de- scribed as New. It is plain that the Caslon Foundry had been persuaded to make changes in the earliest forms. There is then a thin and angular Caslon style in fashion during the first half of the eighteenth century and a Measurement in 12-point ems rounder Caslon style pre- CAPITALS 19 ferred at the close of that small capitals 1213 century, but each style is Lower-case 112^ from the Caslon Foundry. I'fJLIC CJPl'TJLS . 1714 The word Caslon, as applied Itah'c lower-case 1013 to a distinct face of type, is 1234567890 consequently not exactly de- AAAlfiiifiEOgN aaeI 6tJgN scriptive; it may be some- aaaaedeeiii'ioooouuuiin what misleading. Jje iOOUQN aaeeibougn Caslon's faces were closely copied by Wilson and other founders. When Old-style was revived, the disused matrices were reassembled, but not always with discretion. The type of this page, with capitals too thick for its lower-case, seems to be the work of two punch-cutters, each aiming at a different end. This face was put out of service for many years in this house, but after long neglect it met with warm approval when used for the printing of Scribner's limited edition of the writings of Rudyard Kipling in many volumes of octavo form, fl Of this font we have eight -pairs of cases for roman, and one pair and a job case for italic. 12-pomt Old-style No. 15. A. T. F. Co. 183 The Text Types of the 'De Vinne ^ress CASLON OLD-STYLE REVIVED Old-style had to face dislike. Some book reviewers denounced it as a relapse to the crudity of Puritan printing; others hailed it as a return to dignity and simplicity. Much could be said in support of each belief. The reading public of 1850, wearied with the effeminacy fostered by engravers and type-founders in their preference for sharp lines, was ready for masculine strength. Unfortunately, no line of distinction was drawn between the strong and the weak features of the Old- style. Was there any need Measurement in 12-point ems r 1 r r CAPITALS . .203, for the profuse peppermg of SMALL CAPITALS. 143, ^^^tter With prepositions and T ^ ^ articles in italic ? Lower-case ... is ITALIC CAPS 2114 ^'^"^^^ ^^° admitted its tj. 1- 1 10 good features said Old-style Italic Lower-case . 12 & j i2^4S6 aftififknirftfli had defects. The lower-case ' T, -^ v^ ^ ~i , , _ a e s, and, indeed, all char- AAEECNaeo ' ' ^ , * , , _ acters that had a central cross- aa aaeeeiioouuucn , ■ 1 1 i stroke, were pinched and feeble. Capital letters were not in proportion. Arabic figures seemed absurdly out of proportion when used in a line of capital letters. The dt and the long f with its doublets had been out of use for about fifty years. This face was used for the reprint of Moxon's " Mechanic k Exercises," ordered by the TypothetaofNew York, fl Of this font we have ten pairs of cases for roman, two for italic, and one accent case. Has joined letters. 14-point No. 71. A. T. F. Co. 184 The Text Types of the ©e Vinne ^ress CASLON OLD-STYLE Tl riLLiAM Caslon secured the legibility of ^ ▼ the larger sizes of his Old-style by pro- viding a generous relief of white space be- tween lines of solid composition. His faces were not too large for their bodies. Round and small letters like o and e are in the centre, or nearly in the centre, of the body. Descending strokes below the line, as in g and p, are of about the same length as as- cending strokes in d and b. Capitals of this 1 8 -point are apparently but little taller than those of a mod- ern 14-point type. Caslon saw need for a visible lane of white space between meeting lines of solid letter, for in his time printers made sparing use of leads. This added relief of white between the lines prevented the use of leads. Amateurs in typography who now prefer types set solid overlook the greater height of modern round letters that almost compels the use of leads. CI Of 1 8 -point we have two pairs of cases for roman and one for italic; of Great-primer No. i^ we have three pairs of cases for roman. IS-point No. 71. A. T P. Co. 185 Measurement in 12- -pt. ems Capitals . . . . 241a Small capitals . . 1534 Lower-case . . . 16 Italic capitals . . 26I4 Italic lower-case . 15 The Text Types of the ©e Vinne 'Press CA8L0N OLD-STYLE CASLON'S LOWER-CASE round letters were thin in width as well as very low in height. A letter upon a large body could properly be presented on a relatively small page. Even-spacing was then possible with 1 8-point on the small octavo that is now not practicable on the modern cut of that size. To secure even lining to faces of un- like style, round letters are now cut on a lower line, which makes descenders very short, and ascenders and capitals much taller. Experiments in a lower placing of round letters on the body to make a series more serviceable for job work are not always of benefit in book work. ^ Of this font we have two pairs of cases for roman and one for italic. No accents. 22-pomt Old-style No. 71. A. T. F. Co. 186 Measurement in 12 -pt. ems Capitals . . . 3012 Small capitals . 21 Lower-case . . 19 Italic capitals . 3234 Italic lower-case I7I3 The Text Types of the T)e Vinne ^ress CASLON OLD-STYLE LEGIBILITY was also increased ^ by the greater protraction of the thick stroke of each letter and by the increased thickness of the hair-Hne, which was made shorter in all curved lines so as to give more len^'th to the Measurement ml2-pt. ems P CaBitals .... 36lr,, longer thick stroke. The too sharp hair- line is the result of unwise efforts to rival in type the delicate work of copperplate printers, which have seriously degraded typog- raphy and proved an annoyance to readers and a loss to printers. ^Of this font we have two pairs of cases for romaUy and one job case and one lower- case for italic. This font has no accents. Capitals Small capitals . Lower-case . . Italic capitals . Italic lower-ease 3612 25I4 211^ 35I4 2OI2 24-poiiit Old-style Ko. 71. A. T. F. Co. 187 The Text Types of the 'DeVinne ^ress CASLON OLD-STYLE CASLON FACES ARE NOT qUAINT ENOUGH FOR A TRUE BIBLIOPHILE. He says : give us the prim shapes Measurement in 12-pt. ems Capitals . . . . -3914 Small capitals . . 27I3 Lower-case ... 27 Italic capitals . . 43 r* 1 1 •^ 01 Older German Italic lower-case . 23% artists. ^ One pair of cases for roman and one case for italic. 28-point No. 15, old body. A. T. F. Co. He maintains that true teachings as to Good Forms in type Stopped with ALBERT DURER. Measurement in 12-pt. ems Capitals . . . . 48I2 Small capitals . Lower-case . . Italic capitals . Italic lower-case 35 34 59 35I2 36-point No. 71. A. T. F. Co. 188 The Text Types of the ^eVinne ^ress CA8L0N OLD-STYLE GOOD FORM is not noticed in many Faces of a Small Size. Roman : Capitals 60, lower-ease 40^3 Italic : Capitals 62, lower-ease 36 One pair of cases for roman and one case for italic. Italic is on 40-point body 42-point No. 71. A. T. P. Co. OLD-STYLE receives favor for Lightness, not for Blackness, Eoman : Capitals 7223, lower-case 45I3 Italic : Capitals 71, lower-ease 37 One case for roman and one for italic 48-point No. 15, old body. Farmer 189 The Text Types of the ©e Vinne ^ress CASLON OLD-STYLE MOXON Shows us HIS TRANSLATIONS OF Van Dijk's ANTIQUATED Italic & Roman Capitals 9723. Lower-ease 64I4 eo-point No. 15, old body. A. T. F. Co. 190 The Text Types of the 'DeVinne ^ress CASLON OLD-STYLE Caslon's Models DUTCH FACES of 1683 Capitals 119. Lower-case 77I3 72-pomt No. 15, old 'body. A. T. F. Co. 191 The Text Types of the 'De Vinne 'Press XV CENTURY THE OLDEST TYPES are not *^ tie rudest. Not all the old makers of type were careless ; tbey found excellent models of lettering in old books, and they knew that the readers of their own time would insist on fair workmanship in printing. Some of the types of the early printers of Italy and France are justly admired by type- founders and bibliophiles of our time. Capitals 1423. Lower-case 9 lO-point. Barnhart RUDENESS in its Engraving is not undoubted evidence of great age in Old Type. Capitals 3223. Lower-case I9I4 24-poiiit. Barnhart UNCOUTH FACES of type, rare in the 15th, are made in the 19th century. Capitals 45i2- Lower-case 26 36-point. Barnhart TYPES first made by careless workmen were seldom used for the printing of a second edition of the book, and mean types were soon destroyed. Capitals 25. Lower-case I6I4 18-point. Barnhart BIBLIOGRAPHERS say tW the Gutenberg Bible of 1455 is the model of a well-printed book. The types of Jenson in 14J2 have been accepted as a standard form of roman. Letters designed by Ratdoh, Renner, Garamond, and Tory still have the approval of the experts in type-making. Capitals 1684, Lower-case 10 12-point. Barnhart 192 The Text Types of the ©e Vinne 'Press ARLINGTON AfiLINGTON is zinother form of invented Old-style made by the American Type Foundry at St. Louis, Mo., for more sliow in advertisements. Its lower-case is taller and bolder than a similar body of the Fifteenth Century type and it is more condensed, but its figures are made to line according to modern usage. It is attractive in an adver- tisement, but does not appear to advantage when mixed with the faces of approved Old-style upon a title-page. 12-pomt Arlington. A. T. F. Co. Capitals 15i2- Lower-case 11% No era shows more COARSENESS in design and in cut. 48-poiiit XV Century. B. B. & S. Capitals 62i2- Lower-oase 27I2 DO NOT USE these rough types in any work that calls for nicety. Critics of good worK do not like a line or a para- graph in types that suggest advertising notions and that make a discord with symmetrical letters of a neater form. 18-point Arlington. A. T. P. Co. Capitals 2284. Lower-oase I7I2 193 The Text Types of the ©e Vinne ^ress P0ETUGUE8E OLD-STYLE THIS OLD-STYLE FACE was cut about 1804 by Joaquim Carneiro Silva, who was then a punch-cutter attached to the „ ..,„.. •T . . . - Measurement in 12-point National Printing House oi pAprxATS Lisbon. Notice the confor- t r ^u ^ 4.^ 4. 4-u Lower-case 14% mitv 01 these letters to the „ ., ,. ^ - •'. „ 3 r "° italic. Pew accents fashions 01 good lorm then no smaii capitals prevailing : the thinness of "^^ ^°^ "^'^ the E, S, and F, the crossed lines of the W, and the unusual width given to some round letters. Body 14. National Printing House, Lisbon s first made, the S was always tall & thin, with stiff curves, but the short Q rl O 1^ f^ f^ T O Measurement in 12-point ems had pref- CAPITALS erence for flower-case No italic. Few accents rt 1 o -r* Ct f^ irx ^° small capitals d, Icllil C 111" One job case itial, or as the final letter. Long f disused after 1810. Body 28. National Printing House, Lisbon 194 f 401^ 27 The Text Types of the ©e Vinne 'Press MODEENIZED OLD-STYLE. No. 20 The Merits of Old-Style OLD-STYLE TYPE is often commended for its superior legibility, but the features that give to it this claimed legibility, not always clearly understood, may need an explanation. In the old-style, the so-called hair-line is short and has a visible width, and the thick stroke has more ex- tension before it tapers to the hair-line. Each character is constructed so that all its lines can be seen at first glance. In modern cuts of type the hair-line is long and sharp, tending to invisibility, while the thick stroke is correspondingly shortened. In the old-style, the serifs at the end of the thick and thin strokes are short, stubby, and angular; in the modern, they are longer, lighter, and more gracefully curved or bracketed to the thick stroke. The general effect of old-style is that of angularity. Smooth curves and graceful tapers are not desired. On the contrary, the general effect of a modern face is that of roundness, precision, and sym. metry. Each character of a properly cut modern letter is exact and carefully finished in all its details; but when its letters are seen with its mates in a mass of composed types, its high finish does not seem a merit. A letter of modern cut is seldom so distinct as the same letter in a type Cif old-style of the same size. The greater distinctness of the old-style can be proved by experiment. Select two equally well-printed pages of large type — one of old-style and one of modern cut of the same size and about the same thick- ness of face. Place them in a favorable light; then moving away from these contrasted examples note how much sooner the modern types become indistinct. Yet the superior legibility of the old-style will be evident only in i8-point or larger sizes. In sizes smaller than i2-point the old-style face will not be any clearer ; the 8- and 6- point size may Measurement in 12-pt. ems not be so dis- tinct as 8- and 6-point of mo- dern type.The diminished le- gibility of the smaller sizes is the result of a wrong prac- 923 CAPITALS . , SMALL CAPITALS . £S Lower-case .... 6-M; ITALIC CAPITALS . 9 Italic lower-case , . O-*-^ 1234567890^2^^5157^90 tke of early kkkAkkki.tmm6bCimM1j (;S English type- AaAaa A 4eee f iii 66660 IJUU c S ma"de"LT'e°r " " V ^ » <> -< 6 6 6 5a. . . U ; n types in ex- AAAlI^kMl) f66666i}dtyi)gf} actly the same A it & a ii&i i\ii &b 60 ^ ii -A ii ^ proportion as they made the larger types. The modern practice, com- mended by opticians, is to give increased width to each letter with every decrease in the height of its body. IT Of Pearl -we have one pair of cases for rotnan, one job case for italic: of s-point -we have three pairs of cases far rontan, one job case for italic, ajtd one case for accents. 5-point. Bruce. The Defects of Modern Style THE DESIGNERS of old and new.shapes of roraan letter did their work on differ- ent lines. The old designer gave to sup- posed needs of the reader of large type his first consideration. He would make types graceful if he could, but he thought it more important to make them distinct in all the combinations of composition. His first object was to design letters that should be readable. The designer of modern type thinks it his first duty to make each letter "artistic" or of grace- ful shape, but his notion of grace is largely me- chanical. He thinks of each letter as a unit, and not of many letters in a mass. The hair-line must be sharp and tend to invisibility as it does in copperplate engraving ; the curving thick stroke must dwindle to its hair-line with a faultless taper; the slender serif must be neatly brack- eted to its thick stroke. Every line, curve, or angle is mechanically correct, but the general effect of letters so devised when they have been combined in a composition of types is that of overwrought refinement. To use the paint- er's phrase, the letter so treated is "niggled" or overdone. Without intending to do so, the designer has been more intent on showing his own skill than in aiding the reader of print. Letters that appear symmetrical Measurement m 12-pt. ems when exam- CAPITALS . ined singly small capitals Lower-case .... ITALIC CAPITALS Italic lower-case 1234567890 l234s678()o AAAAAfifeidOg XAAA4i:f66fN ^aaaa6^eeiiii666oouu6ii9n % ' °^ A A Aaa£I6 iifN dadaaimifn 1023 '^^ 623 III4 7 do not surely seem so fine and pretty when com- bined in a mass, in a page or col- umn. TT Of Nonpareil we have five pairs 0/ cases for roman, two Job cases for italic, and one case for accents; ofb-foint we have ten pairs of cases for roman, two job cases for italic^ and one case for accents. 6-pomt. Bruce 195 The Text Types of the ©e Vinne ^ress MODEENIZED OLD-STYLE. No. 20 IT DOES NOT FOLLOW that old-style letter is the perfection of design or engraving. Some letters are too thin, as in the lower-case a, e, s; others again, as o, c, d, q, like the rounder letters of the capitals, are disproportionately wide. In most of the recently made variations of old-style these faults have been corrected. The great defect of modern-cut letter is the length, sharpness, and delicacy of hair-line and serif. When hair-line strokes of modem- cut types are made visibly wider, print therefrom is to that extent made more readable. Some of the angular features of old-style can be preserved without damage to its readability and effectiveness in the composition. During the eighteenth century there were a few inex- pert type-founders who made old-style type of bad pro- portions. Searchers after novelty who have accidentally encountered these types in old books have had them recut in type, not from a perception of real merit, but from a desire to put before the modern reader letters that were supposed to have the charm of irregularity added to that of quaintness. Admirers of the old-style charac- ter are misled when they accept the mean workmanship of inexperts as models of good form. U Of Minion we have eleven pairs of cases for roman, one pair and two job cases for italic, and two cases for accents. 7-pomt, old body. Bruce Measurement in 12-pt. ems CAPITALS . . . I2I4 SMALL CAPITALS . . 9^2 Lower-case .... 7% ITALIC CAPITALS I2I3 Italic lower-case ... 7^2 1 234567890^^^^5 (5 7*90 AAAA££££iir]:66t>0?N AAAAXfei;fiftIii666ai5t;<)t)9N d&&aaSi^6Seiirid66ooi5iiMu9n AAAAME/imoOO 000 dcLddd^ ieieiil Hidd6o5otiiliiiign Measurement in 12-pt. ems lli^ 9I2 8 I3I4 823 BODONI of Italy was the first notable type-founder who broke from subser- vience to the rules laid down by Diirer and then observed by type-makers of all countries. The models of Tory of Paris and of Van Dijk of Amster- dam (who had supplemented Diirer's teachings) had been accepted everywhere as the standards of good form. William Caslon, type-founder of London, in 1735 gave increased precision to these old forms, but he fairly preserved the old model. Types then made might be thick or thin, bold or light, but the angularity of structural lines was always the same. It was seldom that any punch-cutter attempted change. As far back as 1 732, Fleischman, the letter- engraver for the Ensched6 Foundry of Holland, gave more roundness to the round letters of the lower- case, but his teachings found no imitative pupil. Bodoni of Italy was more successful. He increased the roundness suggested by Fleischman, lengthened the ascending and descending strokes, extended serifs, put more white space between the lines, and thereby gave improved readability to his types. Treading closely on his heels in the path of reform came Fran9ois-Ambroise Didot of Paris. The new models so made in Italy and France were imitated or altered by founders abroad as well as here, and attempts at change produced a. bewildering variety of styles, but all founders avoided angularity, and preferred round forms and sharp hair-lines. H Of Brevier we have twenty-Jive pairs of cases for roman, four job cases for italic, and two cases for accents; ofS-pointwe have fifteen pairs of cases for roman, two job cases for italic, and one case for accents. 8-point. Bruce 196 CAPITALS . . SMALL CAPITALS Lower-case ITALIC CAPS Italic lower-case 1234567890 i2j4j67Sgo AfelOCAgNO AAAAA^igN 6^33.6 k&e i i i i 66600 iii^(iii9ii JS/d XJgNAdUdddHdoiif A The Text Types of the 1)e Vinne 'Press MODEENIZED OLD-STYLE. No. 20 LETTER FROM BENJAMIN FRANKLIN to John Basker- ville from Craven Street, London, dated 1760, showing the discernment of a critic of typography. Dear Sir: Let me give you a pleasant instance of the prejudice some have entertained against your work. Soon after I returned, discoursing with a gentleman concerning the artists of Birmingham, he said you would be a means of blinding all the readers of the nation, for the strokes of your letters being too thin and narrow, hurt the eye, and he could never read a line of them without pain. "I thought," said I, "you were going to com- plain of the gloss of the paper some object to." "No, no," said he, "I have heard that mentioned, but it is not that; it is the form and cut of the letters themselves; they have not that height and thickness of the stroke which makes the common printing so much more comfortable to the eye. " You see this gentleman was a connoisseur. In vain I endeavored to support your char- Measurement in 12-point ems acter against the charge ; he knew what he CAPITALS. ... 14 felt, and could see the reason of it, and small capitals . . II34 several other gentlemen among his friends Lower-case .... 9I4 had made the same observation, etc. Yes- ITALIC CAPITALS 14ifl terday he called to visit me, when, mis- Italic lower-case . . 9I2 chievously bent to try his judgment, I 1234567890 i2j4j678go stepped into my closet, tore off the top of AAAAfiifiEniOOOtfUf N Mr. Caslon's specimen, and produced it to AAAAAEifeEfiliodoouu^ugN him as yours, brought with me from Bir- daaaaeeeeiiiioooouuuiign mingham, saying I had been examining it AAAAJ^EEEIIldOUU^N since he spoke to me, and could not for daadaeeeeiiiidbddduicuiifn my life perceive the disproportion he men- tioned, desiring him to point it out to me. He readily undertook it, and went over the several founts, showing me everywhere what he thought instances of that disproportion; and declared, that he could not then read the specimen, without feeling very strongly the pain he mentioned to me. I spared him that time the confusion of being told that these were the types he had been reading all his life, with so much ease to his eyes; the types his adored Newton is printed with, on which he has pored not a little ; nay, the very types his own book is printed with (for he is himself an author), and yet never discovered this painful disproportion in them, till he thought they were yours. I am, etc., B. FRANKLIN. Of g-point we have ten pairs of cases and one job case for roman, two job cases for italic, and two cases for accents. 9-point. Bruce 197 The Text Types of the ©e Vinne 'Press MODERNIZED OLD-STYLE. No. 20 FOLLOW COPY is the lesson taught to the apprentice who begins to set type from a reprint, which is supposed to be cor- rect, but when the apprentice is qualified to set type from manu- script, this stringent rule has to be relaxed. He is then told that there are two classes of writers for the press — the careful and the careless. He must strictly follow the copy of a careful author, but he must care- fully correct in his type-setting all indefensible faults of spelling, gram- mar, punctuation, or any other violation of typographic order that may be made by the hasty or careless writer. Measurement in 12-pt. ems At this point ends the compositor's duty as CAPITALS 1 -I9 a self-constituted corrector. With the right or SMALL CAPITALS ! 11 ^°"S °^ Statements made in the copy, with Lower-case 9^ ''^ rhetoric or construction, he has nothing f-jp^ „ to do. It is enough for him to do what he r. T 7 has been told, and to make copy orderly and J take lower-case .9 rjj f, % r ^"tR readable in print. The proof-reader may query suspected faults on the author's proof, %y2%yk}jy&JAy3yi and the author may afterward make changes AfilOtjgN AAMoot;9N ijj the proof, but it is not the duty of the com- aaaaaaa.eee6iiioo6Uu9n positor or even of the proof-reader to edit. AElOCQNdaMaaHpi Negligent preparers of copy rely too much fjhjkfiflffjiffijffinjp. on the printer. To ask him to correct faults of rhetoric or of construction, or to verify dates and quotations, is most unreasonable, for his contract with the writer is for mechanical and not for editorial work. It is often difficult for the printer to draw a just line between helping and meddling, but every one will admit that he should not cross the line that will make him liable to the charge of presumptuous interference. Experience teaches. To correct supposed errors unasked is dangerous and thankless. This Modernized Old-style is now used by the De Vinne Press as the text type of the Century Magazine and the St. Nicholas. Its light Unes, that will not take or impart a strong black to print, commend it to all who desire a greater prominence to be given to engravings. q Of Long-primer we have seventeen pairs of cases and one job case for roman, one pair atid five job cases for italic, and two cases for accents; of I o-point we have eighteen pairs of cases for roman, two job cases for italic, and one case for accents. 10-point. Bruce 198 The Text Types of the ©e Vinne 'Press MODERNIZED OLD-STYLE. No. 20 PRINTING from types is often slighted as formal, mechani- cal, and inartistic. Each type in a text is objected to as exactly like other types of that text. All Hnes of prose except in the first and last lines of a paragraph are of the same length. All pages except those that begin and end chapters are of the same height. There is no flexibility or freedom in arrangement. A page of type is squared, prim, precise, and of unvarying uniformity. It shows none of the dash and swing of free-hand penmanship, none of the receding in perspective or the strong contrasts of light and shade customary in copperplate and lithographic work, none of van- . . Measurement in 12-poiiit ems ishmg tmts of photography, none of pAPTTAT c; leio the ingenious combinations of letters small CAPITALS 13 with ornament that gave charm to the Lower-case ii medieval manuscript book. Printing ITALIC CAPS . 17 purely typographic is consequently Italic lower-case . nig said to be flat, commonplace, and 123456789 12^43678^0 destitute of artistic features. AAAfiEEIlCOtJtTf N These defects are beyond contra- kkk'kktttiltibtottgn / \ A " / V A •• /■\A— ^\A"r\A.. -^ diction. But are they faults to be aaaaeeeenuioooouuuufn lamented? Typography has merits ^NdaddeeieitiobSuMufn of its own. It is now and always has been the most valuable branch of the graphic arts. No other has done equally good service in education and in preserving the literature of the world. No other has contributed so much to the pleasure of the reader. The great value of lithography, copperplate, and photography may be admitted, but what could these arts do toward providing readable letters for the modern book, magazine, or newspaper? The artistic features of the finer arts are the ones not wanted for every-day use ; it is the unvarying mechanical formality of types that is wanted. C Of Small-pica we have one pair of cases for roman, two job cases for italic, and one case for accents ; of ii-point we have twelve pairs of cases for roman, two pairs and two job cases for italic, and one case for accents. 11-point, old body. Bruee 199 The Text Types of the 'De Vinne 'Press MODERNIZED OLD-STYLE. No. 20 A TTEMPTS TO REPRODUCE the fine hair-lines / \ or fading stipple of lithography or copperplate, 2 V meritorious as they seem in other forms of engraving, are not so practicable with types. Profusely shaded and ornamented letters, type-metal flourishes, and overworked borders are decorations of the past. Modern taste is thoroughly masculine. The feminine feature of delicacy, with its unavoidable feebleness, is disregarded. Readers want strength and simplicity. Letter-press printing is strong enough to stand on its own feet, and to uphold stoutly Measurement in 12-point ems ^v ^i. j ^i. ^ i i the methods that have earned CAPITALS . . 1914 it honorable distinction. Its SMALL CAPITALS . 13I4 merit is in its simplicity, sym- Lower-case . . 1213 metry, and readability. It is ITALIC CAPS 21 at its best when it carefully Italic lower-case . 12 avoids the effects easily pro- 123456789 i2j4_$6^Spo duced by its rivals. The pre- AfilOtJ^N AEiougN ciseness and uniformity of the kkiaaaadeeeiiiiooiiu^ns type-printed page, inartistic as Aj^IdUgN ddeioupi they may seem to the amateur, are the features that give merit to the book and pleasure to the reader. The irregu- larities shown by the artistic designer in his construction and combination of letters may be pleasing on one page — perhaps in a dozen pages-^but they are disliked when offered in greater quantity. Books of engraved letters are objected to not for greater cost, but for offence at the designer's intent to usurp more attention than the writer. C Of Pica we have eleven pairs of cases for reman, two pairs and two job cases for italic, and one case for accents. 12-pomt, old body. Bruce 200 The Text Types of the T>eVinne 'Press MODERNIZED OLD-STYLE. No. 20 JOHN PINE of London published (1733- 1737) a remarkable edition of Horace in two octavo volumes. He began intending to print a book of superior typography, but met ob- stacles. The book was to be profusely illustrated, but printers from types could not print woodcuts with the delicacy he desired and give fit black- ness to letters. He had the text set up in types and spaced to fit the illus- ^, . . „ . ^ Measurement m 12-pomt ems trations Aproofofthe CAPITALS. . .... composed type was trans- ^^^^^ capitals . iS ferred to the plate, and it t f , . , Lower-case . . 1414 was engraved and prmted r^ yi r rr- r- ^i r,e Vinne ^ress OLD-STYLE TYPES OF WOOD ISO-point, old body, Condensed. Class II. V. W. Capitals . . . 274 Lower-case . . . 209 CONDENSED Thin letters 60-point, old body. Condensed. Class I. V. W. Capitals ... 74 Lower-case ... 56 211 The Text Types of the T>eVinne ^ress OLD-STYLE TYPES OF WOOD TALL Upstarts 96-point, old body, Condensed. Class I. V. W. Capitals . . . 11784 Lower-case ... 86 Pink 144-point, old body, Condensed. Class I. V. W. Incomplete assortment Capitals . . . 164 Lower-case . . . 137 212 The Text Types of the T>e Vinne 'Press CHELTENHAM OLD-STYLE COMPOSITION IS MADE MORE PLEASING when the spaces between words seem to be of the same width in all Knes on the page. A reader is repelled by print in which words have been separated, as they may be occa- sionally, by two three-to-em spaces in the first line and by five-to-em spaces in the next line. Quite as unsightly are lines that have been thick- spaced at one side and thin-spaced at the other, a disgrace to the printer; it is a fault for which there is seldom acceptable excuse. ^ Of this size of Cheltenham we have one pair and two job cases, 10-point. A. T. F. Co. Measurement in 12-pt. ems CAPITALS . . 1534 Lower-case, . . 9 1 234567890 flQuS<5t»" Spacing of either kind is NOTE the large size of the capital letters, which have been so produced by putting the base-line of all the letters upon a lower level. The few let- ters that go below this base-line, as in j, g, p, q, y, Bre unusually short. The space gained by this shorteaing is used to in- crease the height of the capitaband all ascending ctters. The serifs are short and stubby. The so-called hair-line has a visible width. CAPITALS 1054 Lower-case . 6^ 6-point OLD Style 72-point. A. T. F. Co. Capitals IO2I2 Lower-case 59 A USEFUL type for job work in any (orm o( printing that calls (or a letter of marked thinness, that does not show loss in its readability from compression. Many old - style features have been preserved: the joined letters ft and &, and the quaintness of early arabic figures. CAPITALS I2I3 Lower-case 7^2 8-point CONDENSED LETTER should be thin-spaced invariably. The proper space between words in any type is fairly indicated by the blanks between the stems of the letters m and n of that type, which will be wide in fat and narrow in lean types, and should be a safe guide for the determination of correct spac- ing. ^ Of this size we have two job cases. Measurement in 12-pt. ems CAPITALS . 1634 Lower-case . . 934 1234567890 fcfta'" 11-point. A. T. F. Co. 213 The Text Types of the T)e Vinne T^ress CHELTENHAM OLD-STYLE jLD-STYLE features are more pronounced in the capitals of Cheltenham than in its lower- case. The critical reader misses the stiffness and angularity of many of the characters in the older Caslon style. These capitals can be used with con- sistency for two-line letters with modernized old-style or real old-style when letters of proper height for these older styles are not to be had. Cheltenham is not to be recommended for open dis- play in combination with lines that have been set in any of the modernized forms of old-style that have thinner hair-lines. Yet a title-page ex- MeasnremeHtml2-pomtems clusively in this face of type will CAPITALS . 2134 be pleasing and consistent before Lower-case. .1234 a pamphlet or a text set m any ^^^ , 234567890 race or old-style. It has lightness enough even for the Elzevir or Cadmus letters, and blackness enough to usher in properly the XV Century or Bradford style. Advertisers and publishers of illustrated catalogues have received the Cheltenham vsdth marked favor, for it combines the extreme of compactness with great clear- ness. More matter can be put with legibility in a small space than in the more generally accepted form of roman letter. It is approved by job printers as a neat style for circulars and pamphlets, but it has not, as yet, any popu- larity as a text letter for the standard books of publishers. ^ Of this face we have two pairs and two job cases. 14-poiut. A. T. F. Co. 214 The Text Types of the ©e Vinne 'Press CHELTENHAM OLD-STYLE THE TITLE-PAGE has very few types, but its proper arrangement requires some thought 36-point. A. T. F. Co. Capitals 5 OI2 Lower-case 2834 THE TYPE OF THE TITLE should be of the same face as that of the text. This is easier said than done, for there are few text types provided with larger sizes of precisely the same face and fitted for words and lines of different length. The com- positor must do the best he can with the faces and styles that are available, but he must avoid harsh contrasts. He should understand at the outset that his composition will be most satisfactory when the types selected show mutual relation. A title-page may be entirely in capitals or Measurement in 12-pt. ems entirely in lower-case (initial letters ex- CAPITALS . is cepted), either in roman or italic, but two Lower-case . . 1014 series can seldom be used together. 1 234567890^^61' " Written copy for the title-page matter should be studied before the first line is put in type. The com- positor should predetermine how many lines and how much blank between lines are really needed. He should begin by sketching on a bit of paper the relative size and length of the proposed lines. The first lesson to be leamed by him is, that the attractiveness of a title-page depends as much upon the proper distribution of white space as on the proper display of important words. 12-point. A. T. F. Co. 215 The Text Types of the ©e Vinne 'Press CHELTENHAM OLD-STYLE SPACING 60-point. A. T. F. Co. Capitals 85 t YOUNG COMPOSITOR should read over every line as soon as he sets it, and at once correct any error in type or spacing. Before he empties the matter on the galley he should read it again, looking for outs and doublets. The time given to correction in the stick is not time lost. It is easier to correct there than on the galley or stone, and it is worth a deal of trouble to ac- quire the reputation of a clean compositor. IS-point. A. T. P. Co. Capitals 27I2 Lower-case I5I3 of Importance eo-point. A. T. F. Co. Lower-case 48I3 216 The Text Types of the T>eVinne Press CHELTENHAM OLD-STYLE OVER -WIDE 48-point. A. T. F. Co. Capitals 6884 HY should the running title of a few letters, or even those of a title-page, be dis- located with very broad spaces between letters to make the line fill the measure? This explosive treatment is not practised in short lines of poetry or in dialogue matter. It does not make the page more sym- metrical or the intent of words any clearer. It does confuse the reader. 24-pomt. A. T. P. Co. Capitals 3484 Lower-case 20 Spacing is a Fault. 48-point. A. T. F. Co. Lower-case 38I3 217 The Text Types of the 'De Vinne ^ress CHELTENHAM OLD-STYLE COMPOSITION meets most approval when wisely planned with a close attention to many trivial details 42-poiiit. A. T. F. Co. Capitals 59I2 Lower-case 33*3 ILLUSTRATIONS, as of descriptive cuts, diagrams or initials, always need much white space about them for their fair presentation. Do not place types too close to a cut. 30-pomt. A. T. F. Co. Capitals 42 Lower-case 2323 218 The Text Types of the ©e Vinne ^ress ELZEVIE OE CADMUS rHlS ITALIC, WITH ITS STUBBY SER- IFS, CLOSE-FITTING ^ND THICKER UNES, IS ESPECIALLY FIT FOR ELECTRO- TYPED STAMPS OF 'BOOKBINDERS, ^ND FOR APPLICATION IN WHICH COMMON SMALL CAPITALS ^RE EXPOSED TO SE- VERE IMPRESSION ^ND SOON WEAR. SWASH LETTERS SHOULD NOT !MEET. THIS LETTER IS OF SERVICE FOR THE CATCH-LINES IN SMALL TITLE-PAGES SET IN ELZEVIR, OR FOR TWO OR MORE COLUMNS OF PROPER NAMES ARRANGED IN TABULAR FORM. THIS Small font of Capitals and small capi- tals ONLY, WITHOUT LOWBR-CASB SORTS, WAS BOUGHT AS THE PROPER MATE FOR THE ElZBVIR TWO-LINE FACES SHOWN ON ANOTHER PAGE. Capitals . 9I2 Small capitals . 713 Italic capitals . 9I2 Of this font we have two job cases for roman capitals and one job case for italic capitals. 6-point Elzevir. Mayeur Who designed this face? 81a 121^ 8I2 ELZEVIR is a name unwisely chosen, for this face is not at all like the Van Dijk faces largely used by the famous printers of Holland. Who, then, did design it ? Didot (" Essai sur la Typographic," p. 699) says that Garamond and Sanlecque made types for the Elzevirs. An Italian authority (" Tipo Italiano non Elzeviriano," appunti di B. L. Centenari, Rome, 1879) intimates that the Elzevirs were provided with some Italian types. The author gives us no satis- factory evidence in support of this intimation, and Willems ridicules it, but it must be admitted that this so-called Elzevir letter has features unlike those of any seventeenth-century face made in France or Holland. This face was revived in 1878 by Gustave Mayeur of Paris, who says that he selected for his model the types of a book printed in 1654 by the Elzevirs of Ley den. It is a compressed letter, with a large open face, short ascenders and descenders, and thin stems, plainly made to withstand wear, for its few hair-lines are thick and the serifs are short and stubby. Although fitted with unusual closeness it is a readable letter, and popular, not only with publishers and authors, but with job printers. Its durable two-line letters make it especially valuable for book titles and open display. ^ Of this font we have four pairs of cases for roman, one pair of cases for italic, and one case for accents. 8-point Cadmus. Farmer 219 Measurement in 12-pt. ems CAPITALS . . SMALL CAPITALS . Lower-case . . ITALIC CAPS . Italic lower-case 1234567890 i2j4s6-f8po AAAEEEiiiOOOUUg AEiou aaaaeeeeiiiooouCiuufn AEIOU dddaeeeeiitidduiifn The Text Types of the ©e Vinne 'Press ELZEYIR OR CADMUS THIS face and body were selected by the Committee on Publi- cations of the Grolier Club of the City of New York for their edition of the Knickerbocker History of New York, which was published in 1886 in two volumes octavo, with appropriate illustra- tions by George H. Boughton, Will H. Drake, and Howard Pyle. In these Elzevir or Cadmus faces, the careful reader will note the care given by the designer to secure prop- er openness within each character. Counters are deep and the space between parallel stems is unusually wide. Round letters like a o e are tall, and the arch of curved letters like m n d p shows more flattening at the top. C Of this face we have five pairs of cases for rotnan and one pair for italic. lO-point Cadmus. Parmer Measurement in 12-point ems CAPITALS .... 15 SMALL CAPITALS . . . IOI2 Lower-case. . . . 1034 ITALIC CAPITALS 1534 Italic lower-case . . loi^ 1234567890 12^4^6^890 AAaAeIOO^ AAAEiougN ajla eeee i i 1 i 6666 uQuQ^ii AAAA&16u dddddeioUfii ADMUS TYPE of the Farmer Foundry is identically the same as the Elzevir of Mayeur & Co. of Paris. Each font was cast from ma- trices struck from the same punches. Its lower-case has unusual height, and the serifs are so short that the charac- ter is differentiated with diffi- culty from the newer cuts of light-faced gothic. Some of the italic capitals have two forms — one of the ordinary model and one with old-fash- ioned swashes. C Of this font we have four pairs of cases for roman, two job cases for italic, and one accent case. 12-point Cadmus. Parmer 220 Measurement in 12-point ems CAPITALS . . 18I2 SMALL capitals . 13I3 Lower-case . . 13 ITALIC CAPS . 1923 Italic lower-case . 1213 123456789 12^4^6-] 890 AaAAEIoO AAaaaaa daaaaaaa 6e i 660660 119 A AAA ddddaddaeidil The Text Types of the 'De Vinne ^ress ELZEYIE OR CADMUS SrENCH Body 1 4 of the so-called Elzevir face, in a more marked manner by reason of its larger size, shows all the peculiar- ities previously noted in the 12-point Cadmus. It seems almost as large and quite as distinct as modernized old-style on 1 8-point body. Com- position in all forms of Cadmus or Elzevir face is much improved when it has been leaded. Note also that there are swash letters to the italic, and two forms of arable fig- ^ .• 1, •. '-' Measurement m Iz-pomt ems ures one for roman and CAPITALS . . .ox. one for italic, and a very gj^^^L capitals . i4% large provision of accents. Lower-case . . 1413 It also has in its italic series ifALIC CATS 2134 the conjoined letters QU, ff^ij^ lower-case 1313 Qu, as, es, is, m, ^, U, and 1 234567 ^4^678^0 §p. They are not at all fan- AfiEiOLJCN AEiougN tasticinform. buttheygiye ^^^aeeeeiiioooouCiuf an acceptable alternation to qu q^ asesismaUSp plain composition. Capitals and small capitals of the Cadmus and Elzevir style may be used with advantage in the catch-lines or the minor lines of display in title- pages that have been ordered in two-line letters of Elzevir. C. Of this body we have three pairs of cases for roman, one and one-half pairs for italic, and two accent cases. 14-point Elzevir. Mayeur 221 The Text Types of the 'DeVinne 'Press ELZEVIR OR CADMUS HIS small font from the Central Type Foundry of St. Louis was bought to fill a gap in the sizes of capi- tals of the two-line Elzevir. It has no small capitals and no italic. In all composition from Cadmus, Elzevir, or French Old-style note the extreme lightness, thinness, and openness of all the charac- ters. These are desirable quali- ties in a proper place, but the selection of this style in com- bination with types of modern form and of bolder face should be avoided. When capitals only are used it will be judicious to hair-space the letters that fit too closely. C Of this face we have one job case only. 20-point French Old-style. C. T. F. Capitals 3II3 Lower-case 2184 222 The Text Types of the 'DeVinne 'Press RENNER ENNER FACE appears to best advantage in the ELIZABETHAN SHAKSPERE edited and annotated by Mark Harvey Liddell. The first vol- ume, Macbeth, was published in 1902 by Doubleday, Page & Company, in the form of a medium quarto (leaf 9 by 12 inches), on Van Gelder paper. The text was set in I4-point, with notes in lO-point that enclosed the text on three sides, after a fashion that was generally observed by many printers of the fifteenth century in the printing of texts that called for much comment. The preface of this ELIZABETHAN SHAK- SPERE was in italic of I4-point. The decorative initial letters were those of Erhard Ratdolt of Venice, and are partially shown on page 48 of this book. This lO-point is a fair reduction of the I4-point, but there is a trifle more of boldness in the lines, as seemed desirable for the body of smaller size. One of the peculiari- ties of this Rcnner face is the en- larged height and width of small capitals. In most fonts of roman letter the small capitals are not higher than the round letter of the lower-case, and they are always so closely fitted that their hair-spacing is often needed. This compactness makes them insignificant even for catch-lines, and useless for types of display. In this face we have increased height, more width, and greater readability. Arabic figures have old-style features, but they are made to line with one another. Signs for paragraphs are sufficiently distinct, but do not have the blotchy appearance of the old forms. There arc no catch-words at the foot of each page or joined letters, yet the page retains a distinct old-style appearance. IF Of this face we have six pairs of cases for roman, one pair of cases and one job case for italic, and one case for accents. lO-point. Bruce Measurement in 12-point ems CAPITALS .... 16I2 SMALL CAPITALS. . 14 Lower-case .... 10^2 ITALIC CnVITALS I623 Italic lower-case . . IOI3 1234567890 1234567890 AAAe6efit66o000gN AAAAi6iEfiIi(366o000gN aaaae^eeiH'i6666uufiii9fi Ixavin 223 EENNER RAHZ RGnnGR of Hallbrun, Germany, was the sixth printer of Venice, in which city he practised his art with success be- tween the years 1470 and 1494. He found there the brothers de Speyer and Nicolas Jenson, rivals of ^reat ability, who were try- ing to please Italian readers with new roman types. Renner was moved to emulation, and ^ave to his readers a roman letter of much lighter face than those of his competitors. It had some crudities but much merit. The type of this pa^e was remodelled on that of Renner's " Quadra^esimale " of 1472. In 1899 it was recut for the service of the De Vinne Press, to meet Measurement in 12-point ems the wishes of buyers who CAPITALS. . . 211^ objected to the thinness of SMALL CAPS . . . i6% modernized old-style. Lower-case . . . . 1313 The legibility of printing IT/JLIC C/l'PS 2034 does not depend so much Italic lower-case . 1234 upon a type of thick lines 12345 678 23^567S5>0 as it does on the clearness and instant visibility of every line in every character. To this end the hair-lines of this style were made firmer and thin letters were widened. Old rules were observed. Short letters occupy but about one third of the body and ascenders and descenders are of equal length. This treatment gives the white space between lines that is needed for easy reading. This modernized Renner type, first used in 1 900 by the Grolier Club of the City of New York for the printing of a limited edition of Boccaccio's Life of Dante, has since been employed in many other books of importance. ^ Of this face we have five pairs of cases for roman and one pair for italic. 14-pomt. Bruce 224 The Text Types of the 1)e Vinne 'Press RENNEE BOLD-EACE SEFUL AS IT MAY BE in words that really require a distinctive letter within a text of roman^ italic has the defect of insufficient boldness* It makes a ^weak side-heading when in type of the same size as the text letter. Adver- tisers object to it as giving but feeble emphasis to words marked within a paragraph. In dictionaries and other works of like nature that need at the beginning of every paragraph a letter intended to arrest ^, ^ ,„ ^ Measurement in 12-pt. ems attention at first glance, a /-.aot'tai o „, * ' CAPITALS 221a bolder face of type is a real t t rtTt 1. 1. 1 1 Lower - case 1314 need. The fat-faced title lOQ^cgyS^^O type that was preferred for subheadings is out of favor. It is now required that the bold type for a sub- or side-heading of this class shall have the same peculiarities as the type of the text. For this purpose the Bold- faced Renner was made^ but it has been used with advantage in the selected paragraphs of circulars and pamphlets that seem to require special distinction without any parade of bold display. Pamphlets that need a text-type of old-style shape will find this Renner a most useful letter, ^ Of this face we have two pairs of cases for roman. It has no small capitals^ italic^ or accents, 14-pomt. Bruce 225 The Text Types of the 'De Vinne 'Press RENNER /T/JLIC as the running mate to roman type was unknown to 'J^enner or to any printer of the fif- teenth century f for it was first made and used by Aldus Manutius in 1 500. Emphatic words within the text in types of entirely different form were not then called for. To distinguish words intended to carry emphasis, the 'De Vinne 'Press was induced to have made for that house a new scries of Renner rpman letter with dots under each character. In so doing it followed the example set by the Lon- Measurementinl2-pointemB ^^^ typC-foundcr, Jackson, CAPITALS. 2034 who used dotted letters in- Lower-case . . 1234 stead of italic for words of 1234567890 distinction in the grand edi- tion of the Macklin 'Bible in seven folio volumes. For there were then and are now critical readers who maintain that a mixing in the same line of an upright and a slanting letter is an offence against good order and good taste. These critics are in the minority ^ a larger number of readers insist on italic as a character needed for emphasis. The italic letter here shown is not that of l^enner, but an adaptation, to which the peculiar- ities of the T^enner roman, and other old-style fea- tures like swash-letter capitals, have been transferred. This italic is preferred by many readers as a text letter to show the supposed needed change of style in prefaces or circulars. It is not a type of bold dis- play, but it is as readable as the roman, and more distinct than many other forms of inclined letter. ^ Of this face we have one pair of cases. 14-point Italic. Bruce 226 The Text Types of the T>eVinne 'Press EENNER A TWO-LINE LETTER WITH WIDE FIGURES Capitals 4084 20-pomt. Bruce IXTEEN-POINTisatype seldom selected now for the text of any book, yet it was once the preferred size for all Folios and large Quartos. Its large letters aided easy reading, but greater largeness of type rarely made an ordinary book unduly thick. This l6-point Renner is broad and is not recommended for measures of less than 30 ems of pica. For a thin- ner type on l6-point body, see page l6l. Capitals 31 Lower-case I8I2 16-poiut. Bruce HIS font of Renner or 8-point body is in small supply, and should not be selected for a verbose circular or as the text letter of a pamph- let or book. It will find its best field of service in the composition of sub-headings or for the side or foot-notes to Renner pages in longer type. It mates well with Bradford, MacFarland, Ancient Roman, and even with Gush- ing Monotone, and will be serviceable in the catch lines for these faces. Capitals I334 Lower-ease S\ 8-point. Bruce 227 The Text Types of the ^eVinne ^ress MACFARLAND aot) BRADFORD MISTAKE is often made by T"^^ MacFarland face from the comoositors in the selec- * ^"'^""^ "^^^^ ^"""'^'^ °^ ^'• compositors m tne seiec- j^ouis is not an imitation of the An- tion of a light-face roman type cjem Roman or of the Bradford with sharp hair-lines for press- faces here ,, . ,„ , , . J . , . , „, „ i:i;!^j Measurement in 12-pt. work in red ink or in any color exemphfied paler than black. Its thin lines ^^['''''^^''Jl^ capitals is will not retain and cannot trans- resembles'' ^°^^'''''*®® .... 9 fer color enough to make the n was re- * 2 3 4 5 6 7 8 9 show desired. These MacFar- drawn by the artist whose name it land or Bradford faces will be bears from a careful study of a found broad bold-faced letter made at Venice at Measurement in 12-pt. the end of the fifteenth century and CAPITALS . I7I2 ^"°"5" ^°l used soon after in Paris. Lower-case . . IH^ ^moderated This face can be used for sub. -_ display, but headings or in the display of title- I^d4SD/o».j^ bolder pages or other open composition of Show is needed select a bold-face Ancient Roman type. Thepeculi- .,, ivf 1- 1 in • » arities of the original form have title. We have also 10-point ^^^^ ^^^^^^^^^^ preserved in all Bradford. ^ One job case. these styles, fl One pair of cases. 10-point MacFarland. Farmer 8-point MacFarland. Farmer A Useful Face of Letter either IN CAPITALS or IN LOWER-CASE Capitals 27^2 Lower-ease 16 18-point MacFarland. Farmer V/l I *ILLIAM BRADFORD, who gives name to XjIlA* this face of type, has distinction as the first Measurement in 12-point ems PrintCr in the City of NeW Yofk. /^AOTTATc Born in England in the year CAFllALb . . 2012 ,aco u u • X • Lowercase 191., 1658, he began as a printer in Lower-case . ^ 12^ Philadelphia in 1682. He re- 1234567890 ^^^^^ ^^ ^^^ york in 1693 and died there in 1752. ^ One job case. 12-point Bradford. Farmer CLEAR and PRETTY Capitals 4384 Lower-case 26 24-point Bradford. Farmer 228 The Text Types of the ©e Vinne 'Press CENTURY EXPANDED I HIS face of type was first made on 10-point body, for use on THE CENTURY MAGAZINE, and it has been used for many books of The Century Co. The expansion of the letter is upward, enabling one to get much matter in small space. Capitals 28 Lower-ease 20 18-point. A. T. P. Co. Legibility first. Decoration last PRINTING, in its early days, was a mas- culine art. The value of the printed book was in its readability. The types used might be large or small, thick or thin, but they were always distinct. There were thin and thick strokes in the many forms of letter then in use, but the thicker stroke was always pro- tracted, and the thin stroke always of a per- ceptible width. Knowing well they could not compete with skilled copyists in refinements of decoration, the old printers wisely gave their best efforts toward making print plain. The change that came with the new method of engraving on wood, in its imitation of copper- plate delicacy, was damaging to typography. Capitals 22 Lower-ease I523 14-point. A. T. F. Co. 229 The Text Types of the 'De Vinne 'Press CENTUET EXPANDED A Pleasing Face in A TITLE-PAGE as Capitals or in its Lower-case series. Capitals 54 Lower-case 8823 36-pomt. A. T. F. Co. mHE TWO-LINE TYPES chosen JL for books by the printer may show a sad disagreement of face. Some are obese, others lean ; some with thicker and others with thinner stems ; some have flat and extended, and others very short and bracketed, serifs. That series is rated as com- plete which embraces all the regular bodies from two-line diamond to two- linegreat- Measurement in 12-pt. CAPITALS 13I2 SMALL CAPITALS IO23 Lower-case . . OLi 1234567890 primer, but every composi- tor soon finds that these are not suffi- cient. He needs intermediate sizes : capitals that are smaller and two- lines larger than any in the series. He has to make use of the capitals of the ordinary text types, to two- lines of other series, to condensed faces, to italic capitals and black- letter. IT Of this font we have one job case. 8-poiut. A. T. F. Co. A TITLE composed with incongruous faces is always unpleasins- The author is usually quick to notice discord, but he has not the technical knowledgre that enables him to detect its true cause. He imputes the discord, not always ri£:htfully, to the bad taste of the compositor, when oftener it should be imputed to a scant supply of sizes and the incongruity of faces. Some pub- lishers have been so annoyed by the wide gaps between existing sizes of two-line let- ter, and the incongruity of any substituted face, that they have Measurement in 12-pt. ordered spe- cial lines and occasionally the entire ti- tle to be en- graved — too frequently.it must be ad- mitted, without improvement. Others have ordered a title for a text in modem-cut to be set either in the Elzevir or the Caslon old- style, which appear to be the styles most available, and with a fairly acceptable grad- ing of sizes. The impropriety of a title in old-style before a text in modem-cut is fore- seen and deplored, but it seems a fault not ao offensive as the mixing of unrelated two- lines on the same title-page. TI Of this font we have one job case. CAPITALS . . , . 1034 SMALL CAPITALS . . 823 Lower-case . . , . 7% 1234567890 6-point. A. T. F. Co. 230 Measurement in 12-point ems CAPITALS .... 1334 SMALL CAPITALS . . 984 Lower-case .... 9 ITALIC CAPITALS. 13I4 Italic lower-case . . 8I4 1234567890 iHJflSif AAAAEi6ugN HaMiMq^ Saaaeeeeiiii6o6o1iuuuQ5 AaAAEIO J^QNddaeeiodduiis The Text Types of the 'De Vinne ^ress CENTURY EXPANDED ) ESIGNINQ- a new face of type, to be based on the old-style model so as to show apparent evidence of its age, too often begins with the wrong notion that rudeness must be its strong feature. It is assumed that the old type-makers were careless in drawing, as well as unskilled in engraving. It is supposed that some degree of sloven- liness will be of service in making a newly created type conform to the spirit of old time. The ruder the type the greater its probable age. Types of the seventeenth must be rougher than those of the nineteenth century ; types of the fifteenth century must be constructed to show an ignorance of or indifference to the established rules of propor- tion and symmetry that had been observed by the writers of good manuscript books be- fore the invention of types, and ever after- ward by engravers and designers of letters. There is no warrant for this belief. A book reviewer of authority has said that " The first book is better than the last, " and that Gutenberg's Bible of Forty-two Lines still remains the model of a well-made book. Not every one will assent to this enthusiastic dogmatism, but all printers will agree that this Bible has a rightful place in the front rank of fine books. ^ Of this face we have one pair of cases for roman,one pair for italic, and one job case for accents. 9-point. A. T. F. Co. ORDINARY care was shown in the designing and engraving of early types ; the qualified readers of that period did not tolerate slovenly type and printing. There were then and have been ever since enough of slovens in the making of types, but much of the inferior early work has disappeared and is forgotten. It was properly condemned as rubbish by the readers of the fol- lowing centuries. But few failures survive. I have one before me. Dr. John Scott on the Four Books of Sentences, printed by Windelin de Speyer at Venice in 1475. Its carelessly drawn letters were not properly adjusted on the matrices ; its types were conse- quently printed out of line, and they present a most unpleasing appearance in spite of its decent presswork, but there is no evidence known to me that this type was ever used again in any other work. ^ Of this somewhat thin face we have one pair of cases for the roman, one pair for the italic, and one job ease Measurement in 12-point ems CAPITALS 11 SMALL CAPITALS ... 9 Lower-case .... 8 ITALIC CAPITALS . I2I2 Italic lower-case ... 8 1234567890 AAMl60tJUgN lASfieSfiootiii dJlaaeeeeliiTooooliifliigfi AAAMMl66trVddAeiUoiiuiii for accents. 8-point. A. T. F. Co. 231 Measurement in 12-pt. ems The Text Types of the 'De Vinne 'Press CENTUEY EXPANDED HIS CENTURY EXPANDED PACE was planned to make a more readable type than the thin and gray-faced old-style letter in which most books had been printed for many years. The thin lines of this Century face were made of a perceptible thickness, the serifs were shortened, and the body-marks protracted a trifle. To secure a proper relief of white space within each character, the round letters were made a little taller. To proportion the type for a large page in two columns and with narrow margins, and to give the usual amount of reading-matter in a small space, the characters were compressed a trifle. The lower- case alphabet of a modernized old-style on long-primer body, previously used, was below the standard of measurement fixed by the Typographi- cal Union, for it had round letters that were remarkably low as to height. The lower-case alphabet of this style is equally thin, per- mitting as many letters to the line, but the round letters are taller and more distinct. The changes from old standards, pur- posely made by the designer, were not of great importance, but most of them were in directions that had been usually avoided by type-makers. The thickened lines enabled the pressman to produce print that is really black and not apparently gray, as was un- avoidable in presswork on small sizes of modernized old-style. This face was modeled and cut by Mr. L. B. Benton, and is made on two bodies by the American Type Pounders Company. For long lines of poetry printed in duodecimo or in any smaller form, as well as for all compact composition set in a narrow measure, this style of face is properly adapted. It will prevent the unpleasing turning-over of a short word or of a single syllable in a following line, which mars the general effect of composition. These are the small capitals, which are a trifle higher than the round letters of the lower-case, and these the italic characters of the font. Of this font we have two pairs of cases for roman, one pair for italic, and two cases for accents. lO-point. A. T. F. Co. CAPITALS . SMALL capitals Lower-case . CAPITALS . Lower-case AfitoCrgN daaaa eeeei iiiooooliMsn AeIOUQN oMmmgn 1234567890 HlJIIiil 15I4 11 . 1014 . 1412 . 9I4 AfeioiJgN 232 The Text Types of the ©e Vinne 'Press CENTURY BROAD -FACE HE CENTURY BROAD-FACE was made by the De Vinne Press for service on books to be set in a broad measure, which do not require a compression of letters for the saving of space. It retains the thickened hair-line, the short serif, and all the characters of the face de- scribed on the previous page. The purpose of the designer was to give each letter a larger face than is usual in text types of this body, with as much boldness of line as would be consistent with the greatest legibility. This desired largeness with bold- ness has been carried to its fullest extreme. It is a readable letter when it is set solid, but it is much more readable when the lines have been separated by a thin lead. A twelve-to-pica lead gives this Measurement in 12-pt. ems body the boldness of 11-point. CAPITAI ^ 15 Types are not made more readable by ^^^^^ ^^^^^^^ " ^^ givmg them larger and blacker faces, t 2,, T, , . „ , , , j: •, Lower-case . . 11 The attractiveness of a very black-faced j jr rAvy type when used in one line or in a few lines becomes repelling when it is used ^*"'^^'' ^^^^r-case 1023 in a mass. A page of fat-faced type com- \. ^ ^.. ^ ^ ^ "^^ ? ..^ 2 pels a greater strain on the eye than a ^ A^iouQN AmOt/QN page of ordinary book-type. What a aaaa66^eiiii666ouuQii reader needs for a pleasurable reading dddoMieiUidddduitilQn is the instant visibility of every stroke in every letter, but this visibility is dimmed when the types have too rhuch black. The strength of the black is weakened when its relief of white space is diminished. These are the small capitals, which are a trifle higher wider, and bolder than those of the series on the previous page. These small capitals can be used for sub-headings where those of ordinary form have proved indistinct and unsatisfactory. These are the italic characters of this font. The lower-case alphabet of this face slightly exceeds the standard of measurement fixed by the Typographical Union. It is as readable as some broader faces, and it takes in more words to the line. Of this font we have six pairs of cases and one job case for roman, one job ease for italic, and one case for accents. lO-point Century No. 2. A. T. F. Co. 233 The Text Types of the T)e Vinne 'Press CENTUEY EXPANDED LINES OF RAZOR EDGE are justly admired in prints from copperplate, but they cannot be produced so neatly by engravers on wood. They will thicken under pressure. Capitals 36 Lower-case 26 24-pomt. A. T. F. Co. Deceptive Proofs )RTISTS OF EMINENCE used to draw and paint on blocks of boxwood with the minuteness of minia- tures on ivory. With wonderful ingenuity, en- gravers on wood cut on the blocks so prepared sharp and slender lines intended to reproduce fairly every suggestion of light and shade made by the designer. From the block so engraved, a proof upon transparent China paper was cautiously taken by rubbing the Measurement in 12.point ems jj^ck of this paper wlth an ivOry CAPITALS .... 1634 burnisher. With full light over SMALL CAPITALS . 1234 the print side, and reflected light Lower-case .... 12 radiating through from the un- 1234567890 printed side, the proof might show a clever imitation of copperplate delicacy. The proof was admirable, but it was not printing. The reproduction of the effects in this sophisticated proof by the hand printing-press was slow, expensive, and in most instances absolutely impossible. C. One job case. ll-point. A. T. F. Co. 234 The Text Types of the 'DeVinne T^ress CENTURY EXPANDED YPE- PRINTING was turned aside in a wrong path by the Revival of Engraving on Wood, when it tried to rival Copperplate. Capitals 44I2 Lower-ease 32 30-point. A. T. P. Co. EARLY DESIGNERS and engravers on wood pre- sented subjects for illustration in outline, with but occasional attempts at the conventional treatment of light and shade. Diirer's "Little Passion" and Holbein's "Dance of Death" are fair exhibits of this simplicity of treatment. These great artists fully Un- Measurement in 12-point ems derstood the difficulties of CAPITALS . . is^g engraving on plank wood, small capitals is the roughness of hand-made Lower-case . . 1423 paper, the weakness of the old 1234567890 hand-press, and the troubles of the hand-pressman who tried to reconcile these incompatibles. With good sense and kindly feeling they refrained from refinements in design that they would have liked ; they really tried to abridge useless labor by the pressman who printed the blocks. 12-point. A. T. F. Co. 235 The Text Types of the e Vinne 'Press NEW CA8L0N Inland Type Foundry Peculiarities of Modern-face The defects of the Old Caslon style are : too long a beak to the f and j ; unnecessary narrowness in the s and a, and in some capitals ; too great width of the C, O, and V. But these are trifles. In general effect the Caslon is bold but not black, clear and open but not weak nor delicate. It was made to be read and to withstand wear. Variations in style may be detected in a comparison of different sizes of this cut, but it is fairly uniform as to general effect throughout the series. The modern-face is in strong contrast to the Caslon style. The stems are sometimes relatively thicker, but in all curved lines are shorter. The serifs are much longer; in many of the capitals they are strongly, but feebly, connected and are sharper. Capitals I8I3 10-point Lower-case 1184 Italic capitals I6I2 Italic lower-case IOI3 Space Occupied by Type One pound of metal type, as packed and sold by type-founders, covers a space of about three and six tenths square inches. To find the weight of one page of type composed in high spaces, divide its number of square inches by the figures 3.6. To find the weight of a font for a given number of pages, pro- vision must be made for a large surplus. The proportion of this surplus is variable. For a small font, the type-founder's rule is to add one half to the computed weight of the composed types. For a font of two thousand pounds or more, this surplus need not be relatively as great ; an addition of one fourth to the weight of the composed matter may be enough. All calculations of this kind are but guesses. No printer or type-founder can exactly foresee how unequally copy yet to be written will exhaust sorts. For all work that has to be done in haste, for newspapers and magazines that have to keep in type postponed articles or alternated advertisements, a font of twice or thrice the weight of the composed matter will not be enough. On newspapers it was customary to allow three, six, and sometimes ten days' supply of type to each compositor. Quadrats are the sorts most frequently deficient in the ordinary font when it is applied to general bookwork. Next in liability to excessive demand are figures, which are soon exhausted by a series of tables. Every large book or newspaper office doubles, and sometimes quadruples, the amount apportioned to some characters of the scheme. Capitals 14 8-point Lower-case 9 242 ^1 The Text Types of the 'DeVinne ^ress CLASSIC SUPERFICIAL READER may think that we have already enough of Old-style faces in print- ing type. This is a hasty judgment. The uneasy feeling that continually demands something en- tirely different has induced the making of this new face, which has recently appeared in Germany, and is there known as Romische, in some foundries as Renaissance, and in the United States as Classic. It is the outcome of the never-ending attempt to get as many letters in a line as is possible with reada- bility and without undue thick- Measurement in 12-poiiit ems ening of the stems of the type. CAPITALS . . 1913 There seems to be no other Lower-case . . . 1213 face of type in which these con- ITALIC CAPS . isag trary conditions are more com- Italic lower-case 1223 pletely united. It is readable, 12345678 34567890 but not too bold. Round let- AfiOOQaaaefeiooiiii? ters are almost as tall as those A^OfJQ ddeeiioduUg of the Cadmus face, but the capitals have more distinction. Each letter is com- pressed, but a satisfactory amount of white space has been left between interior lines. Serifs are short, hair- lines are firm, and the new face promises a durable letter. This Classic face was first used by the De Vinne Press for the printing in Greek and Roman of an edition of Theocritus, Bion, and Moschus for the Bibliophile Society of Boston. This face on 12-point body is frequently selected in preference to Caslon Old-style on 14-point body as more compressed but equally readable. C Of this font we have one job case for roman and one job case for italic, and matrices for the linotype machines. 12-poiiit. Genzsoli & Heyse 243 The Text Types of the ©e Vinne 'Press Measurement in 12-pomt ems CLASSIC bVELTIES have to be considered by the publisher who wants to make a new book attractive. There are new fashions in paper and binding, new methods of engraving, new processes for printing in black and colors, new arrangements of pages, and new styles of printing types. The types that fill the page and receive closest scrutiny seem to be of most importance. This is the publisher's reasoning; if the new book can be printed in a face of letter not used by any rival, its pages should be invested with a charm that will command respectful attention. This survey of possibilities with types invites to dangerous ground full of pitfalls. Pleasing types are not always proper types. A book on an ecclesiastical or medieval subject may be wisely set in an acceptable form of black-letter, an early Italian book in italic, the plays and poems of the Puritan century in an imitation of the types and styles of its time, but at or about a certain point not easily defined tolerance stops. The black-letter must be of a face sanctioned by steady usage ; modern variations admirably designed are dis- liked by book-lovers. Readers and reviewers are critical. Types of old time, attractive enough in books of that time, are not so attractive in mod- ern books on modern subjects. The ordinary reader who is also a book- buyer has the belief that the dress of the book, as of the man, should be the dress of to-day, and not of the fifteenth or seventeenth century. Nor does tolerance stop at the re- vival of old fashions. Ornamental or fantastic forms of letter that convey the peculiar notions of the writer are barred out of book te.xts. Even the autographic lettering of an artist like William Blake, adrrired by his disciples, is unacceptable to the book-buyer. Pleasing it may be on one page of a magazine, but it will make unsalable the book filled with it. To be acceptable the text of a modern book must be easily readable. Like coins of money, book letter must be identified at first glance. Serious variations in shape are resented as attempts on the part of the designer to obtrude his own conceits more than to make plain the subject-matter. Want of individuality in lettering may be regretted, but features of uniform- ity disliked by the artist are the ones that make print attractive to the buyer. CO/ this font we have one job case for roman and one job case for italic. We have matrices for this face on the linotype machines. lO-point body (9-point face). GenzBoh & Heyse 244 CAPITALS . Lower-case . ITALIC CAPS Italic lower-case 12345678901234567890 A£00Q aaa66n6o6uuuu? AEOVQdcLdeeielVidddMUg 1434 10 14 912 The Text Types of the 'DeVinne 'Press CLASSIC ANTIQUE Geuzsoh & Heyse ^ HEN paper and vellum were scarce there was need of economy in their use, but there is no excuse now for a needless huddling together of types. The boolc-buyer of to-day does not accept as artistic the compact treatment in a modern book. He may call it penuri- ousness— the saving of paper and presswork to the damage of eyesight. Yet the attempt to make a book inviting with plenty of white space between single letters of lines of display, between the lines of a paragraph, and, worse Measurement in 12-pt. ems than all, "the rivulet of type in a meadow of margin," is a rAP?TAie Vinne 'Press CELTIC OF CAPITALS ONLY From American Type Founders Co. MUCH TOO THIN Capitals 50 24-point, old body FOR A TITLE Capitals 63I4 28-point, old body CELTIC SHADED ©ELTIO TYPE Capitals 22 28-poiut, old body ENGRAVERS' ROMAN American Type Founders Co. THIS WZDB FACE OF ROMAN CAPITALS IS OF GOOD FORM AND MAY BE USED WITH REGULAR ROMAN CAP- ITALS OR TWO-LENE LETTER Capitals 19 8-point TYPEWRITER Farmer Is intended to delude the reader of a printed Circular to the belief that each letter was really thumped out on the typewriting machine, and not printed from composed types on the printing-press. All the letters, capitals and lower-case, are cast on the same width of body. The lower-case 1 is as wide as the M. Capitals 15 12-point Lower-ease 15 252 The Text Types of the ©e Vinne 'Press ENGRAVEE8' ROMAN Prom the American Type Founders Co. Has three distinct sizes of Capital Letters, made to line one with another, but all are oast on 6-point body. Each size can be used independently, or any two sizes can be connected as capitals and small capitals. All the sizes have figures. 1 IS JLX.UOST MIOSOSCOPIO IN ITS SMAX>tJ«ICSS. IT IS NE03EBSABXL.Y F]X.AJ:£„ IS NOT EASILY RSAI>, A..VD SIIODLD H» SIELIECTED 'VnTH DI80HETION 8I2 2 1113 THIS NO. a SIZS) IS ■WIDEK AND MOKE HEADABLE, BUT SMALLER THAN OLDER STYLES OE EXPANDED 6mS 3 IS OF ABOUT SAME HEIGHT AS THE PEAEX. EXPANDED OE BRUCE, BUT NOT SO WIDE ems THESE SIZES oi- small ROMAN CAPITALS ahu OAREFtTL IMITATIONS or THE FOEMIS madk bv ENGRAVERS on copper eok CARD TICKETS AND INVITATIONS TO MEETINGS OE CERE- MONY. Although of GRACEPUXi SHAPE, DO NOT SELBOT THIS ST^LE FOK BOOK OH MERCANTHjE WORK, FOR WHICH HAIR-TiTNE GOTHIC, CEL- TIC, GUSHING OR SMALL ROMAN CAPITALS SHOULD BE PREFERRED. IT IS a JOB, NOT ^ BOOK LETTER. IT needs WTX>E LEADING and WXDE SEA.CING ALWAXS, ANT> OITEN THIN CARD-BOARD BETWEEN LETTERS in the same -word that AMs TOO CLOSE. ITS MERIT « damaged when THE TYPES ARE HUDDLED. 1234567890 1234Ba78SO Nos. 1, 2, 3, in combination Engravers' Roman is not a pleasing selection for a line in Book Work or Commercial Job Work. It may be used, if requested, for a Visiting or Professional Card, but never for an ordinary Business Card or for a Bill- or Note-head or Mercantile Circular or Advertisement. Its value as a good type for occasions of ceremony is seriously degraded when it is mixed in com- position with large coarse types. The Text Types of the 'De Vinne 'Press OTHEE EOMAN FACES, CONDENSED AND EXPANDED A BOUT TWO HUNDRED AND THREE SIZES OF PLAIN \ Roman book types, many of which are in full series of dis- ^ % tinct face, as shown in these specimens, should be enough to please tastes that require special consideration. To most buyers and readers they are more than enough, for they often confuse selection. Yet they do not seem to be enough for all kinds of printing. There is continued demand for Roman types that are bolder or lighter, broader or thinner, elongated or obese and squatty. To meet these demands we provide Title or Fat-face, Condensed and Extra Condensed Skeleton, and Expanded, of which specimens are submitted on the following pages under many arbitrary and misleading names. For some of these faces a mated Italic has been provided. ITALIC, the mate of Roman, is often selected for paragraphs and sometimes for short prefaces in books, as well as for the full-page letter circulars of merchants. We have many forms and styles. Use plainer styles for books. CONDENSED ROMAN is a neglected letter in larger sizes. It gives good serv-ice in jobs that need some display but in a face that need not be overbold, black, and coarse. Its smaller sizes are needed in table matter, music, labels, and advertisements. The lower-case of this style is more effective than capitals only. EXPANDED ROMANS are rarely needed in book work, but are of use in open displayed composition. The Celtics offer pleasing change from Roman. Engravers' Roman of small sizes is most needed in ceremonial printing. It needs wide leading and often hair-spacing between its too close letters. Do not use it in book work when plain capitals of good form can be had. 254 other Eoman Faces Condensed and Expanded Romans, Condensed and Expanded OLD-STYLE CONDENSED With Lower-case OLD WINE POURED IN NEW BOTTLES Condemned by Scripture as against Settled Usage Capitals 161a 10-point, old body. Farmer Lower-case 13% OLD FACES OF TYPE IN NEW SHAPES of Condensed and Expanded are also violations Capitals 20 12-point, old tody. Farmer Lower-ease ISig TITLE - PAGES Condensed Type Capitals 59 48-point, old body. Conner Lower-case 41 (There is a smaller face on same body ; see p. 258) STATELY AND COMMANDING Characters in Large but not in Small Letters Capitals 2II4 18-point, old body. Conner Lower-case 17^2 CONDENSED 1905 FIGURES Do not mate rightly with the Capitals Capitals 25I3 16-point, old body. Farmer Lower-case IQig 257 Types of the ©e Vinne 'Press OLD-STYLE CONDENSED With Lower-case GOOD IN OPEN DISPLAY But not in a solid composition Capitals 29^2 20-point, old body. Farmer Lower-ease 23 Ig SERVICEABLE For Display in a Title-page Capitals SSi^ 24-poiiit, old body. Farmer Lower-case 27 THIN STROKES Cut too sharp Capitals 55 48-point, old body. Conner Lower-case 38 (There is a larger face on same body ; see p. 257) THICK STROKES Lack Needed Strength Capitals 4423 36-point, old body. Farmer Lower-case 31 258 Romans, Condensed and Expanded CONDENSED AN EARLY FORM OF CONDENSED ROMAN Note thickness of its stems and thinness of its lower-case Capitals 17 12-point No. 162. Bruce Lower-case lli^ A NEWER AND MORE PLEASING FORM Capitals not so wide, but its lower-case wider than 162 Capitals I6I4 12-poiat No. 164. Bruce Lower-case 13 The capitals of this size of service for DISPLAY LINES IN THE TITLE-PAGE Lower-case is useful in Circulars Capitals 22I4 18-poiiit No. 164. Bruce Lower-case 16^3 The ordinary Roman Type CAST UPON THE 32-POmT BODY Is spaced with difficulty Capitals 25I2 22-point No. 164. Bruce Lower-case 20 When Composition is IN A NARROWED MEASURE Bad divisions frequent Capitals 31^3 24-poiiit No. 164. Bruce Lower-case 2423 259 Types of the ^eVinne ^ress CONDENSED This Lower-case IS JUST AS DISTINCT as in types of Regulation Width Capitals il^ 36-pomt No. 164, old body. Bruce Lower-case 29 Fit for all TITLE-PAGES in Capitals or Lower-case Capitals 60 48-point No. 164, old body. Bruce Lower-case 42i2 1^60 "^omanSf Condensed and Expanded ROMAN CONDENSED AN INTERMEDIATE HEIGHT TWO -LINE INITIAL Capitals 27 18-point No. 2 No lower-case WIDEK & BOLDER TIAI 01 PAGE 96 Capitals 42 36-point No. 3 No lower-case ROMAN EXTRA CONDENSED THIS TYPE IS NOW OCT OF FASHION Capitals 20^3 24-poiiit, old body No lower-case CENTURY EXPANDED A. T. F. CO. TITLES For Books or PampMets are most readable and satisfactory wheii every line in every letter is distinctly perceived. For smaller sizes see pp. 112-113. Capitals IO9I2 72-point 261 Types of the T>e'Vinne 'Press NORMAN Fanner Many Faces on Faw Bodies IT IS NOT PROBABLE THAT A MORE USEFUL Or More Graceful Shape of Letter can be Devised than THAT OF ordinary ROMAN TYPE USED IN BOOKS AND NEWSPAPERS, BUT ADVERTISERS SAY THAT ROMAN DOES NOT PROPERLY EXPRESS VS/'RITTEN WORDS IN ALL KINDS OF PRINTED WORK Capitals 15 10-point, old body Small capitals 12I2 TO BUYERS OF PRINTING Who Object to Roman Letter as too PLAIN AND commonplace, NORMAN SHOULD BE RATED AS SUFFICIENTLY LIGHT. IT WILL BEAR JUDICIOUS SPACING OF LETTERS ONLY IN OPEN COMPOSITION Capitals 24 16-point, old body Small capitals 18^2 1234567890 1234567890 1234567890 1234567890 262 Romans, Condensed and Expanded NORMAN Farmer IT SHOWS AT ITS BEST When All Sizes can be used together, never select it in any solid composition Capitals 3684 24-pomt, old body Small capitals 2934 THIS NORMAN Type Offers Seven faces on but 4 bodies Capitals iS^ 36-poiiit, old body Small capitals 36I3 1234567890 263 Types of the ©e Vinne 'Press MONASTIC Farmer HAS TEN HAIR-LINE FACES ON FIVE BODIES BETWEEN 12- AND 40-POINT. THINNEII^BUT NOT SO GRACEFUL >S THE !(ORMAN TYPE Capitals 12 12-pomt, old body Small capitals lOi^ > SORRY EXHIBIT OF COMPRESSED AP TORTURED LETTERS. How THEY SUFFER FROM SQUEEZING Capitals 15I3 18-point, old body Small capitals I2I2 USEFUL FOR FILLING PANELS OR WHITE SPACE WITH WORDS NOT HEEDING BOLDt^ESS Capitals I9I3 24-point, old body Small capitals 16 MA! BE USED, WITH DISCRETIOIi TO MATE WITH THE COMELIER NORMAN Capitals 23 36-point, old body Small Capitals 19 rS SWASH HOI PL IMPBOYEraTS Capitals 8284 40-point, old body Small capitals 23I4 264 I^omans^ Condensed and Expanded TWO -LINE LIGHT-FACE Farmer A LETTER THAT WILL SEEVE WELL AS AN INITIAL FOR SMALL BODY TYPES Capitals I8I2 9-pomt, old body THIS FACE NEEDS PLENTY OF BLANK BETWEEN WOKDS AND BETWEEN LINES Capitals 2684 12-point, old body DESIGNED BY A MASTER Capitals 34I2 16-point, old body NEAT LETTERING Capitals 41 20-point, old body OENAMENTS NO IMPEOVEMENT Capitals 49 24-point, old body 1234567890123456 78901234567890 Note: Fm- similar face with lower-case see pp. 174-178 265 Types of the ©e Vinne 'Press OLD-STYLE EXTRA CONDENSED With Lower-case THIS TYPE IS OF POSSIBLE SERVICE IN JOB -WORK Offers little advantage in the Composition of Books Capitals I4I2 IS-point No. 1, old body. Fanner Lower-case I2I4 SOME OF ITS MUCH-CONDENSED LETTERS Do not show special ieatures of Old-Style Capitals 20 24-point No. 1, old body. Farmer Lower-ease I6I2 AS IN INITIAL FOR SMALL TYPE It has some usefulness. Has figures Capitals 23 36-point No. 1 , old body . Farmer Lower-case 20 EieiATli IS EXCESSlfE WorflsappearMeriotwoles Capitals 271^3 40-poiut, old body. Farmer Lower-case 22I3 266 Romans, Condensed and Expanded EXTEA CONDENSED InanjiDOTreofWnaryfiilti Capitals 23 40-poiiit, old body. Farmer Lower-case I6I3 MlIT kinds of printing call for typos tbat &ro extreuitly thin. Headings to oolnmn work in tables of flgnres, and vords that oross all the col- omns and mnsthe kept in one lino, need these pinched letters. It is better to nse a thin letter that will prevent the abbroTiations that are often misleading in sense and are so made b; the use of too man; periods and apostrophes. This face of 6-point Condensed has thicker stems than those of the S-point styles by its side. It will not wear so well nnder along and severe impression. 6-poiiit No. 5, old body, A. T. F. Co. SIDE-NOTES aid cot-iu note! may need condensed letters of great thinness. When the antbor permiti, a condensed type is to be preferred for cnt-in notes to italic that has easily broken ketns, but do not gse a thin letter for notes of this kind when the type is not easily readable. In anno- tated Bibles and Testaments ordinary roman letter is preferred for side- notes. Ordinary roman lower-case is qnite as plain ; it withstands more wear and does not fill with ink. 8-point No. 603, old body. Bruce EXTRA condensed cap- ital letters are most useful as initials in columns of very nar- row measure. The objec- tion properly made to the obscurity of a long line of thin letters does not apply to the single letter that is easily recognized. Condensed type is also of serviceinsmalllahels.and the style is tolerated even when letters are obscure. S-point No. 164, old body. Bruce EXTRA COIENSED TYPE may k a useful tjpe io Odo Line, U it is Not PleasiDg wlen used in Many lines of Lower-case as tlie text letter of a paragrapl. Capitals 923 12-point No. 603, old body. Bruce Lower-case 7I4 I) a m n in a Capitals 24 48-point, old body. Farmer 267 Lower-case I8I2 Types of the ©e Vinne 'Press ALDINE From the Bruce Type Foundry ALDINE is the name giyen to a compressed and carefully designed form of Title or Fat-faced type which occupies less space in width. It is of more pleasing shape and is almost as distinct as the broader face. Newer Fashions hare supplanted it in the belief of some adrertisers as a letter of display, bat not all the novelties can be accepted as Improrements. The smaller sizes continue to be preferred for Subheadings and Side-headings and for the Cnt-in Notes of pages in larger roman letter, Aldine has a sjmmetrr and harmony with ordinary reman text type that is notfonnd in the ordinary faces of Ootlilc and Antique types of display. NETER WIDE SPACE LOWER-CASE CHARACTERS Of any Style without Special Order. Spaces betrreen Letters make the word so treated nnsightly. They break the connection of words and make their comprehension diiBcnlt to understand Capitals I2I2 8-point, old body Lower-ease 9I4 THE SPACING OF CAPITALS Is often desirable when there is a Fair Space between the Lines of Display in Open Composition. Do not space them in any kind of Solid or Thin-leaded work Capitals 16 10-point, old body Lower-ease 11 14 A SIDE-HEADING OF LOWER-CASE Should he preferred for Solid Composition. A long row of Capital Letters is not so neat as Lower-case for this purpose Capitals 19^2 12-point, old body Lower-ease I4I2 268 Romans, Condensed and Expanded ALDINE Prom the Bruce Type Foundry THE CONNECTING DASH After a Side-heading is never really needed. An em-quadrat is neater Capitals 25I2 18-point, old body Lower-ease I7I2 TWO MEETING LINES Equal in length may need for one line a little thin spacing Capitals 30^2 22-point, old body Lower-case 21 ONE LINE SPACED Wide between letters and another not spaced Capitals 3984 28-point, old body Lower-case 2784 Show disregard of UNIFORMITY Capitals 5OI2 36-point, old body Lower-case 36I2 THE SUBHEADING IS MOEE DISTINCT when it can be set as a Short Line with quadrats at each end that gire to it some additional Belief of White Space. The Heading is not im- proTed but is Made Indistinct, when Spaces are put between Single letters for the purpose of stretching ont the types so that they wUl meet extreme ends of the measure. Capitals 10 6-point, old body Lower-case 7I3 269 Types of the ©c Vinne 'Press EXTRA CONDENSED TITLE EXTRA CONDENSED TIPE can be used occasionallj in Hosic, labels, Narrow Measures, in the Con- tracted Headings of Tabniar Matter, and in lines of Words tbat bare to cross Many Colnmns of Table Figures, Prefer lover-caie of plain letter. 10-point No. 5, old body. A. T. F. Co. Capitals 884 Lower-case 7I4 m\U SELECT Extra Condensed in the form of CAPITALS for a Line of Dis- play, for the only Reason that yon can pnt Many Letters in one line. Two lines of SmaUer Type may be better. 10-point No. 5, old body. A. T. F. Co Capitals IOI2 Lower-case 8^ For other variations of Extra Condensed type of thick lines on the ordinary roman model, see Extra Condensed De Vinne on pages 279 and 280, and Latin Condensed on pages 378 and 379. Extra Condensed letters with thick lines are often muddy in presswork. Many of these Title types were bought to be used for the side- headings or displayed words in texts of roman type on the old bodies, and they are retained in case for that purpose, as well as for valuable odd sorts that were made to order for special work. But few of them line with roman. Subheadings of two or more lines in Title type caU for discre- tion. One line in solid work should make the display wanted ; two lines should be separated by a lead. Three or more lines, as in a paragraph, are not inviting but forbidding. Reading mat- ter so treated presents a black blotch of huddled and relatively indistinct letters. Neoer thin-space any lower-case letter. ROMAN CONDENSED text books 123456899 No capitals 60-point, old body 270 Lower-case 68 l^omanSf Condensed and Expanded EXPANDED No. 180 Prom the Bruoe Type Foundry TOLERATED IIST OBLOl^^a But not in Octavo Title-pages Capitals 37I2 12-pomt, old body Lower-ease 23I2 EXPA-NDED TYPES are so WWP.M TWT?' TTr'T"TiTrT? TQ ^ade with ixxtezxt to gi^e xixore of MADE TOO BR O^ n t^^ olearness to eaoli oliaraotei-. Tte ^^^^^ Jt i>ftOAiJ tlie ptitting of more space betwreen strokes of meeting letters parallel stems in eaob. letter puts oro"wd. one anotter, and this in also more relief of -ssrliite and oro-wcling tends to-ward ob- ttiis Kelps legibility. Its usual de- eoixrity. Serifs have to be Capital irte^'s^SJtSr^nfkr^r^!"'^" ^^^^fT,' -^ meeting letters ^ ., , ,_, _ mnst be kept apart. Capitals I5I2 L^e'-^ase IOI4 Capitals I7I2 Lower-case lis^ 5-point, old body. g_p^.^^_ ^j^ ^^^^ NOT ^PPRO^STED by Book Printers Capitals 56I2 IS-point, old body Lower-case 34 A FULL LINE of close-fitted Expanded usu- ally needs tliin spaces bet-w^een capitals. In all jobs give Expanded Faces plenty of margin. Capitals 211^ 8-point, old body Lower-case I5I4 USEFUL FOR P^RA^aRA^PHS of few -words but not for a Fixll Rage or even for a oro-wded Line. It needs lead- ing and wT.de spaces bet^ween its words. Capitals 30 10-point, old body Lower-case 17 IjO-WKK-C-A.SE! of KXOPj^-NIJKD letter caUs for a -wide spacing betAveen words. Its irregularities of form are but a slight check on the obscurity made by its fatness. It needs an additional relief of -white space to please the eye. Capitals I9I2 Lower-case H 6-point, old body, title expanded No. 182 271 Types of the 'De Vinne ^ress EXPANDED Expanded Type may be a pleasing letter in the short paragraph intended to be unobtrusive but of service in arresting attention. It is not a good selection for a side-heading either in capitals or lower-case. For small cards, note circulars, or notices, it may be used with good effect as the exclusive type of text, but it must have a wide margin always. For an oblong title-page it may be pleasing for lines of display, but never for a tall title-page of usual shape. For most title-pages the regular shape, not condensed or expanded, is to be preferred. Always seems best in a subheading as a short line, with blank at ends. Capitals 74 No lower-case 24-poiiit, old body, No. 180. Bruce FOK, SHORT SXIBHEA-DINGS SELECT FOB A. SHOR.T BUT 3VOT -A. LONG LINK Capitals 19I2 No lower-case 5J^-pomt, old body, No. 182. Bmoe Capitals 3984 10-point, old body. Bruce Lower-case 31 Other fonts of thick-face Expanded have been discarded and will not be renewed. This is reserved for specially requested reprints only. Other forms of Obese Type are shown under the titles of Clarendon Extended, French Antique, and Antique Extended. 272 'J^omans, Condensed and Expanded DE YINNE THIS face is the outcome of correspondence (1888-90) be- tween the senior of the De Vinne Press and the late Mr. J. A. St. John of the Central Type Foundry of St. Louis, concerning the need of plainer types of display, to replace the profusely ornamented types in fashion, of which the printers of that time had a surfeit. The De Vinne Press suggested a return to the simplicity of the true old-style character, but with the added features of thicker lines and adjusted proportion in shapes of letters. Mr. St. John approved, but insisted on grotesques to some capital letters in the belief that they would meet a general desire for more of qaaintness. Mr. Werner of the Central Type Foundry was instructed to draw and cut the proposed face in all sizes from 6- to 72-point, which task he executed with abihty. The name given to this face by Mr. St. John is purely com- plimentary, for no member of the De Vinne Press has any claim on the style as inventor or designer. Its merits are largely due to Mr. "Werner ; its few faults of uncouth capitals and out-of-Une arable figures on the first issue show a desire to please eccentric tastes and to conform to old usage. The new face found wel- come here and abroad ; no advertising type of recent production had a greater sale. Some of the smaller sizes have been supplemented with an italic of similar design. A condensed and extra condensed series have also been added to the most used regular bodies first made, in which all the peculiarities of the first form have been maintained. Each series shows the same thickness of stem, and their letters line one with another in any combination. This paragraph shows that the three different shapes of this face — ordinary width, condensed, and extra condensed— can be com- bined in the same line so that important words can have the largest and relatively unimportant words a smaller size without any appearance of im- propriety. Useless divisions can be avoided, even spacing: maintained, aad an appearance of symmetry givea to tlie composition, that is impossible with any broad letter In a narrow measure 273 Types of the ©c Vitine 'Press DE VINNE From the American Type Founders Co. PROVES A USEFUL SUBSTITUTE FOR THE TITLE TYPE Selected for Empbatlc Words or Phrases In Paragraphs of Old Style that call for more distinction than that of Italic or small capitals but not for bold display Capitals lOi^ 6-pomt Lower-case 8 SERVICEABLE FOR THE SUBHBADINQS Or side-headings of common matter in the Series of Capitals or Lower-case Capitals ll^a 7-point Lower-oase 9 MUCH BOLDER THAN ITALIC Not so Bold and Staring as the more used faces of Antique or Qotiilc Capitals I3I4 8-point Lower-case 10 ITALIC AND FRENCH ACCENTS Are provided for this font in three job cases and one sort case Capitals 15 10-point Lower-case III4 FOR THIS FONT ALSO We have Italic and Accents in three cases, with four additional sort cases for the Capitals Capitals 19 12-point Lower-case 141^ MAKES A SIDE=HEADINQ That meets with Approval for Catalogfues Capitals 23 14-point Lower-case 17 ITS GREATEST DEFECT Does not Line exactly with Roman Capitals 28 18-point Lower-case 2II4 IT WAS DESIGNED Before the Lining System Capitals 37 24-point Lower-case 27I2 274 Romans, Condensed and Expanded DE VINNE ESTEEMED By Every Advertiser Capitals 45 30-point Lower-ease 34I2 BOLDNESS With Simplicity Capitals 5184 36-poiiit Lower-case 43 USEFUL FOR Pamphlet Cover Capitals 661^ 42-point Lower-case 49I2 CAPITALS of Bold Face Capitals 78 48-point Lower-case 59^^ 275 Types of the T>e Vinne 'Press DE VINNE LETTERS To be Seen Capitals 88I2 54-point Lower-case 6684 NOT Imagined Capitals 99I4, 60-point Lower-case 7412 GOOD Fashion Capitals 11. J I4 72-poiiit Lower-case 87 276 'J^omanSf Condensed and Expanded DEYINNE CONDENSED ALL THE CONDENSED AND THE EXTRA CONDENSED TYPES Of thl> Series were cut aad cist to llae witb the broader faces of Standard Wldtli. Tlie types of any one of the Series can be used with others of Same Body In the Same Doe or Same Word with good effect Capitals 8I4 6-point Lower-case 6I3 THE COMBINATION OF TYPES OF DIFFERENT WIDTH But of tbe Same Style In the Same Word or Same Line Is an Innovation of Usefulness. It Is an Aid to Even Spacing, and It often prevents Awkward Divisions Capitals IOI4 8-point Lower-case 8 A BROKEN TEXT LINE AT THE TOP Of a Page is always Unpleasing. It should be avoided, for it often carries with it the Suggestion of Neglect or Slighted Workmanship Capitals III3 10-point Lower-case 9 THE BROKEN LINE IS NOT AVOIDABLE In Composing Poetry, Tables of Names, and Dialogue Matter Capitals 15 12-point Lower-case III2 TWO WIDTHS OF THE SAME FACE Are Noticeable in Spanish Books of the Fifteenth Century, and much to their improvement Capitals 18 14 14-point Lower-case 14 TO AVOID A BROKEN LINE Reduce the Blanks in the Preceding Pages Capitals 22I2 18-point Lower-case I7I4 REDUCE THE SPACING In any Wide=spaced Paragraph Capitals 29I3 24-point Lower-case 22 27T Types of the ©e Vinne ^ress DE VINNE CONDENSED DRIVE OUT MATTER Thereby Make a New Line Capitals 36I2 30-poiiit Lower-case 27 RAQQEDNESS Is Always Unsightly Capitals 46 36-point Lower-case 34^2 MAKE PAGE With Neat Outline Capitals 53 42-poiiit Lower-case 40 BORDER LINE Is Monotonous Capitals 6IS4 48-poiiit Lower-case 46^2 278 Romans, Condensed and Expanded DEVINNE EXTRA CONDENSED EXTRA CONDENSED TYPES UPON SMALl BODIES Are Not Easily Read by those who have to Assist Failing Sight with Spectacles, and Scrutinize the Form of Each Donbtfnl Letter Capitals III4 12-pomt Lower-case 9I2 THEIR BEST BSE IN NARROW COLUMNS Shorter Letters in Two Lines are quite as Readable Capitals I6I4 18-poiiit Lower-case IS^^ TBIN LEHERS ARE TOLERATED Id Labels and across the Backs of Books Capitals 2OI2 24-point Lower-case I6I2 NOT A PLEASING SHAPE In the Composition of a Paragraph Capitals 2584 30-poijit Lower-case 2II4 MAKES SCAREHEADS For the Newspaper Shocker Capitals 311^ 36-point Lower-case 25 Types of the 'De Vinne 'Press DE VINNE EXTRA CONDENSED MANY DENSE LINES Tiresome to a Reader Capitals 37 42-poiiit Lower-ease 3OI4 THIN LEHERS Contrasting Blank Capitals 4IS4 48-point Lower-case 34I4 EXTRA CONDENSED TITLE No. 601 Bruce TIlS IS Alt Old'timc Face Capitals 62 60-point, old body Lower-case 50 Has figures 280 Title or Fat-Face Title or Fat-Face TITLE OLD-STYLE From the American Type Founders Co. A STUDY OK the; STIUJCTURE OK THE CASI,ON Or True Old'Style Type fairly shows Intent of the Designer to mahe print therefrom readable by the MshtnesB, Openness, and Angnlarlty of the letter Capitals 12I2 6-point Lower-oase ll^g XHICK STROKB "WAS NOT TOO THICK And its firm Hair-line -was al-ways Elasily Visible "Wliite space kept -witbin eacb letter Capitals 18 8-point Lower-case ISi^ WHITE BNOUGH BETWEEN LINES Was provided upon the type for tbe ease of reader Capitals 19 9-point Lower-ease 14i8 THIS FACE IS NOT SO PI.ANNED Its face nearly fills body and sbuts out "white Capitals 21I2 10-point Lower-oase I523 QOOD IN JOB WORK But not in Neat Book Work Capitals 36I3 18-point Lower-oase 29i8 IVHY imXAXE OLD-STYI^E In Porxn only and defeat its Purpose? Capitals 2523 12-point Lower-case I8I2 BOLD IN ONE LINE But Muddled in Two lines Solid Capitals 29 14-point Lower-oase 20^2 283 Types of the ©e Vinne 'Press TITLE OR FAT -FACE From the Bruce Type Poundry FAT-FACE TYPE I]¥ TWO STYLES The r¥o. 140 face shows the thicker shape made about 1 830 for very bold print Capitals 20^2 lO-point No. 140, old body Lower-case 14^2 TO JOB PRINTERS thlok-faced types were welcome. The thin romaiu then made by En^elUh tjne-founders for boob work were llffht and not attractive to the hasty reader^ but the thioh fbce compelled attention at the first clance. It was used not only for adver- tisements but even as a text letter for books. Capitals lO^^ Lower-case?!^ 5-poiiit No. 140, old body TITLE TYPE for book texts has been selected by amateor printers of onr own time, bat this experiment lias not met with general approval. Readers object to a modem book, even when admirably printed on hand-made paper, that has the solemnity of a ffothic manuscript. Capitals 12 Lower-case 8^2 5*^-poiiit No. 140, old body A FAT-FACE OF 1820 that Overbears all other Faces Capitals 36I4 IS-point No. 140, old body Lower-case 24I2 THE No. 143 STTK.E now And* tevr admirers. It u seldom seen in recent books, but docs occasionally appear in adTcrtisements or in a careful reprint of some scarce or famous book of an innoTating; Eng- lish printer of the early nineteenth century. Capitals I4I2 Lower-case 9I2 6-point No. 140, old body BOOK PKINTEKS OF EXPEBIENCE reftise it as a text type, but they do give it limited employment for the sub- faeadlngrs of dlotlonaries and gazetteers In places where Its gloom is fbirly relieved by the grayer color of sur- rounding roman type. Capitals 12 Lower-case 8% 6-point No. 143, old body nSE FAT-FACE IVIXH DISCRETIOIV Ooe line makes fair display. Xfro or more lines are not so ellectiTe and need leads between lines Capitals 17 7-point No. 140, old body Lower-case 12 ALI. SIZES TTERE USED FOR SUBHEADINOS and even for Title-pages of Books and Advertisements Capitals 17 S-point No. 140, old body Lower-case I2I2 284 Title or Fat-Face TITLE OR FAT-FACE Prom the Parmer Type Poundry DISPLAYED WORDS IIV SOLID COMPOSITION Always appear to better advantage in Lower-case. Not so good in Capitals Capitals III2 6-point Lower-ease 784 ADVERTISERS PREFER FAT-FACE Sometimes they use Capitals to excess in Solid Composition, where they nearly iill the body and huddle words to their obscurity Capitals 14 7-point, old body Lower-case 10 THIS LIGHTER FACE OF TITIiE TYPE From the Bruce Type Foundry was preferred for Side-headings in Dictionaries and Text Books Capitals 16 8-poiiit, old body, No. 143 Lower-case 11 OF THIS MODEBIflZED FONT we have two Job Cases. Once used for School Books. It has Long and Short Vowels and Diacritical Marks, as well as some Joined Letters Capitals 17 8-point No. 3, old body Lower-ease 11 12 THIS lilGHTER FACE OF TITLE is now preferred for the side-heads of Book Work. It is not at all Gloomy and is very Readable Capitals I8I2 10-point (oae-niok), old body Lower-case I3I2 FAT-FACED TYPE IS NOT DURABLE The Impression needed to give strong Black to thick Strokes gradually breaks down serifs Capitals 20 10-point (three-nick), old body Lower-case 141^ 285 Types of the ©c Vinne 'Press JOHN HANCOCK From the Keystone Type Foundry TWO SHAPES ARE PROVIDED for tills very Bold Title Letter Capitals 14 8-point Lower-case 12 ONE OF REGULAR WIDTH, One Condensed Shape Capitals 18 10-point Lower-ease 15 THEY ARE CAST TO Une One with Another Capitals I934 12-point Lower-case I6I3 LETTERS OF TWO Different Series Capitals 23I3 14-point Lower-case I9I3 MAY APPEAR in the same Line Capitals 2884 IB-point Lower-case 2323 Same Word Capitals TS^g 48-point Lower-case 66I4 WITHOUT Impropriety Capitals 36I4 24-point Lower-case 3OI3 CLUMSY Divisions Capitals 441^ 30-point Lower-case 3684 FALSE Spacing Capitals 54I2 36-point Lower-case 45 ARE Avoided Capitals 662^ 42-point Lower-case 5423 286 Title or Fat-Face JOHN HANCOCK CONDENSED From tho Keystone Type Foundry TO GIVE BOLDNESS To the Advertisements Capitals I9I4 18-point Lower-case I6I3 DO NOT HUDDLE Fat Types closely Capitals 2484 24-point Lower-case 2084 DISPLAYNEEDSreUef Of White Capitals 29I3 30-point Lower-case 2484 A Huddle of Bold Type PREVENTS CONTRAST Capitals 36I2 36-point Lower-case 31 Small Type Between Capitals 44 42-point Lower-case 36I3 Gives tlie Needed DISIBVCnON Capitals 52 48-point Lower-case 4384 287 Types of the ©e Vinne 'Press COPLEY Boston Eight Faces on Four Bodies. No lower-case SERIFS BRACKETED Capitals 98 48-point, old body Small capitals 74 BOLD TYPE FOR DISPLAY Capitals 72 36-point, old body Small capitals 59 A SUGGESTION OF SIGNBOARDS Capitals 58 24-point, old body Small capitals 43^2 HAS ORIGINALITY LETTERS AND FIGURES 1234r56Z890 Capitals 44 20-point, old body Small capitals 35 288 Italic Faces Italic Types of the T>eVinne 'Press ITALIC ITALIC is used for running titles, subheads, and emphasized "words of book pages in lines where no other style would be acceptable. In job work the lower-case series of a large size should be preferred to its capitals, which often show unpleasant gaps at the meeting of letters that unavoidably have different angles of inclination. These irregularities are now more success- fully concealed or evaded in Modern faces than in the so-called Caslon Old-style. The lighter faces of Modernized Old-style need more white space about them than the Caslon. Most merchants prefer their printed circulars in a large and readable italic to any form of typographic script. Avoid the selection of Modernized or Caslon Old-style for any line of capitals that requires arable figures. The figures furnished by the type-founders answer their purpose weU enough in lower- case composition, but they do not line and are absurdly small and insignificant when used with capital letters. The continued use of roman numerals for dates or amounts in the few lines of display required in book work is the result of a confirmed dislike of the unsymmetrical figures that accompany every font of Old-style. Italic rarely finds employment as the text type for a standard book, but it is occasionally selected for prefaces and introductions to texts in roman letter. One of the recent novelties in book work is the use of italic for side-notes in places where its kerned letters are unduly exposed and liable to be broken. The unpleasing con- trast of upright arable figures which may have to be used for marks of reference in side-notes is another objection. Another novelty is the selection of italic in running titles and in display work for the articles, prepositions, and other imimpor- tant words of a sentence. Old-style Italic is the face preferred for this purpose. It seems to be the unconsidered imitation of a practice made by impoverished printers of the seventeenth cen- tury, who had to resort to italic when there were no sorts in a case of roman for the proper composition of the book. There is no good reason why a practice should be maintained which is really an evidence of poverty and not of art or skiU. Specimens of the smaller sizes of the regular italics usually furnished with fonts of roman, can be seen with their mated romans in this book on pages following 133. 291 Italic Types of the ©e Vinne ^ress CA8L0N OLD-STYLE ITALIC Consideration is always given to THESE ilUAINr LETTERS In any kind of Composition Capitals 32 22-point. A. T. F. Co. Lower-case 17 1234567890 Some of the Characters are ACTUALLY STARTLING from their Raininess of Shape But all are Readable Capitals 35 24-point. A. T. F. Co. Lower-case 19 Note & ^T and T. DOUBLED LETTERS are made for all the siz£s as infiffffiflffl Capitals 42 28-point. A. T. F. Co. Lower-case 23 292 Italic Types of the ©e Vinne 'Press CASLON OLD-STYLE ITALIC From the American Type Founders Co. //s Figures are not STMMETRICAL not mates for Capitals Capitals 58 36-point, old body Lower-case 301^ Capitals only are UNPLEASING Too many Gaps Capitals 61 40-point Lower-case 35 The Lower-case is CHARMING Capitals 69 48-point, old body Lower-ease 36 293 Italic Types of the 'De Vinne ^ress MODERNIZED OLD-STYLE ITALIC This font of No. 20 Italic has CAPITALS WITH SWASHES for ^ "B D M T I{ V It has no Italic Figures but has Accents Capitals 3OI3 IS-point, old body. Bruce Lower-case 1684 Although a thin letter, it is AS PLAIN AS ROMAN More Readable than Script Has no Inclined Figures Capitals 3884 22-point, old body. Bruce Lower-case 22I3 Italic is usually the FACE SELECTED for Emphasis or Display I 235 6790 Capitals 48 28-point, old body. M. & R. Lower-case 2Q'^ 294 Italic Types of the ©e Vinne 'Press MODERNIZED OLD-STYLE ITALIC INC LIN A TION of Kerned Letters not Excessive Capitals 57 36-point, old body. Bruce Lower-case 29% For smaller sizes of Italic see speci- mens of Roman on pages following 133 ThinSpacmgfor Letters that are CRO WD ED 12345^7890 Capitals 7II3 48-point, old body. M. & R. Lower-case 43 295 Italic Types of the ©e Vinne 'Press TITLE ITALIC A TITLE ITALIC OF LIGHT FACE is often selected for Subheadings All the Light faces have figures Capitals 25 12-point, No. 143, old body. Bruce Lower-case IT^a THIS BOLD-FACED ITALIC ON IS-point body, a mean mate for Great-primer No. 13, may serve for a Title type Capitals 281^ 18-point, old body. Bruce Lower-case 17^2 TBS LiaST FACE OF TITLE IT IS A CLEARER TYPE Italic is o/»e« preferred Ut Neu,,- ^^^^ ^^ jy^ _|^_j gf j^ j^^ papers and Circulars fiyr paragrapht ,-. ji_. •^^ ^ ■,. -r that are intended to he^e More JHs- *^ «^«<* «'»^« »« "^^^ J»»- HneHon than words in the regular proved if Lcods are freely ItaUe Type of Small Size. USed between lAfieS. Capitals 121^ Lower-case 8^2 Capitals 16 Lower-case 1084 6-poiiit, old body. Bruce 8-point, old body. Bruce Intermediate sizes of bold Italic may be found in the Italics of the No. 13 roman face of the Bruce Foundry. The thicker Italic of that No. 1 series is now out of use. THESE TITLE ITALICS DO NOT LINE WITH Standard Faces of Roman Type They were planned before the Liming System was introduced Capitals 193^ 10-point, old body. Bruce Lower-case I3I3 296 Italic Types of the ©e Vinne 'Press TITLE ITALIC Prom the Bruce Type Foundry F^T F^CE of GRE^T BOLDJTESS Thick Stems United with Thin Lines JVone of the Fatter Faces have Figures Capitals 27I4 12-point No. 141, old body Lower-case 17 by »,a«y M„,rii,„. ftr it, hold. j „^jg^ ^^^^ ^^„, j^, neit, but il It lacking tn elfornfii. -^ ,. . j ,w,^ . II ha. Too JWlnch Black and Voo ***'*'* break dOWt. Thttt lAuie tvMu wuhin and vfiiit- Mjincs shovB gaps, and its out each Mjrtter. Counters chohe with ink. Capitals ISS^ Lower-case 9I4 Capitals 19 Lower-case I2I2 e-point No. 141, old body S-point No. 141, old body ^ P^R^GR^PH SET SOEiin FJT F^T P^CE is not so attractive as if set in Itight Face Capitals 2134 10-point No. 141, old body Lower-case I4I2 IBIS BOLD-FACE ITALIC was for Side or Cat-in Notes. qOfthisfont boughtfor serviee as a proper letter for wehavetwojobcasea, Itwasboughtfor Cut-in Notes upon an octavo page of use in the side notes of pages for School large type, but it is not recommended JBooks. Useful for thai service. Capitals 1284 6-point, old body. Farmer Lower-case 9 INCLINED ROMAN This is ordinary Roman of slanting form but without any of the customary mannerisms of Italic. It was designed by L. B. Benton of the American Type Founders Co. for special service. Select it only when specially requested, and do not allow it to be mixed with any of the regular styles of italic. Capitals 16 10-point Lower-case 11 1^ 297 Italic Types of the T>eVinne ^ress TITLE ITALIC From the Bruce Type Foundry ITALIC of Old Fashion Capitals 33I3 22-poiiit, old body Lower-eaBe 2II3 PLAIN and pleasing Capitals 49I2 28-point, old body Lower-case 29 TJSEFVL Type for Display Capitals 6II2 36-poiiit, old body Lower-case 3523 HARVARD ITALIC Boston Type Foundry Although classed with Title Types, it is a trifle bolder than the italics of the Didot Face and of the bold-faced Roman in favor before 1825. Good for Jobbing, but not for Books. Capitals 16 9-point Lower-case 12 AN ATTEMPT TO MAKE a useful intermediate between the plain italic of ordinary Roman Type and Fat-faced or Title Type. Not neat in Books. Capitals 19^2 12-point Lower-case 13^2 298 Italic Types of the ©c Vinne 'Press ELONaATED ITALIC FREEHFACE on Bodies m45§mo Capitals 5413 48-point, old body. Bmce Lower-case 43 ANTIQUE ITALIC Is the name given by the type- founder to this squared letter with thicJe stems and stubby serifs. Once a favorite with advertisers, but now seldom, required. Has figures. Capitals 30 12-point, old body Lower-ease 20^2 299 Italic Types of the ©e Vinne ^ress CHELTENHAM BOLD ITALIC Prom the American Type Founders Co. CHELTENHAM BOLD ITALIC retain, THE ITALIC FORM OF LETTER .ome of the pecallaritie. of the Chelten- g^„„„ii accepted as a connecting ham Ola-style Roman, but itM general ■. ■ ■ -in ■ effect i. that of an improper mate, for it hnk between upright Roman and was made a type of bold ditplay and not inclined Script is supposed to have a text type. Its characters are broader, all the clearness of the first with it. lower-case mach coarser, than its Ro- ^^^^ ^f f^^ ^^^^^^ ^f^^^ last-named man prototype. It gives useful service * ■ . /• . *. . in showy advertisements, but it is not ac »'J''«- Advertuers fancy it for its ceptabte in books or even in fine Job work. visible departure from the formality The smaller sizes may be approved for of Roman letter, in the belief that sab- and side-headings, and even a. a ,^^ inclination that gives emphasis text type for small paragraphs, bat the .... ■ . . larger siies are not of good service in *° ttalicaed Words m a roman text books of fine printing. will be as forceful in lines of display. Capitals lli^ Lower-case 8I4 Capitals I3I4, Lower-case 9I4 6-point 8-point A CONCLUSION NOT ALWAYS CORRECT A line of Inclined Type as the heading of a Paragraph or as a line of display in Open Composition at once attracts the eye by its unlikeness to the Roman Forms about or he- low it. If quick arrest of attention is the only purpose, Italic is wisely selected. Capitals I7I2 10-point Lower-case I2I4 DOES ONE LINE OF ITALIC Interjected in many lines of Vertical Type improve the general effect of the Composition ? Does it not weaken harmony and symmetry ? Is it not a False Note in Music intended for its harmony ? Capitals 19I3 12-point Lower-case I3I4 OTHER ATTEMPTS TO CHANGE Structure of Form in Letters have been re- jected. Backslope types that lean backivard, and Italian niceties that transpose thin and thick strokes, are now entirely out of favor. Capitals 23 14-point Lower-case I6I4 300 Italic Types of the ©e Vinne 'Press CHELTENHAM BOLD ITALIC Prom the American Type Founders Co. TYPES MOST APPROVED by ordinary readers are upright and of simple structure Capitals 2923 18-point Lower-case 2OI4 MANY ORIENTALS Sanscrit, Chinese, Hebrew are straight and square Capitals 37 24-point Lower-ease 25I3 FEW SLANTS IN the characters of the early languages Capitals 45I4 30-point Lower-case Slig ARMENIAN Preserves its Slant Capitals 57 36-point Lower-case 37I2 301 Italic Types of the ©e Vinne 'Press CHELTENHAM BOLD ITALIC Prom the American Type Foimders Co. OLD GREEK Had little Slant Capitals eeig 42-point Lower-case 44 ITALIC Akin to Script Capitals 76 48-point Lower-ease 51 ATTRACTIVENESS is not always increased in an advertise- XV ment by the use of a new and queer type which may startle the reader on its first presentation. When other advertisers make free use of the same type, the possible coarseness and imperfections of the design become glaring and offensive. It soon becomes hackneyed and goes out of use. An examination of the type-founders' specimen books of the last century will show hundreds of faces then approved and now unsalable. The finical, fantastical and florid, as well as the needlessly coarse, are no longer tolerated, but the letters of simpKcity and symmetry there shown are now in greater favor than ever. 302 Italic Types of the ©e Vinne ^ress POST No. 2 ITALIC THE OLD ORDER CHJtJtGES. THIS POST OLD-STYLE Good form In type and syntmetrlcal j^^n^ ^^^ designed as a mate arrangement! of composition do not • ., -n ^ «. • • r find favor now with some adoertis. f"/ '«« '*°»' Old'Style of Up. ers. They seek uncouth types and right form. It has some SIVash careless type-setting, apparently in letters and a few Old • style the belief that the Hasty Reader characteristics, but it is of a will see artistic freedom in slovenly ta i. x t «. type* and careless workmanship. lighter face than the roman. Capitals 13 Lower-ease 91^ Capitals 15 Lower-case III4 6-point. A. T. F. Co. 8-point. A. T. F. Co. IT IS IN OlipEIi for any participant of a masquer^ ade to appear as a count or a coaUheaver, as a circus clown or a clerical of the Church. It is cer^ tain that all who are uncouthly dressed will attract attention. Is it not also certain that a preference for coarseness is rated an indication of personal taste ? Capitals I8I4 lO-point. A. T. F. Co. Lower-case I3I4 ADVERTISERS OF THE PAST Hoped to merit special consid^ eration through the neatness of Types and Composition Capitals Sl^a IS-point. A. T. F. Co. Lower-ease 21 SOME ADVERTISERS MOW Hope to attract attention and secure custom through uncouth letter Capitals 27 14-point. A. T. F. Co. Lower-case 19 TYPES OF GREAT IRREGUL^HITY Sometimes of Studied Slovenliness of Form, now find Appreciative Buyers and Readers Capitals 2II3 12-point. A. T. F. Co. Lower-case 15 303 Italic Types of the ©e Vinne 'Press POST No. 2 ITALIC REELING TYPES Mate badly with upright Capitals 41 24-pomt A. T. F. Co. Lower-case 27 m jOT all italics are thin and condensed. There are a few forms of broad face, but they are arbitrarily excluded from strict book work, and find most use in law blanks, ^^C business forms, and ceremonial printing. Law italics are of light face and not disfigured with the eccentricities of form that are annojdng to many readers. The sizes we have are on 8- and 10-point body. Another style is known as Hair-line or Lithographic, of which we have five sizes. Another style in two sizes, fanciful but read- able, is known as Venetian. Inclined Roman on 10-point body may be rated as italic. Display lines of Italic Capitals in all the larger sizes should call for unequal spacing between the letters that are too close. A B or I W may seem too close. W I or V A may seem too far apart. In composition attempt should be made to keep the thick strokes equally distant by irregular spacing. The ungainly gaps between some capital letters of Italic and the too close meeting of other letters in some specimens show the types as they have been cast by the founders. In an over- crowded line of words these faults cannot be corrected by the com- positor, but they may be in the line that is not crowded. When the spacing of a line is fairly vnde, thin leads or spaces of card- board may be inserted to keep the thick strokes or stems of meeting letters at proper distance. When a wide gap appears between two capitals, in a line that has enough of blank space, space other capitals of the line to hide this defect. Do this in composition, before the fault is marked by proof-reader or author. One swash letter is enough in one word. Avoid repetition; when two meet the effect is disagreeable. 304 Italic Types of the 'DeVinne 'Press NIAGARA From the Keystone Type Foundry ITS SIMPLICITY Never becomes Wearisome Capitals 37^4 30-point Lower-case 28I3 NIAGARA Prom the Keystone Type Foundry IS the name given by the Keystone Type Foundry to their series of inclined type of very bold face, which is here shown in eight sizes from 6-point to 30-point. Each size has figures of regular form and full height. Although condensed, it is a very readable letter. The matrices for each letter have been carefully fitted and proximate types in any combination do not show un- gainly gaps or occasional interference. Nor has any attempt been made by the designer to add eccentricity of form or decorative flourishes to any character. For this reason it is much esteemed by advertisers and job printers as a useful letter for general service. A hasty reader can take in the intent of the writer at first glance. He is not annoyed by the peculiarities of flourishes or novel shapes which, in some faces of type, lead him to forget the sense of words and to study the notions of the designer. 305 Italic Types of the ©c Vinne 'Press NIAGARA From the Keystone Type Foundry MIRRBEAU'S EXHORTATION: BE BOLDI BE BOLDl BE BOLD! But not Overbold. WHITE SPACE BETWEEN LINES. WHITE SPACE BETWEEN WORDS. A full page of roman type set in solid lower-case does not at- tract the hasty reader. It has no salient feature. Its lines are of the same length and each line repeats familiar letters that have no charm of novelty. If the page has one or more paragraphs, the reader's eye instantly seeks the white space at the beginning or ending of the paragraph as a welcome break to monot- ony. The method of occasionally alternating the lines of black print with a little of plain white is approved by all readers. It gives distinction and ease in reference to verses of the Bible, to lines of poetry, to entries in a dictionary, etc. WHITE MURGINS ABOUT PAGES. WHITE SPACE BETWEEN CHAPTERS. THIS IS RUSKIN^S REMARK: r/ie eye is not saddened by A QUANTITY OF WHITE But it is saddened and should be greatly offended by a QUANTITY OF BLACK. 306 Italic Types of the ^eVinne 'Press NIAGARA From the Keystone Type Foundry THE nmc USUHLLY FURHISHED AS H P/lRr OF H ROMAN FONT Is olfen disliked by fhe crilical reader because il is loo faint and feeble fo s/iow proper emphasis on a specified word or phrase. Firmer lines and a Bolder Face are needed in many kinds of printing Capitals S^g 6-point Lower-ease 684 THE SMALL CAPITALS OF THE SMALLER SIZES Of rofflan type are not, as a rule, in any way more pleasing as readable letters. They are fitted too close, and often need hair-spacing to give fiiem a proper distinction Capitals IO23 8-point Lower-case 8 AN INCLINED LETTER IS PREFERRED By many writers as if gives this desired distinction to some words Capitals I3I3 10-point Lower-case IOI4 INCLINED TYPES OF BOLDNESS Are now made for Gothic, Antique, and Fat-faced Styles of Type as well as for a modernized form of Black-letter Capitals 15 12-point Lower-case III2 THE ITALIC OF ROMAN FONTS Is preferred for the Running Title and Subtiead Capitals IS^g 14-point Lower-case 141^ ITALIC OF BOLDER STYLES Is always a favorite with Advertisers Capitals 23I3 18-point Lower-ease 1784 CONTRAST OF SHAPE Is demanded as well as Size Capitals SOig 24-point Lower-case 23I3 307 Italic Types of the 'DeVinne ^ress RECORD 10 TJIE MME QlVEfi TO A flTilK-Lim ITALIC OF TiEMAK^ABLE BEAUTY AJId DELICACY, TPAT 10 FVUm^HEB /yv A jSEIiIE0 OF FIVE 0IZE0 OF CAPITAL LETTEIi0 FOK CEJ^EMOmAL TYPOQliAPJiY Capitals 13 lO-point, old body. Boston T. F. IT MATE^ WELL WITH ALL TflE OTflEIi 0YLE0 OF MAIR-LINE ITALIC OX TJIIN 0CT(IPr^ Capitals 16 12-point, old body. Boston T. F. I^ OF dOOD ^EJ{VICE ON PAPER COV- EJi^ OF OJ^NAMENTED PAMPHLET^ Capitals 2II2 18-point, old body. Boston T. P. TO^HO WDAWyPKINTIJ\l(^ Capitals SOi^ 24-point, old body. Boston T. F. FldUHE^ MADE FOTi Ahh FfiE ^IZE^ Capitals 41^^ 36-point, old body. Boston T. P. 308 Italic Types of the ©e Vinne 'Press HAIR-LINE GOTHIC ITALIC From the Boston Type Foundry IN NOTE AND LETTER HEADINGS OR CIRCULARS the names of Officers, Directors, and Leading Officials are sometimes required to be set close in very small type, it may seem more becoming, when these names are set In an Inclined letter, to mate them in inclinetion with the Script that has been selected for the text or for a large line of display, This Gothic italic la a favorite for this purpose Capitals 884 6-point, old body Lower-case 6^2 NO STYLE OF TYPE IS MORE READABLE than a clean-out Roman Lower-case, but to many Buyers of Printing, Roman is too plain and lacks distinction. The Free Graces of Engraved Lettering are preferred, and this Hair-line Gothic Is one of the substitutes made to please that demand, it is Indistinct enough to please the taste that prefers feeble expression Capitals IOI2 8-point, old body Lower-ease 784 GOTHIC ITALIC No. 2 From the American Type Founders Co. Aur Lome list of names, places, or merchandise ordered to be arranged in columns is neatly presented when it is set in a readable but unobtrusive type like this Gothic Italic. Its composition may be in Capitals or lower-case. Useful in Catalogues of Books that must be set with great compact- ness. It has French Accents for Lower-case, fl IVe have one job case. Capitals IOI4 8-point, old body Lower-case 8I4 TH/S NO. 2 FACE OF GOTHIC ITALIC from the American Type Founders Co., can be used in combination with the preceding series. It does not fill the body and has no kerned or overhanging letters. It has Figures and a full supply of French Accents for Lower-case. Capitals I2I3 10-point, old body Lower-oase 984 309 Italic Types of the ©e Vinne 'Press GOTHIC CONDENSED ITALIC From the Bruce Type Foundry TH/S LIGHT-FACE OF INCLINED GOTHIC Finds favor in Job Printing as a Proper Type of Display when Display is required in a composition of Script or of ordinary Italic. It harmonises Capitals 1284 8-point, old body Lower-case 9I2 OAfl/ BE USED AS TEXT LETTER in the smaller sizes for the Composition of Note and Letter Circulars and for Mercantile Blanks. ^ Of this size -we have one job case and a sort case for extra capitals Capitals 15 10-point, old body Lower-case III4 SHOWS BEST WHEN LEADED Leads areneededforsomeofthe Lower-case Sorts as are Kerned or Overhang the Body Capitals 19 12-poiiit, old body Lower-case 1384 THE HUDDLING OF TYPES By the Neglect to Lead them between the lines is a Damage to its Legibility Capitals 22I2 16-point, old body Lower-case 16 SPACE BETWEEN LINES A t least as much as between words Capitals 27I2 20-poliit, old body Lower-case 1984 310 Italic Types of the 'De Vinne 'Press HAIR-LINE ITALIC Bruce Has a, more delicate Face WITH JA'UOH BHfiIi 1234567S90 Capitals 27 18-point Lower-case I7I2 50IWE ORIGIiyAUTY OF ©E5/G^ And Freedom from t^e OCd Restraints i^at gai?e Been imposed By usage on t^e construction of ACp^aBeiical Letters. Ser\)iceaBCe for '^otes and Tickets and in some pamp^Cets, But not at aU commendaBCe in SooR Word Capitals 17 12-point Lower-case 12 312 Italic Types of the 'DeVinne ^ress LITHOORAPHIC ITALIC TJvLs style of Ttcdic is hrocLder tKcurt tJhe Lcuw ItoZtc. It ThCLS ttuzcTx more FitiJEnoji jjsr coJsrsTniTCTiojsr J^TL cLccepta2>le letter for sHort notes Capitals 27^2 12-pomt, old body. Parmer Lower-case 19 ig The J\£eTtt of Plainness is added, to tfiat of ^eliccLcy Preferred to Script Type Capitals 39 18-point, old body. Parmer Lower-case 26 Its JBroacL Letters often FILL ^ MUJLSUIIU jvithojzt Ljctra Spacing No Figures to this font Capitals 48 22-point, old body. Parmer Lower-case 28I2 313 Italic Types of the 'DeVinne 'Press LAW ITALIC The Italic usually sold as the Mate of Roman Type is a Condensed Letter that may be, and often is, much dislihed in all its smaller sizes when it has been selected and set for LEGAL OB MEHCAJfTILE PBIJfTIMG This Law Italic was purposely made with a Broader and More Beadable Face to meet the need for a Plainer Type ^ Of this we have Three Job Cases with Ordinary Accents. Capitals I6I2 8-point, old body. Farmer Lower-ease I2I2 It was soon found that the Broadening of the Lower-case Series of Law Italic called for Wider Spacing between Words and also between Lines. It is not pleasing when set solid. TO MAKE SURE OF THE USE OF A LEAD the Brevier Face here shown was cast on the Long-primer body to give this needed legibility, fl Of this font we have one pair of cases with the Ordinary Accents for French and Spanish. Capitals I6I4 S-point on old 10-point body. Fanner Lower-case HI4 A Larger Face of this Law Italic on Long-primer hody has heen much liked for BAJVKERS' AJ^D MERCHAJVTS' LETTERS It is as plain as Roman and is preferred by many to Roman. To some buyers it is more acceptable than ordinary Scripts Capitals 19Lj 10-point, old body. Farmer Lower-oase 14 314 Italic Types of the T>eX)inne 'Press ITALIC ENGRAYEES' OPEN From the Farmer Type Foundry ITAIjIC MK&MAVMXS' OFMN 18 ANOTMMM IMITATION Of u style used by Um.e engrmvera of the e^vly part of the mimete&nth ee^tjwfy im the letterimff ed tuhen a fair ivhite space is maintained betm>een the lines. Capitals 1484 lO-point. A. T. F. Co. Lower-oase IOI4 THE SMALLER SIZES Of ^enson Italic are approved as Useful Substitutes for the regular Italic that accompanies fonts of Roman Type, They have firm lines and are easily readable, even "when printed in the pale ink that seems to he nol^ in fashion Capitals 18 12-point. A. T. P. Co. Lower-case I2I4 cAPPROVED "BY c4DVERTISERS 3^ob Printers frequently select this face for ^ill'headsf ^ceiptSf and cMercantile Forms that have to be supplemented with words in writing. Its inclination faJ>ors the addition of written words* Capitals 26 18-point. A. T. F. Co. Lower-oase 161a 319 Italic Types of the ©e Vinne ^ress DEVINNE ITALIC Central Type Foundry WHY SHOULD LETTER- PRESS PRINTERS Try to Imitate maanerism of Lithography or Copperplate? The three arts are distinct in theory and process, and not to be harmonized. Copperplate and Lithography best fitted for maps, ornament and pictorial illustration ; types for strength, simplicity and facile adjustment of letters and words Capitals 15 10-point Lower-case 11 TYPES NEED BUT LITTLE BRACING From other branches of Printing. For more than four hundred years they have preserved the Literature of the World, with trifling aid from engraving or photography. Typography still keeps its place at the head of all the Graphic Arts Capitals 19 12-point Lower-case 141^ 320 Gothics and Kunics Gothics and 'J^unics LININO GOTHIC A. T. F. Co. A STVLE OF TYPE THIS GOTHIC A STYLE OFTEN RE- THAT IS ADAPTED TO QUESTED FOR MANY 1 OF BIG FACE ALL KINDS OF PRINT- KINDS OF JOB PRINT- ING MATTER. CAN AGREES WITH ING. IT IS PREFERRED BE USED IN THE FOR CARDS. TICKETS. SMALL FACES LEGEND LINE OF IL- NOTES AND LETTER- LUSTRATIONS IN A IN ADJACENT HEADS, FOR LISTS OF SUBHEADING OF IM- NAMES AND THINGS ROWS OF TYPE PORTANCE. IN CIRCULARS. No. 9 No. 13 No. 10 DO NOT PUT THIS SERIES OF LINING GOTH- A BORDER OF THICK FACE ICS FROM AMERICAN TYPE TYPOGRAPHIC BRASS RULE FOUNDERS COMPANY h.s DECORATIONS AROUND THE FIVE FACES, BUT ALL arc IS NEVER SO SQUARES OF CAST ON 6-POINT BODY NEAT AS THE so THAT THEY WILL LINE WITH ATTENUATED ONE ANOTHER, WITHOUT SPECIAL PLAIN RULES TYPE WHEN JUSTIFICATION, IN ANY COMBI- WITH A HAIR THE LETTER NATION. THEY C.N Bc USED LINE ONLY & IS FEEBLER WITH SATISFACTION .n NAR- NO FLOWERS THAN RULE ROW MEASURES. AT CORNERS No. 11 Nos. 9, 10, 11, 12, 13 eomMned No. 12 A TYPE OF NOTAE LE THIS NO. 2 FACE IS THIS IS MUCH INDIBTINCTNESa. OF A TRIFLE URGER & BOLDER. IT IS SOME VALUE IN T HE 18 AMPLY DISTINCT. OFTENERUSED IMPRINT BUT NOT A BUT IT 18 A FRAIL IN PLAIN JOB FIT TYPE IN A L NE LETTER THAT NEEDS WORK OF CIR- TO EXPLAIN A ( UT CARE IN HANDLING CULARS io. No. 1 No. 2 No. 3. THE SIZES HERE NUMBERED NOS. 1, 2, 3, 4 ARE CAST ON NONPAREIL OR 6-POINT BODY TO LINE WITH ONE ANOTHER AND WITH A CORRELATED SERIES OF FIRMER FACE NUMBERED 9, 10, 11, 12,13. THESE FONTS HAVE UPRIGHT LINES, BUT AN INTERMEDIATE SERIES, NUMBERED 5,6, 7, 8, HAVE BACKWARD SLANTING LETTERS KNOWN AS BACKSLOPE GOTHIC. SEE PAGE 337 No. 4 323 Types of the 'DeVinne 'Press GOTHICS A FULL ALPHABET OF LOWERCASE and Figures are furnished with this font of Pearl Gothic. This face has been found a useful substitute for ordinary italic in the composition of matter in which it is necessary to crowd a deal of matter in small space as in indexes, advertisements and the descriptions of annotated illustrations, and yet give to print modified display. Note that it has two nicks. Of this font we have Two Job Cases. Do not mix with the three-nicked type of same foundry, which is a trifle smaller in face and has no lower-case. Capitals IOI2 5-pomt, old body, 2 nicks, Coimer Lower-case 7 THIS FACE OF PEARL GOTHIC, CAPITALS ONLY, HAS THREE NICKS ON THE BODY. IT IS FROM THE OLD CONNER FOUNDRY. DO NOT MIX ITS CAPITALS WITH THE PEARL GOTHIC OF TWO NICKS, WHICH HAS A SERIES OF LOWER-CASE, AND IS OF A LARGER FACE. Capitals 9 Coimer 5-poiiit, old body THIS VERY BOLD FACE OF PEARL GOTHIC from the Farmer Foundry has lower-case and figures, and Regular Accents for French. Of this font we have one and a half cases and an Accent Case. It mates well with Farmer Cothle, Nos. 2 and 3. Capitals II34 5-point, old body Lower-case 884 The word Gothic is used by many persons as a proper synonym for what is rude or coarse, unfinished or disagreeable. The name was given with propriety many centuries ago to the work of the barbarians who devastated the south of Europe, but now the word has a new application. Gothic defines the most finished forms of church architecture in which " stone is made to look like lace" as well as to medieval manuscripts in which the general sombemess of the letter is redeemed by profuse ornamentation vdth gold and bright color. In England Gothic type is called Grotesque or Sans-serif. 324 Gothics and 'J^unics GOTHIC SIX-POINT GOTHIC NO. 7 also from Farmer Foundry, is apparently of the same face as the Pearl Gothic of two-nicks of that foundry. But it is on the 6-point body and can be used, although it does not line with all faces of nonpareil or 6-polnt roman. Its capitals may be used to advantage in catch lines; its lower-casein the minor legend lines under small illustrations. Capitals 9I4 6-pomt No. 7. Farmer Lower-case 6I2 SHOWS TO BEST ADVANTAGE as a sub-heading when the line is short and sur- rounded by an abundance of white space Capitals 21 lO-point No. 3, old body. Farmer Lower-case 14 ITS SIMPLE CONSTRUCTION without serifs and with plain and bold lines make it one of the most readable faces of type Capitals 2OI3 12-point No. 4, old body. Conner Lower-case 15 A SLIGHTLY EXPANDED FACE OF GOTHIC BUT WITHOUT FIGURES OR LOWER-CASE Capitals 17 S-point No. 200, old body. Bruce ANOTHER BROAD FACE OF CAPITALS ONLY Capitals I9I4 10-point No. 200, old body. Bruce HAS CAPITALS SMALL CAPITALS Capitals 52 28-point No. 5, old body. Farmer Small capitals 40 325 Types of the ©e Vinne 'Press GROTESQUE GOTHIC THIS SERIES OF GOTHIC CAPITAL LETTERS SONSISTS OF SEVEJM SIZES, K.ANGINa FROM 6-POINT TO 22-POINT. IT IS OF SKELETOJ^ OR HAIR-LINE FACE, y^ND THE LETTERS ARE FITTED WITH UNUSUAL CLOSENESS 6-point, old body Capitals 9I4 IT HAS J^O LOWER-CASE SORTS, BUT ITS FIGURES y\RE OF FULL HEIGHT j^ND GOOD FORM AND LINE ^IEATLY WITH THE CAPITAL LETTERS Capitals 1084 S-point, old body Small capitals 9I4 THE NAME GROTESQUE SEEMS TO BE GIVEN TO IT TO EXPLAIJ^ THE PRESENCE OF THE FEW QUIRKS y\DDED TO A FEW (3APITALS lO-point, old body Capitals ISig THE SIZES 8- 12- AND 14-POINT HAVE A SERIES OF SMALL CAPITALS, AND THEIR SMALL CAPITALS jALSO HAVE FIGURES Capitals I6I4 12-point, old body Small capitals ISi^ A STYLE OF TYPE OF MOST USE IN TYPE WORK OF GREAT LIGHTNESS & DELICACY Capitals 18 14-point, old body Small capitals 16 THIS SIZE HAS NO SMALL CAPITALS 18-point, old body Capitals 22I4 LARGER SIZES NEED SPACING 22-point, old body Capitals 28 326 Gothics and funics GOTHIC NO. 10 Cincinnati ALL SIZES OF THIS NO, 10 GOTHIC SERIES HAVE FIGURES BUT THEY HAVE NO LOWER-CASE Capitals 15'^ 8-point, old body THE FACE WHOLLY COVERS THE BODY Capitals I9I2 10-point, old body NO ROOM LEFT FOR A LOWER-CASE Capitals 23 12-point, old body ROOM FOR INTERIOR QUIRKS Capitals 27 16-point, old body INTENDED TO GIVE IT ;0cDDITIONAL) ©RACE Capitals 34 18-point, old body SEEMS TOO SEVERE IN SIMPLICITY Capitals 40^2 22-point, old body ARE QUIRKS OF REAL GRACE? Capitals 52 28-point, old body 32T Types of the ©e Vinne 'Press GOTHIC No. 127 American Type Foimders Company GOTHIC NO. 127 HAS A LARGE FACE ON A VERY SMALL BODY. NO SHOULDER. PLAIN FIGURES Capitals I6I2 8-point ITS TEN-POINT SIZE IS ALSO LARGE HERE ARE ITS BOLD FIGURES 1234567890 Capitals 2OI2 10-point GOTHIC No. 123 American Type Founders Company GOTHIC NO. 123 HAS A SMALLER FACE Its lower-case sorts do not project over its body, and its capitals will line truly with many faces of regular roman. But it is exceedingly feeble in its general effect, and shows to best advantage when it is set for an entire paragraph. Its capitals are good for catch lines of pamphlets or running titles of long lines that are intended to receive much wear on long editions of presswork. Capitals I3I2 8-point Lower-ease 984 THE TEN-POINT OF THIS FACE has more firmness of face and is occasionally selected for paragraphs in a modified display and for short note circulars. It lines with many roman text types, but is not distinct enough for side headings. Here are its figures: 1234567890. Capitals 1684 10-point Lower-ease 12 328 Gothics and funics LIOHT-FACE aOTHIC No. 201 complete series of lower-case sorts and figures. rOINT ofthlS No. 201 Style are of most The figures are modeled on the old-style forms service in the more dainty and delicate l"s"'Thls°Jfze* „'„"' "„°* °" ';;• ;"'• *'" ?"" f°™s of Job printing. Not so pleas- nals. I his size, on nonpareil body, is in two . r & r cases, and it has lower-case sorts and accents. ing In Advertisements and Book Work. Capitals 10 Lower-ease 7 Capitals lis^ Lower-oase 884 6-point, old body. Bruce 8-point, old body. Bruce IT LINES NEATLY WITH SOME ROMANS But it is not emphatic and makes but a feeble display with Roman. This size also has some French accents Capitals I4I4 lO-point, old body. Bruce Lower-case 10 THIS VARIATION OF THE NEW GOTHIC FACE From the Farmer Foundry, is on Small-pica body and on a narrower set. It has Two Sets of Figures — 12345 Regular and 6990 Inferior Capitals I3I4 11-point, old body, No. 7. Farmer Lower-ease 9 THIS SIZE HAS FIRMER LINES But it must be classed as a Gothic of very Light Face. Of this font we have two cases Capitals 20 12-poiiit, old body. Bruce Lower-case 11 84. ITS CAPITALS NEED SPACES Between all letters too closely fitted Capitals 28 18-point, old body. Bruce Lower-oase 19 THE UNSPACED ES or HIM is unsightly Capitals 41^2 24-point, old body. Bruce Lower-case 30 329 Types of the T>e'Oinne 'Press LINING GOTHIC No. 520 Prom the American Type Founders Co. THIS CUT 42-poiiit Capitals 861^ OF NO. 520 36-point Capitals 75I3 LINING GOTHIC 30-point Capitals 56 HAS ONLY EIGHT BODIES AND NO 24-point Capitals 48 LOWER-CASE LETTERS 18-poitLt Capitals 38 THE BODIES CAN BE COMBINED 12-point Capitals 26I3 TO LINE ONE WITH ANOTHER BY A PROPER lO-point Capitals 20^2 ARRANGEMENT OF THE LEADS AND QUADRATS THAT HAVE BEEN CAST ON THE POINT SYSTEM FOR THIS PURPOSE 8-point Capitals 16 330 Gothics and l^unics GOTHIC IS A MISLEADING NAME NOT AN OUTGROWTH OF BLACK-LETTER IT IS A RUDE IMITATION OF THE EARLIEST FORMS OF ROMAN LETTER CUT IN STONE THIS FACE OF TYPE IS KNOWN IN GREAT BRITAIN AS GROTESQUE IT IS THE SIMPLEST FORM OF LETTER, WITH STROKES NEARLY UNIFORM IN THEIR THICKNESS, AND WITHOUT SERIFS, FOR WHICH REASON IT IS SOMETIMES CALLED SANS-SERIF THE LINING GOTHIC No. 520 TYPE 331 Types of the - S\.0?f. f\PtS ^N^H k»D Htvam Bu-j Of VtRSOUS OR 07 TV\t fl.tQU\.kfV\fKUC kvi. \?x. on iHt BOOl UOHPkRf.\\.. f.^0H f^Of. OUST 10 USf. StMU WHH IWf. 01Hf.R fUCU \S Sf.R\tS \H ^H'( CO»B\HK- V\.^CtS \U V^NRRONN COLUVkUS PLkCtQ B-< THtS\Dt Of KPKGt TV\t lH\C^ntSS 09 AV\t A^PtS M^R\tS OR s\.^»^^f.o scR\Pf. iv\t cou^^^^s^ Of THt STROHO RkCV,- ^N^RO S\.kWS Of out ^NUH fOR'^^RO SVkUIS Of 0-fHf.R 1\0U. OOS'1 WW \H tMtRX StR\t3 \S fORC\B\.f. KUD \H HVStt. \-00». PROVl 1 AO Wi uof ^0Rf.t^a\.f.. kf1f.R IHf. S\0», \u oowiposnvos. IH^S Sf.R\f.S HkS SQ V.OVtf.R-OkSE.-, BUT n OOtS HMf. PflOfE.fl fVOVitltS tws p\c^, ^no th\s \lkR\M\OH\HNN\01H \s kn MO ^Q tMtu fHtst B^c^s\.of>f.s kRt nof ^o^^^-v\ ^ccf.f^^B\-f. ^N\^H fHt ROWKU f~(?f.S fHM HMf. SftVlS fOf^ f.Nf.W S\lf. sysTWWMwn. Of UPRVQttf UV»f.S No. 5 No. 7 No. 6 OUR UV^ntO CO\.V.tC"^\OH 0^ SUIVVL GO"^H\C f kCtS COVKtS TROU u^nN POMUQWtS ^H\5 THtN nttt> k OtkV. O? CNRt ■^0 PRtNtUT COUVViSNOH. BVi^tRS 0? PR\H-^tO UN-^TtR VJHO UV^t OMUl\HtSS kHO t>tS\'Rt kH \VK\1^"\\0H 0^ IWt \.tiTtR\nG Sl^\.t OV tUGRMtKS OH COPPtR. PHt^tR "^w\s stwts fRou THt ^utR\c^H "^NPt vounotRS cou- VNW, \H \NV\\C\\ ■^H\RlttHO\S-^\HGT VkCtS fvRt G^S^ OH uonPNRtw. SOO^. "^Wt VNOtS ^Ht HO^ S"^R\CT\.\ WkR- uomous \v^ ■^H\CY.UtSS OV UHt BUT TWtX SWOVJ COR- Rt\.KT\OU ^UQ CNH ^t UStQ TOGtTHtR. No. 8 These faces are on 6-point body and are made to line. For an inclined Gothic with the regular Italic slant see pages 309-310. There are three series, and each one has lower-case sorts . 337 Types of the ©e Vinne 'Press GOTHIC CONDENSED No. 240 Braoe This series consists of nine sizes ranging from 6- to 48-point. The absence of serifs permits the gothic character to be huddled until it is hard to read, but the style is much favored by advertisers for it enables many letters to go in one line. All the sizes in this series have figures and lower-case sorts. All shapes of gothic may need occasional letter spacing for capitals, which can be a hair space in the smaller and a 5-to-em space in the larger sizes. It also needs generous leading. A condensed gothic of firm face, unleaded and filling the body, makes composition hard to read. TO THE ADVERTISERS WHO DESIRE PLAINNESS AND SIMPLICITY no form of type seems to promise better service than that which American type founders have labeled Gothic, It has no serifs. As a rule, all Its strokes are of same width, and no stroke Is without a definite legible purpose. The eye Is not confused by hair-lines that carry with them no meaning. Capitals 9 6-poiiit, old body Lower-case 684 FOR A SINGLE LINE OF DISPLAY IN CAPITALS OR LOWER-CASE, Gothic fully meets the advertiser's need, when it has been selected for a proper size of width and stem, but it calls for discretion in spacing and leading. Capitals 11 S-point, old body Lower-case 8I4 NO CHARACTER IS MORE DISAPPOINTING when it has been composed for a solid paragraph of many lines. Composition in unleaded Gothic type always presents a crude, scraggy and huddled appearance. Capitals 14 10-point, old body Lower-case 10 A LONG PARAGRAPH SET UP SOLID entirely in Gothic of firm face is not so readable as the same matter would be if set in roman of lighter face. Capitals I7I4 12-poiiit, old body Lower-case 13 338 Gothics and l^unics GOTHIC CONDENSED No. 240 Bruce SERIFS AND HAIR-LINES ARE USEFUL They keep types apart and aid readability Capitals 21 18-point, old body Lower-case IS^ SIMPLICITY IS DESIRABLE But legibility is even more important Capitals 24^2 22-poiiit, old body Lower-case I8I2 THIS SERIES OF GOTHIC TYPE Has Good Figures in all its Sizes Capitals 27I2 28-point, old body Lower-case 23 ALL GOTHIC CAPITALS Need a Spacing of Letters Capitals 33 36-point, old body Lower-ease 28I2 VERTICAL LINES Maycrowdtooclosely Capitals 40 48-point, old body Lower-case 34 339 Types of the ©e Vinne 'Press GOTHIC CONDENSED THESE UNES ARE VERY MUCH TOO THICK. TAKE NOTE OF THE OBSGURITT OF THE CONDENSED TYPES Capitals 7^ 5-point, old body, No. 243 A. T. P. Co. THIS SIZE HAS NO LOWER-CASE, BUT IT HAS WELL-DEFINED FIGURES Capitals III2 10-point, old body, No. 242 Bruce THIS CONDENSED TYPE TAKES IN MANY LETTERS TO A LINE, BUT IT HAS NO CLEAR LOWER-CASE Capitals 15 12-poiiit, old body, No. 242 Brace AND THE LETTERS ARE THIN AND SOMEWHAT INDISTINCT. NO LOWER-CASE Capitals IS^jj 16-point, old body, No. 242 Bruce THINNER THAN THE FACE ABOVE But it has a lower-case on great-primer body Capitals 18 18-point, old body, No. 2. Farmer. Lower-case I434 IT IS THE ADVERTISER'S CHOICE For the display of a line of many words Capitals 2II4 20-point, old body. No. 242. Bruce. Lower-case 1784 BUT IT NEEDS THE RELIEF of Smaller type or of White Blanks Capitals 24I3 24-point, old body. No. 2. Farmer. Lower-case 2OI2 340 Gothics and l^unics eOTHIC CONDENSED No. 37 Prom the Conner Foundry AN OLD FORM OF GOTHIC In 3 series : Capitals, Lower-case and Small capitals witli figures 22-pQint Capitals 27I2 Lower-case 2OI2 Small Capitals 2II2 THE SMALL CAPITALS OF THIS SERIES Can be used separately so as to provide EIGHT SIZES OF CAPITAL LETTERS 18-point Capitals 20^2 Lower-case 16 Small Capitals ISS^ FOR LINES THAT HAVE MANY WORDS Like names in advertisements of book publisliers THIS NO. 37 SERIES WILL BE OF SERVICE 12-point Capitals I5I2 Lower-case 13I4 Small Capitals 12I4 CONDENSED GOTHIC HAS ITS LIMIT OF USEFULNESS It must not be huddled. It needs the relief of white space or the FREE OSE AROUND IT OF SMALL AND GRAY ROMAN TYPE lO-point Capitals I2I4 Lower-case IOI4 Small Capitals 11 341 Types of the ©e Vinne 'Press GOTHIC CONDENSED NOT CLOSELY FITTED Has white between its letters Capitals 33 24-point, old body, No. 242. Bnioe. Lower-ease 23I2 BOLD AND BLACK with thick lower-case 1234567890 Capitals 4212 36-point, old body, No. 242. Bruce. Lower-case 33 CAPITALLETTERSONLY Capitals 35 36-point, old body, No. 241 Bruce NEEDS SPACING Capitals 44 40-poiiit, old body. No. 242 A. T. F. Co. 342 Gothics and 'J^unics GOTHIC CONDENSED No. 123 A. T. F. Co. A CONDENSED GOTHIC WITH PLAIN FIGURES Will prove of good service In labels or advertisements In which much matter has to be crowded In a very small space Capitals lOig 8-pomt Lower-case 784 WHEN USED IN CONSECUTIVE LINES Composition will require wide leading and sometimes double leading Capitals 1234 lO-point Lower-case 9% ELZEVIR LINING GOTHIC No. 2 A. T. F. Co. THE TYPOGRAPHIC PRINTERS OF GERMANY Recently have protested to the Type Founders of that country against the needless making of any new style that closely imitates another style by a rival founder Capitals 14% 10-point Lower-ease II23 FACES THAT SEEM' TO BE ALIKE Produce confusion in any printing-house. They do not benefit the buyer; they do increase expense Capitals 1684 12-poiiit Lower-case I3I4 AN EXCESS OF NEW FACES Does not improve, but damages composition Capitals 20 14-point Lower-case 16 343 Types of the ©e Vinne ^ress R0NALD80N GOTHIC Prom the American Type Founders Co. WERE MORE FACES OF GOTHIC needed for useful or decorative printing? Capitals 11 8-point Lower-ease 10 WERE THERE NOT ENOUGH to please fastidious tastes? Capitals 14 10-point Lower-case 12 ADVERTISERS SAY NO; We want something fresh Capitals I5I3 12-point Lower-ease I3I3 THE RONALDSON GOTHIC is a recent production Capitals I6I3 14-point Lower-case 14^2 MANNERISMS of a decided novelty Capitals 21% 18-point Lower-ease 1884 SOME STUDY NEEDED to dis- cern these novel mannerisms Capitals 26I3 24-point Lower-ease 22% STIFF CURVES in small Capitals 34i8 30-point Lower-case 29I3 and ROUNDED types Capitals 40 36-point Lower-ease 34i8 IT SHOWS black Capitals 4884 48-point Lower-case 43I3 344 Gothics and funics ECCENTRICITIES LINE OF TYPE can be bent in the form of a circle, to any arc of a circle, in serpen- tine curve, or it can be twisted upward or downward at any inclination. All these ex- periments in what properly may be called TYPOGRAPHICAL GYMNASTICS are attempts to force squarely constructed types in curved or angled positions for which they were never designed, and into which they can be unmechanically fitted only at A Serious Waste of Time The unavoidable increase of ex- more than that of plain work, pense in a composition of this After an inspection of composi- character is usually greater than tion so constructed these ques- was estimated, and many times tions of doubt may arise: IS ANY FORM OF ECCENTRIC COMPOSITION WORTH ITS EXTRA COST? An advertisement is written to be read and remembered, but which one of its features makes most lasting impression on the reader: the ingenuity of the compositor? or the words and the plain INTENTION OF THE ADVERTISER? THE EONALDSON GOTHIC TYPE 345 Types of the 'DeVinne 'Press LINING SCHOEFFER OLD-STYLE No. 2 From the American Type Founders Co. WHY IS THIS TYPE NAMED OLD STYLE? It is plain, but It has no old-style features Capitals 10 8-point Lower-case 8 ALTHOUGH THIN IT IS BOLD. It does not lose clearness by Its thinness Capitals 12 10-point Lower-case 9 UNLIKE MANY OF THE GOTHICS In other specimen pages Capitals 14ia 12-poiiit Lower-case 11 THE STRUCTURAL LINES arc not of the same width Capitals 17^2 14-point Lower-case 13 THE THINNER LINE Occasionally Attached Capitals 21 18-point Lower-ease ISig ADDS MUCH to needed perspicuity Capitals 271^ 24-point Lower-case 21 REGARD THE white within Capitals 34^2 30-point Lower-case 25^2 THETYPESasanaidto Capitals 41 36-point Lower-ease 31 RESTFUL reading Capitals 54 48-point Lower-case 40 WITH comfort Capitals 68 60-point Lower-ease 49^2 346 Gothics and l^unics R AISED LETTERS for the BLIND of Gothic form, read by the sense of touch. TYPES OF METAL cast upon square and solid bodies are not constructed for flat- tening or compression, or even to be curved to the arc of a circle. Types set up to form words are equally in- flexible. There are few words that can be contracted wisely. To shorten words, as was done by the early copyists, is now rated as an exhibit of care- lessness or ignorance. Many advertisers preFer GOTHIC TYPE as the most readable form of letter. GOOD TASTE orders that words shall be printed in full, and that they shall be di- vided at ends of lines on syllables only. It is to keep together the syl- lables, and to pre- vent the division ofwords, that con- densed types are kept in use. THE REMOVAL OF SERIFS enables letters of a Gothic shape to be moderately com- pressed without much loss of legibility, but the extra-con- densed and hair-line Gothics give a strain to weak eyes. Use them only when ordered. HAIR-LINE GOTHICS and all weak characters are admirable exhibits of the skill of the designer, but they are torment to all who need and do not make use of stron^^lasses. CING SCHOEFFER is an acceptable type for a heading in a compacted advertisement, or for a paragraph of many words. The broader form of Gothic is more pleasing when it can be surrounded by plenty of white space. THE LININa SCHOEFFER OLD-STYLE No. 2 TYPE 347 Types of the 'De Vinne 'Press BELLA ROBBIA Bruce DELLA ROBBIA Capitals 45 SO-point IS A NEW VARIETY OF LIGHT- FACED GOTHIC That preserves many Old' Style mannerisms. For Advertisements set in open style, with abundance of surrounding white space, for Pamphlet Covers and Announcements intended to convey a suggestion of Good Taste in the selection of Type, Delia Robbia will prove a useful addition to typography Capitals II34 8-point Lower-ease 71^ DELLA ROBBIA WAS A SCULPTOR Of Florence in the Fifteenth Century and eminent as the Designer, Modeler and Maker of a peculiar form of Glazed Pottery for Architectural Decorations. Many buildings in Florence, Siena and Venice are enriched with his productions that have the qualities of Pure Sculpture Capitals I6I4 10-point Lower-case IOI4 HIS LETTERING IN SCROLLS For the Legend Lines of his Decorations, aI\A/ays in Capital Letters, is in the Simple and Unconventional Style then preferred by Artists of the Italian Renaissance Capitals ISi^ 12-point Lower-case III3 NEEDS LEADS AND SPACE Capitals 29I4 18-point TO SHOW ITS MERIT Capitals 3784 24-poiiit 348 Gothics and l^unics ORNAMENTED No. 1538 Bruce JJ FACE OF GOTHIC THAT TAKES tj LITTLE ORNAMENTATION Witljout any impairraeijt of i Is legibility, Note the simplicity of its orijanieijti sljort and weak serifs J sligljt curves tljat vary the njonotony of straigljt liijes and Ijard angles Capitals 9^2 8-point, old body Lower-case 7 tJAY BE FOUND ACCEPTABLE AS A TEXT LETTER Does good service in tlie letteriijg of ijanies on the backs of paper-labeled books Capitals 11 lO-point, old body Lower-ease 8I4 SOME LETTERS PROVIDED WITI;! TWO FORMS Those that have no curving pendents are preferred for ordinary work Capitals I3I2 12-point, old body Lower-case 9^2 FIGURES MADE FOR ALL THE SIZES Of same I^eight as the capitals and equally clear Capitals 1984 18-point, old body Lower-case ISlg IN WIDE-LEADED COMPOSITION Useful style of Type for Display Capitals 27 24-poiiit, old body Lower-case 18 BEAUTY OF SIMPLICITY In Capitals or Lower-case Capitals 34:^ 36-point, old body Lower-case 22I2 349 Types of the ©e Vinne 'Press RUNIC No. 641 Bruce THE HOOD DOES NOT MAKE THE MONK. OLD LATIN PROVERB The addition of one characteristic or pleasing feature to a dress does not give perrection Capitals 9 6-pomt, old body Lower-case 684 GOOD TYPE NOT ENOUGH FOR A GOOD BOOK Types must be composed and arranged throughout with neat- ness and good taste to please a critical reader Capitals 12i2 8-point, old body Lower-case IOI2 ACCURACY IS ALWAYS OF FIRST IMPORTANCE There must be no faults in its Orthography, and in the use of Capitals, Italic and points of Punctuation Capitals 14^2 10-point, old body Lower-case 12^, SPACING, LEADING AND BLANKING Should show uniform treatment on all pages Capitals 19 12-point, old body Lower-case 15 PAPER that imbibes INK Capitals 37I4 24-poiiit, old body Lower-case 28 NEEDED FOR PRESSWORK Capitals 29I3 ' 20-poiiit, old body HARSH OR ROUGH PAPER Is always hurtful to Type and Plates Capitals 23I2 18-point, old body Lower-case I8I2 350 Gothics and funics RUNIC No. 640 Bruce IN THE PRESSWORK OF DISPLAY LINES planned for Red or Pale Inks, and especially for Rubricated Title-pages, approved styles of Roman Capitals will be found too weak. Their lines are thin and do not show enough of color Capitals 9I4 6-point, old body. Parmer Lower-ease 8 TO PRODUCE THE NEEDED PROMINENCE, TYPES OF THICKER LINES MUST BE USED Capitals 12I4 8-poiat, old body BUT THE TYPE SELECTED MUST BE EQUALLY GRACEFUL Capitals 15 10-point, old body A LIGHT-FACED RUNIC MEETS THIS NEED Capitals I8I3 12-poiiit, old body IT IS USED BY FRENCH PRINTERS Capitals 24 16-point, old body WITH A PLEASING EFFECT Capitals 2984 20-poiiit, old body FIGURES TO ALL THE Capitals 37I2 24-poiut, old body RUNIC FACES ARE Capitals 46 36-poiiit, old body OF GOOD CUT Capitals 5784 A. T. F. Co. 44-poiiit, old body 351 Types of the ©e Vinne 'Press EUNIC EXTENDED No. 643 Bruce THIS FACE IS GALLED Square Runic by many Compos- itors. It is Not an Expanded, but it needs a short name to differ- entiate it from the Condensed Runic of a preceding page. Capitals 31 18-point, old body Lower-case 2V-2 IT IS NOT AN ANTIQUE Nor yet a Roman of thickened lines, but it has some of the boldness of an Antique and the simple lines of the Roman. Its chief peculiarity is its squareness with pointed serifs. Capitals 231^ 12-point, old body Lower-case 17 IN THE SCANDINAVIAN LANDS Sweden, Denmark and Norwray, are thousands of in- scriptions in the ancient alphabet of the heathen North- men, which is called Runic. Similar records are scattered over the regions w^hich were settled or overrun by the Baltic tribes. Capitals 1714^ 10-point, old body Lower-case I2I4 OLD RUNIC WRITING WAS CUT in the direction of the grain, as may be seen in the case of some of the " Clog Almanacs " -which are still in existence. Horizontal Lines "would therefore be inadmissible and would give place, as a matter of graphic convenience, to lines running obliquely across the grain. Isaac Taylor, "The Alphabet," vol. ii., p. 221. Capitals 15 8-point, old body Lower-case IOI2 352 Antique, Ionic, Doric, etc. /Intique, Ionic, 'DoriC; etc. ANTIQUE No. 302 Bruce MANY INDBSOMPTIVB NAMES AKE GIVEN TO ANTiatTB In Great Britain it Ib Egyptian; in America acceptability depends on the preBervation deviatione i^om the earlier forms are called of its simplicity and legibility, entirely free Ionic, Doric, Clarendon, Old-style, Celtic, from eccentric or fontastic additions. The Kunio, etc. These slight differences are addition of the simplest auirk or flourish at made more apparent by an expansion or the termination of any flat stroke would be condensation of the characters. The model enough to put it out of fiivor with all discem- is always that of ordinary Soman type. Its ing readers. AA^ii^if tellaSS6fiS6B5tiii5fl Capitals 11 5-point Lower-case 8 PIVE-POINT ANTiaXTE 302 OP BRUCE Has been used with approval as the text letter for dainty little advertising: pamphlets. This 6-point hody is equally serviceable for that pur- pose and especially for presswork in red ink or pale color Capitals I3I4 6-point, old body Lower-case 9^2 A USEFUL TYPE FOB, SUBHEADINGS Its lower-case sorts frequently used in displayed job work. It has a fair supply of accents for Frenoli and Spanish Capitals I3I2 8-point ; also 8-point, old body Lower-ease IOI2 THIS 10-POINT OF 302 FACE Is also largely used for subheadings to roman lower- case with tall, round letters that are low on the body. It has accents and figures Capitals 18 10-point, old body Lower-case 1384. AN ORDERLY TYPE Does not spoil Expression Capitals 39 22-point, old body Lower-case 2784 SYMMETRICAL In all its Characters Capitals 48 28-point, old body Lower-case 32I2 RE AD in twilight Capitals 60 36-poiiit, old body Lower-ease 41 355 Types of the TfeVinne 'Press ANTIQUE THIS FONT SELECTED FOR THE SMALLER DISPLAY type Of the Centniy Dictionary lain large catlonal work. It has the boldness of supply. We have twenty-seven Job cases the Antique character while It Is almost all provided with accents for French and as thin as ordinary roman. It Is not too Spanish and diacritical marks for edn- black to be nsed In a mass for text type Capitals IOI4 6-point, Diotionary. Bruce Lower-ease &-^ ANOTHER FONT OF ANTIQUE TYPE Not oast on the Point System to insua-e perfect justifloation with the reman fia^jes and old bodies of the Farmer Type Foundry Capitals 13 6-point No. 5, old body. Farmer. Lower-case 9 THIS FACE IS THE SYMMETRICAL ENLARGEMENT of tlie 6-poiiit previously noticed. It was selected for the larger dis- play type of the Century Dictionary. It has a large supply of accents and diacritical marks Capitals 14 8-point, old body, Diotionary. Bruce Lower-ease 10 THIS FACE IS PRECISELY THE SAME AS that of the 8-point last noticed but it is cast on the old 9-point body Capitals 14 9-point, old body. Bruce Lower-case 10 A FONT OP ANTIQUE FROM BOSTON Beserved for repairs to electrotype plates. Use only on order Capitals loi^ 8-point, old body. Boston Lower-case 11 HERE IS AN OLD-FASHIONED FACE OF ANTIQUE more compressed than that nsed for display type in the Century Dictionary but not so easily readable Capitals 11 S-point, old body Lower-case 8 ANOTHEB FACE OF BREVIEB ANTIQUE Prom the old Foundry of MacKellar, Smiths St. Jordan. Will be found of service in matching old Boman Types Capitals I6I2 8-point, old body. MoK., S. & J. Lower-case lli^ STILL ANOTHER FACE OF BREVIER Oast by the Farmer Foundry and of use in repairing electrotype plates and in matching old roman fonts. This font has many accents Capitals 14 8-point, old body. Farmer Lower-case 91^ 356 Antique, Ionic, 'Doric, etc. ANTIQUE TALLER, OP LIGHTER FACE AND NOT SO WIDE AS THE Ionic of same body. Note that the ordinary round lower-case sorts. It desoendlnglettersj,gr,q,y are very makes useful sub-headings for a i_ -_L J » , j_ I .. , , Dambhlet t>a(re. but it does not line short, so designed to give the largest ^throman lower-case lettera of th^ possible space to capitals and the usual height. Capitals llig 6-point No. 125. A. T. P. Lower-oase 9I2 THIS ENGLISH POINT ANTIQUE NO. 125 and the nine-point that follo-ws are enlargements of same faoe. A useful substitute for Roman -where greater clearness is desired Capitals I4I2 8-pomt No. 125. A. T. F. Lower-oase III4 MAY BE USED FOR RUNNING TITLES Or in any other position ■where the line "will receive unusual wear on the cylinder printing-press Capitals I6I2 9- on 10-point No. 125. A. T. F. Lower-oase 12 HERE IS ANOTHER BASTARD FACE liOng Primer Antique on a Small Pica body, so cast for convenience of lining -with plain roman type Capitals I7I2 10- on 11-poiiLt, old body. Farmer Lower-case I234 THIS 306 FACE OF BRUCE FOUNDRY will neatly line with a Roman text type of small face. It is the last of a useful and once popular series Capitals 1784 10-point, old body, No. 306. Bruee Lower-case 12 BARTLETT OLD-STYLE Bruce cA CLEARj), cTWODERN FACE fe old-style features if which are not easily^ discerned Capitals I9I4 12-point Lower-case I223 357 Types of the ©e Vinne 'Press OLD-STYLE ANTIQUE No. 310 Bruce USEFUL FOR SUBHEADINGS One of the few types of display that will line truly with ordinary roman lower-case in a side heading. Has accents Capitals 14 8-point, old body Lower-case 9i<2 LOWER-CASE SORTS OF THIS SIZE Are largely used for side headings in Catalogues set in lo-point old-style. It has many accents Capitals IT^ lO-point, old body Lower-case II34 A study of the proper construction of the without impairing the ruggedness and old-style character, as it was made by angularity «iat are prominent features of _.. _ ,, Y^ , J ^ , .,, old-style. The designer of this series has Durer, Tory, Van Dyck, and Caslon will f^jriy accomplished this task. The round shovr that the intent of the style is the letters are not high and are nearer the production of a general effect of extreme center of the body. There is no undue r. . ^ . , -D. , J shortening of the descending letters, lightness and clearness. Blackness and There is a fair relief of white spice in and solidity are carefully avoided. Contriv- around all the characters in all the eleven Ing a bolder face of letter on this model sizes on metal body. All the smaller is consequently a task of some difficulties. sizes have accents. It is a useful substi- i-..^.. .n «.<..<. »,„=> ...-».».. . ^^^A A, t"t' '°^ Italic in the display of emphatic Types so made must preserve a good de- ^^^^^ j^ j^^ ^ f„^ it lines truly with greeofopenness within as well as with- the most approved cuts of Old-Style out the letter ; but it must also have more Roman, but is not vulgarly ostentatious of boldness in all its lines of construction in this emphasis. ^&ae^iiboiii!i99 Capitals 11^2 6-point, old body Lower-case 8 THIS EXTRA FONT Was bought to show lining with a special body of Roman Capitals I8I2 10-point, old body. Fanner Lower-ease 1184 SUBHEADINGS AND SIDE HEADINGS Are fairly presented in this size which has many suitable accents Capitals 2II4 12-point, old body Lower-case 14 OLD-STYLE ANTIQUE Selected for the text type of many large books. Has accents Capitals 31I4 18-poiiit, old body Lower-ease 2084 358 Antiquej Ionic, ^oric, etc. OLD-STYLE ANTIQUE No. 310 Bruce MORE PLEASING Than letters of Amateurs Capitals 39 22-poiiit, old body Lower-case 25I2 IMPRESSIVE By its firm Legibility Capitals 4984 28-poiiit, old body Lower-case 33 DURABLE In all Editions Capitals 7084 36-point, old body Lower-ease 4784 BOLD lines Capitals 8284 40-point, old body Lower-case 59I4 ARE liked Capitals 9984 48-poiiit, old body Lower-case 68I2 359 Types of the 'De Vinne 'Press ANTIQUE Parmer RUDER Posters Capitals 110 One pair cases Lower-case 8T^ 48-point, old body, on wood. V. W. CLEAR Readable Capitals IO9I3 48-point, old body Lower-case 67^ THICK in Face Capitals 118 Lower-case 98I4 60-point, old body, on wood. Class II. V. W. 360 /Intique, Ionic, T>oric, etc. ANTIQUE Farmer FULL Capitals 161 72-pomt, old body No lower-ease BOLD Letter Capitals 14812 96-point, old body, Condensed Lower-ease 116 BIG Capitals 217I2 108-point, old body No lower-case 361 Types of the 'DeVinne 'Press ANTIQUE (IONIC) Parmer THE type now called Antique in America, introduced in England for the first time about 1815, was excessively broad and bold. Savage, who wrote soon after on Decora- tive Printing, said that the designer aimed at the broadest pos- sible surface so that it could be covered with ink even to the belittling or obscurity of interior relieving white space. Types so made were of doubtful value even in poster job work ; they were rigorously excluded from book work and many varieties of fine job printing. This Ionic which came thirty years later seems to have been the most successful attempt to combine a reasonable degree of boldness with a proper relief of white space. IONICS OP 6- AND 8-POINT can be used with propriety as a proper text letter for circulars and notices Capitals 13 6-pomt, old body Lower-ease 91^ IN ALL KINDS OF WORK NEEDING PLAINNESS and where the simplest type is in best taste Capitals 18 8-point, old body Lower-case 12 (We have same face as this on 10-point, old body) IT HAS THE GRACE OF ROMAN ■without the feebleness of sharp hair lines. This copper-faced font has accents for Spanish Capitals 2II2 10-point, old body Lower-case 15 THE GREAT DEFECT OF IONIC is that it does not line with Roman lower-case Capitals 20^2 10-point, old body Lower-case 15 NOT GOOD FOR SIDE HEADINGS but of service in all modified display Capitals 25I4 12-point, old body Lower-case leig 362 Antique^ Ionic, 'Doric, etc. ANTIQUE (IONIC) Parmer NOT FIT FOR PRINTING RED Copper-faced type dims all reds Capitals 29I3 18-point, old body Lower-case 2OI2 USEFUL AS ROMAN For small and bold Handbills Capitals 36I2 22-point, old body Lower-case 2484 SPACE WITHIN a type calls for space WITHOUT Capitals 42 24-poiiit, old body Lower-case 29 1234 X =567 36-point, old body, Figures on Wood SQUARED form of Ionic Capitals 8684 48-point, old body, No. 3 Lower-case 59I4 363 Types of the T>e Vinne 'Press JENSON From the American Type Founders Company JENSON IS THE AMERICAN REPRODUCTION Of the style made by William Morris of the Kelmscott Press, and by him called the Golden Type. He says that he took for his model the Roman letter made by Nicholas Jenson in the Fifteenth Century. It first appeared in I89I, in "The Story of the Glittering Plain." Bibliophiles welcomed the Golden Type as a pleasing return to the simplicity of the early printers, and as a vindication of tfie superior merit of Old-fashioned Masculine Printing. Of this we have four cases. Capitals 13^4 8-point Lower-ease 8^ THE JENSON TYPE HERE MADE Fairly follows the g^eneral form and peculiarities of the Golden Type, but it is a trifle bolder and blacker. It is seldom used now as the text type of a new book, for the ordinary reader does not relish it as a type of text. The Jenson type has been selected by amateur printers for reprints of old books, but its too frequent employment on trivial or ephemeral books has disgusted the bibliophile who might have admired the new face if it had been used mainly for standard books. Familiarity has bred dislike Of this 10-point we have four cases. Capitals 16 10-point Lower-case 10% JENSON IS LARGELY USED For subheadings in newspapers, for advertisements, and in job work. It has the clearness of the best cuts of Old Style with the boldness and durability of an Antique Of this two cases. Capitals 19 12-point Lower-case 12 FOR SOME ENGLISH REPRINTS Many publishers prefer it to the standard forms of Caslon Old-style. Its figures are of proper height and line, and its lower-case is close set and compact in all combinations. For Jenson Italic in four of the smaller sizes see page 3J9 Capitals 23 14-point Lower-case I4I3 364 Antique, Ionic, 'Doric, etc. JEN80N From the Ameiiean Type Founders Company GOLDEN TYPE OF MORRIS Was made by him in one size only on the body of Great primes He refused to sell types or matrices or right to reproduce Of this font we have two cases. Capitals 27 18-point Lower-case I6I3 THE JENSON TYPE Made by the American Type Founders Company is here kept in stock in twelve si^es and all the si^es are on metal bodies Capitals 34 24-point Lower-case 2II4 ITS CLOSE SET Of capital letters may often require card or hair spacing Capitals 41 30-point Lower-case 25I2 365 Types of the ©e Vinne ^ress JENSON Prom the American Type Founders Company ^ FLORETS ^ Come with the Fonts, but use them only when specially ordered Capitals 50 36-point Lower-case 31 FLORETS Are sddom needed Capitals 58 42-point Lower-ease 8684 CLEARNESS More Important Capitals 651^ 48-point Lower-case 42 366 /Intique, Ionic, T>oric, etc. JENSON From the American Tjrpe Foimders Company DISPLAY In Jenson Type Capitals TZ^ 54-point Lower-oase 46 NEEDS White Space Capitals 80 60-point Lower-oase 521^ Larger sizes of this face are cut on wood. J234567890 J 234567890 1234567890 I 234567890 367 Types of the ©e Vinne 'Press JENSON CONDENSED TOO THm, SHALL, ABD IRDISTIHCT A SIZE AHD FACE OF TYPE For good serrloe In Book Work, Btrt of much service in LaBeb and aO Compacted Advertisements Capitals 8I3 6-poiiit Lower-case 623 ITS LARGER SIZES ARE HUCH HORE READABLE AND ATTRACTIVE When Capital Letters only are used fn two or more consecutive lines lead wider if space will allow Capitals 9I3 8-point Lower-case 7I3 A USEFUL SIZE AND FACE FOR SUBHEADINGS Of many words followed by Solid Composition. Not so good over leaded matter Capitals 12^2 10-point Lower-case 91^ LEGIBILITY GREATER IN LARGE SIZES When a Paragraph is set in lower-case lead or double lead as space will allow Capitals IS^g 12-poiiit Lower-case IOI2 JENSON CONDENSED WITHSTANDS WEAR Has Stubby Serifs and much White Space within its separate letters Capitals I6I3 14-point Lower-case 12 IT IS A CLOSE FITTED TYPE Capitals that are too close may occasionally need Hair Spaces Capitals 21I2 18-point Lower-case 15I2 368 AntiquSf Ionic, 'Doric, etc. JENSON CONDENSED From the American Type Founders Co. APPROVED BY ADVERTISERS Every Stroke in each letter is Easily Perceived Capitals 25% 24-point Lower-oase IQ^a RELIEF OF WHITE SPACE Has been amply provided by type founders Capitals 29I3 30-point Lower-oase 22I3 WITHIN THE LETTER Compositor should aid with leads Capitals 38 36-polnt LoTver-case 2713 AJOB OF DISPLAY In two or more sizes Capitals 44 42-point Lower-ease 31ioriCf etc. LATIN ANTIQUE No. 520 Amerioaa Type Founders Co. THE INTENDED CLEARNESS OF THIS FACE is produced not so much by Its peculiarities of design as by the increased width of Its letters Capitals 14^2 6-poiiit, old body Lower-case III3 THIS LINING LATIN ANTIQUE NO. 520 Of the American Type Founders Co. is really a variation of tine style known by printers as Gothic Capitals 17 8-point Lower-case I2I2 IT HAS A SPUR AT ENDS OF LINES Which is very short and stubby, but it fairly serves the purpose of a Serif Capitals 19^2 10-point Lower-case 15 DR. JAVAL, A FRENCH OCULIST, Says that this Spur or Serif is of service in preventing Irradiation Capitals 23 12-point Lower-case 16% IT MAKES LETTERS CLEAR Separates meeting type Capitals 32I2 18-poiat Lower-case 23 IT MATES WELL With an Old-style Letter Capitals 3923 24-poiiit Lower-case 3OI3 A SERIF is a finish Capitals 50 30-point Lower-case 39 371 Types of the 'DeVinne 'Press DORIC Bruce DORIC IS PRACTICALIiT A MUCH THICKENED Roman letter intended to show ally in this 6-point size this to the reader in one style, the thlohening of lines has been over- boldness of the Antique trith the done. Blacker lines have not roundness and grace of onr or- made print any clearer; under dinary hooh type. On the small some conditions they have par- sizes of Icnrer-case and espeoi- tially obscured legibility. Capitals 15 6-point, old body Lower-ease 10 DORIC MAY BE DAMAGED BT OVERINKING WUlob reduces wUte space between the lines. TUs font has accents for French and Spanish Capitals 15 8-point, old body Lower-ease lli^ TOO BOLD FOR NEAT BOOK WORK But of service in Commercial Printing Capitals 21 lO-point, old body Lower-case 1684 MAKES BOLD DISPLAY In advertisements 6c handbills Capitals 28 12-point, old body Lower-case 22I4 SHOWS BED IXK Better than a light-face Capitals 37 18-point, old body Lower-case 30 CAN BE BEAD At Long" Distance Capitals 56 24-point, old body Lower-case 401^ 372 /JntiquOf loniCf 'Doric, etc. DORIC Bruoe OVERRIDES all Petty Types Capitals 62 40-point, old body Lower-case 48 GRACEFUL In its Form Capitals 72I3 48-poiiit, old body Lower-case 55 1234567890 1 2 3 4 5 6 T 8 9 Ae S & & 4 «S i6 o ii fi 1234567890 1234567 123456789 345678 1234567 ^4h% 133567890 373 Types of the 'DeVinne 'Press GUSHING OLD-STYLE Central AH ANTIQtTE MAT BE POUWD TOO WIDE FOR SPECIAL USES One of the objections to Old-atyle Antlijae of To prevent a useless sprawling of type over customary shape Is the width of Its charac- Paper this Gushing Old-style was devised, fers. They take up too much space in a " "t^ins Old-styte features in a impressed ' ' -"o uj. uiv uiui,ii sya.y^ ui a ^^^^ . j^ j^ sufSclently bold and clear for sub- or a side-heading and seem needlessly ordinary headings. It does not line with prominent when moderate display is desired. ordinary romans. Capitals 10 6-poiiit Lower-ease 723 DISPLAY TYPE IS RARE ON SEVEN-POINT BODY But this size will be found of Service for a Proper Rendering of Moderated Display Capitals III4 7-point Lower-case 8 SXJB-HEADS OF SMALL CAPITALS ARE WEAK Especially offensive in School-books that Require many Distinctive Paragraplis Capitals 12 8-point Lower-ease 9 HEADINGS SHOULD INVITE NOTICE By their Simplicity as well as by their Distinction of Boldness Capitals 14^2 10-point Lower-case lOi^ ELEVEN-POINT IS AN ODD SIZE For a type of Display, but it is Often Needed in School-books Capitals 1684 ll-point. Fanner Lower-case III3 TWELVE-POINT IS A FAVORITE In Job Work, and in large pages of Book Work or Catalogues that need Prominent Words Capitals 1884 12-point Lower-case 13 1234567890 1234567890 1234567890 374 /Intiquef loniCf ^oriCf etc. ANTIQUE CONDENSED Bruce TOO THnr TO BE EFPEOTITE AS THE SUBHEADINQ OTOiliang the liody and conseqnentljr compel the leading of the lines where one line follows anothei. Although caiefolly drawn and en- graved this defect in oonstmotion prevents its more extended naoi of a page or oolnmn, and too tall to line neatly with the ordinary faoe of roman text letter, It can he made naefal in advertisements that have lists of articles in oolnnins and in labels of a narrow measnre. Its descending letters Capitals lOig e-point, No. 321 Lower-case 7I4 THIS ENLAEGEMENT OF THE PAGE preTioualy noticed has the same merits and its very unpleasing defects Capitals 13 8-point, old body, No. 321 Lower-ease 9 PICA ANTIQUE EXTRA COHDENSED NO. 632 Is Mcli tMnner witli stiort dBscenders and tinililleil lines of construction Capitals 12 12-point, old body, No. 632 Lower-case 9 CONDENSED TOO MM lOB PIESFICUITY Lower-case sorts over closely M will soueties cane conhsffl Capitals \S^ IS-point, old body. No. 632 Lower-case 10 Capitals 34 48-point, old body. No. 632 375 Lower-case 21 Types of the ©e Vinne 'Press ANTIQUE CONDENSED FOUR SMALL SIZES THAT HAVE NO MATES OF LOWER-CASE Capitals I2I2 10-point, old body, No. 2. Conner AN OLD FAVORITE DISPLACED BT ITS INFERIORS Capitals 16 14-point, old body, No. 2. Conner ONCE INDISPENSABLE IN JOB PRINTING Capitals 19 IS-point, old body, No. 2. Conner MAY YET BE RESTORED TO FAVOR Capitals 241^ 22-point, old body, No. 2. Conner EMINENTLY 6RANB Capitals 471^ 44-point, old body. A. T. F. Co. No lower-case BOLD AND SOLID Capitals 48 48-point, old body. A. T. F. Co. No lower-case MAGNIFICENT Capitals 56 60-point, old body. A. T. F. Co. No lower-oase 376 Antique, tonic, T>oric, etc. ANTIQUE CONDENSED American Type Founders Co. KMNDIOSE Capitals 71 72-poiiit, old body No lower-case SUPERB Capitals 90 96-point, old body No figm-es or lower-case USEFUL In a Poster Capitals 76 48-poiiit, old body Lower-case 61 SHOWT inHandbiU Capitals 86 60-point, old body Lower-case 65I2 377 Types of the ©e Vinne 'Press LATIN CONDENSED Farmer THIS SERIES OF EIGHT SIZES OF LATIN CONDENSED seems the most successful attempt at a pleasing union of the boldness of the Antique Style of type with the symmetry of the ordinary Roman letter In condensed shape. It has more of grace than the older forms of Condensed antique, hnt It is not any more readable. The type-fonnder who made this face may have called it Latin Condensed because it was an Imitation of that feature of the extremely condensed letters of scribes of Lombardy who compressed letters to Indistinctness Capitals IQi^ 9-point. A. T. F. Co. Lower-case 8 COMPRESSION OF LETTERS SEEMS PROPER When a very bold display of too many words Is required in one line Capitals 11 12-poiiit, old body Lower-case 9 THE SELECTION OF A CONDENSED TYPE Is neyer pleasing when it leaves a broad gap of vacancy at tbe ends of tbe too short displayed line Capitals 141^ 18-point, old body Lower-case 11^2 THIS FADLT IS MADE WORSE By an Undue Spacing between the letters Capitals 20 24-poiiit, old body Lower-case I5I3 UNDUE SPACING OF TYPES Seriously alters their appearance Capitals 25 28-point, old'body Lower-case 19ia 378 /Intique, Ionic, 'Doric, etc. LATIN CONDENSED Parmer CONTRASTS OF SPACING As Bad as Contrasts of Style Capitals 30 36-pomt, old body Lower-oase 223^ THE BETTER PLAN To maintain Dniformity Capitals 37 48-poiiit, old body Lower-ease 28ia Is always Expected Capitals 46 60-point Lower-oase 34 I23466«0l231567890l234567890l23456789 1234567890$I(E^ 379 Types of the ©e Vinne 'Press CLARENDON No. 322 Bruce 80 CALLED IN HONOK OF CLARENDON PRESS OF OXFORD The oldest printing boaae Capitals lOig 5-point, old body. Fanner Lower-case 7^2 TEE DESIGNER OF THIS CLARENDON FACE Apparently intended it for a display letter to be used instead of italic for emphatio words in the text, or as side-headings to para^aphs in books of reference as in dictionaries and gazetteers. To promote compactness the letters were moderately condensed Capitals IOI4 5-point on 6-poiat, old body Lower-case 7 CAPITAL LEITEBS WEB£ MADE TOO HIGH For the tMn body. Some characters have lines that are crowded and that have too little of relieving white space within. The letter is set too low on the body to line with the ordinary roman lower-case Capitals 1084 6-point on 8-point, old body Lower-case 8 THE DESCENDING LOWEB-CASE LETTERS In the fonts as first made projected beyond the body and made kerns that seriously interfered with other t3rpes in the composition of solid matter. The fanlt is here prevented by putting the smaller face on a larger body Capitals 1384 8-point on 10-point, old body Lower-case 10 THE BODIES FROM 6- TO 12-POINT Cast before the point system was introduced are not in line always with ordinary roman text type of old body Capitals I7I2 10-point on 12-point, old body Lower-ease I2I3 THIS FACE IS ONE EXCEPTION The face is too large for the body and lower-case descenders are kerned Capitals 22 12-point, old body. Fanner Lower-case 16 380 Antique, Ionic, ^oric, etc. CLARENDON No. 322 Bruee THESE CAPITALS CLOSELY FITTED Make a Pleasing Display for the 18 -point Roman letter that is not too broad Capitals 21 12-pomt on IS-point, old body Lower-ease I6I2 USEFUL IN DISPLAY As capitals or as lower-case Capitals 37I4 28-poiiit, old body Lower-ease 26 A TYPE of wood Capitals 118 72-poiut, old body, light-face. V. W. Lower-ease 9284 OLD Capitals 186 120-poiiit, old body, on wood. V. W. Lower-case 143 381 Types of the ©e Vinne 'Press CONDENSED CLAEENDON No. 320 Bruce THIS IS ANOTHER CLOSELY PITTED TYPE Of Light Pace but without any Projecting or Overhanging Kerns Capitals 1384 lO-point, old body Lower-case 10 CAN BE USED FOR A TEXT TYPE In a paragraph as well as for display in job work. aM66Q Capitals 17 12-poiiat, old body Lower-case 1284 DOES NOT LINE WITH ROMAN A few accents are provided for its lower-case Capitals 19 16-poiiit, old body Lower-case 14 A BETTER MATE THAN OLD-STYLE As a Sub-heading for Modern Faces Capitals 22 18-point, old body Lower-case 16 CAPITALS IN PROPORTION Harmonizing with one another Capitals 27I4 22-poiiit, old body Lower-case 20 MORE GRACEFUL Than some recent styles Capitals 401^ 36-point, old body Lower-case 30 ALL SIZES Well-cut figures Capitals 621^ 48-point, old body Lower-case 43I2 382 Antique, Ionic, 'Doric, etc. FRENCH CLARENDON No. 341 Bruce COULD A T?FE-F017HSE5'3 HAUE BE UOSE IHCOlTaEUOUS f Why Aoild the nioe of as English Statsimtii ail msa of letters lo leluled ss Fiench! Why iboold the tOTersios ef thick and thin strokes li this style after ai old Italiaa faehlos lie desorihed as French! Capitals 8 6-point, old body A. T. F. Co. Lower-case 6 HUGH UOBE COllTDENSED THAN IT SEBUS It is an easily readalile letter, but it is not a pleasing face to most buyers of printing Capitals 11 8-point, old body Lower-case 8I4 ALTHOU&H PLAIN AND VEEY READABLE It is neglected now as a style of the last century much out of fashion Capitals 14 lO-point, old body Lower-case 10 ONE LINE ONLY SET IN THIS STYLE May not be pleasing to the Critical Advertiser Capitals I8I2 12-poiiit, old body Lower-ease 14 THE CONTRAST OF MANY SIZES To produce the best effect is needed in a full series of Capitals and Lower-case Capitals 20I2 IS-point, old body Lower-case 15 MANY SIZES OF THIS FACE Will produce the needed attraction Capitals 30 22-point, old body Lower-case 20^2 HAS SAME FACE AS ABOVE But cast upon 24-point hody Capitals 30 24-poiiit, old body Lower-case 201^ 383 Types of the 'DeVinne 'Press FRENCH CLARENDON No. 343 Bmee ITS CLEARNESS Can be Very Much Improved Capitals 8584 28-pomt, old body Lower-case 241^ BY THE THIU Spacing' of Capitals Capitals 50 36-point, old body Lower-case 36I2 WHERE They join closely Capitals 56 48-poiiit, old body Lower-case 42^3 We have also a series of seven sizes of a style known as French Antique from the Connor Foundry. This French Antique also has the Italian mannerisms of reversed thick and thin strokes, but it is a much wider or more expanded letter and makes very black and bold lines of display. See our Office Specimen Book, pp. 114-116. This old fashion of merit should be selected only when requested. It is a good mate for this French Clarendon, 384 Antique^ Ionic, ^oric, etc. GEECIAN Eiggs Capitals 491^ 60-pomt, old body No lower-case 12341)67890 TUSCAN ANTIQUE FACES Capitals 48 28-pouit, old body TUSCAN Old Form Capitals IO234 48-point, old body Lower-case 78 1234789 385 Types of the ©e Vinne 'Press ANTIQUE EXTENDED Bruce ZjETTBRS FLA.TTEl]SrBI3 TO XJITTWISB OBSOTTRIT-^ ./^I%B JSTOrr IIuII»IiO"VEJMEll ZXek.x-cLex- still t^ xrexxs.ezui'ber Capitals 26I4 6-poiiit, old body, No. 330 Lower-case 1884 TOO T7VIIDDE3 r'OH. ^:E3X0^T *Poo Tlxlolx. for Xiesil^illtsr Capitals 31io S-point, old body, No. 330 Lower-case 24I2 Capitals 41 lO-point, old body. No. 330 No lower-case Capitals 54 12-point, old body, No. 330 Lower-case 38 CLAEENDON EXTENDED Farmer KCere Xjabeled Olarendon Extended by the Be-w^ildered Type-foujider Capitals 28I4 S-point, old body Lower-case 14I2 OlsTE SIZE L^PLO-ER J^ IDistinot., biit not an -A. ttr active Style of IDisplay Letter Capitals 34I4 10-point, old body Lower-case 24I2 386 Antique, Ionic, T>oric, etc, BROKEN BACK Starr Capitals 38 28-poi2it, old body ITALIAN EXPANDED Bruce JL 'miU IBOIO-S- "UTI^PH ^=3L:J^"a7 Capitals 3OI2 S-point, old body FRENCH CLARENDON EXTENDED Farmer ONE SURVIVOR OP THE "MONSTROSITIES" OP INARTISTIC TIPS SO SAID BY HANSARD IN 1025 Capitals 20 10-point, old body No lower-case BRADLEY American Type Founders Co. (UTCC I). BRHDCeV Designed tbi$ novel, bold-face advertising tvpe Capitals 23 18-point Lower-case 1584 387 Types of the ©e Vinne 'Press POST OLD-STYLE No. 2 American Type Founders Co. MANUSCRIPT BOOKS MADE BEFORE 1500 MTere the envy and despair ot the earlier printers. Xhe written wrords ot old books were eagerljr accepted as models for the type^mallers and as copy for the type* setters, but the added graces of the Caligraphers aikd Miniaturists were beyond imitatioi^ Capitals 16 6-point Lower-oase 12^ ALL THE £ARLY PRINTERS Planned BooKs more for Use than for Show Capitals 19 8-point Lower-case 141^ TYPES "WERE LARGE AND BOLD "With broad lanes of M^hite bet-ween lines Capitals 23I4 10-point Lower-case 18 COPPERPLATE PRINTERS Caused rivalry; small types folloM^ed Capitals 25I4 12-point Lower-case 19 TYPES OF LIGHT FORM And of smaller size preferred Capitals 31 14-point Lower-case 23 READERS ASKED For Types of Great Grace Capitals 36I2 18-point Lower-ease 26I3 LIGHT FACES In Use for Centuries Capitals 46 24-point Lower-case 34 388 /intiquej Ionic, 'Doric, etc. POST OLD-STYLE No. 2 American Type Founders Co. ADVERTISERS w^anted boldness Capitals 56 30-point Lower-case 42 AND A BIT of Coarseness Capitals 67 36-point Lower-case 50 HERE IT is presented Capitols 8OI3 42-poiiit Lower-ease 59^^ 12343o;s<>o 1234567890 12345078QO 12345 1234567890 1234567890 ^ 1234567890 ^ 1234567890 1234567890 389 Types of the 'DeVinne ^ress POST CONDENSED American Type Pounders Co. ONCE A NAN WAS JUDGED BY SURROUNDINGS OF HIS SELECTION Hit Dresi, Habiti, Atsociatet and BooKi were indications of his Social Status; his Shop. Store or Office showed his sense of Neatness or Propriety ; the Dress and Manners of his ClerKs or Assistants, and his printed Cards, Circulars or Adver- tisements, his notions of Propriety or Good Taste Capitals IOI3 6-point Lower-case 8^3 HIS PRINTED WORK WAS HIS TRAVELING SALESMAN It showed to the Public his liKing for Appropriate Type, Proper Paper and Neat PressworK, or his Indifference to these niceties. At a glance the desired buyer formed an opinion of the Care or Care- lessness of the Advertiser in the management of his business Capitals I2I3 8-point Lower-case IOI3 UNCOUTH TYPES CARELESSLY COMPOSED In defiance of established tisane indicate a desire to disregard old rules of order and good proportion, with an intent to coerce the buyer's attention by an ostenta- tious display of new notions in printing Capitals I5I3 10-point Lower-case 121^ LETTERS WIDELY DISLOCATED By Spacing that maKes them Incoherent, or Lines that are jammed to£|ether in confusion are sup- posed, by the amateur, to show the true artistic freedom from conventional restraints Capitals I623 12-point Lower-case IS^g ODDITY ALWAYS ATTRACTIVE A Circus Clown is therefore sure to be noticed Capitals 191^ 14-point Lower-case 15I2 A SCREAMING ADVERTISEMENT Silences the Voice of the Modest Capitals 25 18-point Lower-case 19I3 390 /Intique, Ionic ^ ^oric, etc. POST CONDENSED American Type Founders Co. NOVELTIES IN TYPE Produce Novel Compositions Capitals 3II2 24-point Lower-case 2423 ROUGH LETTERS Suggest Slighted Labor Capitals 38I3 30-point Lower-ease 29I3 GOOD WORK Always shows Care Capitals 45I2 36-point Lower-case 35^ SLOVENLY Types an Affront Capitals 52 42-point Lower-ease 40 1234567890 391 Types of the T>e Vinne ^ress CUETI8 POST American Type Pounders Co. BOLDNESS, NOT BLACKNESS Produced hy tl&e use of tHis Curtis Post style of Type» New in. Forsm ai^d DecoratioE^ Capitals 25I3 12-point Lower-case 19 HAS BEEN SELECTED For Headiiags over t'w© or more Col^naos of Neivspaper Type Capitals 291^ 14-point Lower-case 231^ QUEER MIXTURE Tlie Rtide Forim and Fine Shading' Give Great Satisfaction Capitals 37I3 IB-point Lower-ease 28 THE AMATEUR Admires it Hug'ely Capitals 47 24-point Lower-case 3423 GRAYNE*^ May be desired Capitals 5323 30-point Lower-case 42I3 392 Jlntique, loniCf 'DoriCf etc. CURTIS POST American Type Pounders Co. Capitals 68I2 36-point Lower-case 51 Capitals 83 42-point Lower-case 61 I234567890 393 Ornamented Types Ornamented Types of the ©e Vinne 'Press ORNAMENTED No. 1536 Bruce ^N JjlITATION IN J^YPB OF ^ J'eCULIARITY IN THE puRIOUS J^ETTERING OF A VERY OLD MANUSCRIPT Capitals 15I2 10-point, old Ijody Small capitals 1184 pN ySLLUM, OF THE Dld AND JTeW TESTAMENT, NQ-W IN THE ^RCHIYES OF THE BRITISH ^VtUSEUM Capitals I6I4 12-point, old body Small capitals ll^a Known as the Alexandrian Codex The Peculiarity is a Long Tail to the Capitals Capitals I8I2 12-point, old body. Hagar Small capitals 14I2 The Large Capitals Wave Small Merit AND jShould Not be Used Together Capitals 23I3 18-point, old body Small capitals I6I2 Its Small Capitals are Broader^ THAN -Roman, and as Plain Capitals 30 24-point, old body Small capitals 20^2 Small Capitals are Good N FOR / Book B. AMES ON pOOK pACKS Capitals 41 36-poiiit, old body Small capitals 2713 397 Ornamented Types of the ©e Vinne 'Press AESTHETIC Dickinson In its niggled ©apital Idtters Capitals 291^ 20-pouit, old body Small capitals 2184 WITPi HALF THE ORNACDENT Capitals 3584 24-point, old body Small capitals 2784 Initials to sqdall type Capitals 4OI2 28-point, old body Small capitals 33 Use the bits of decoration called Line Endings that accompany this and other fonts with caution. They seldom improve but often dam- age the appearance of a long line. As a rule never use a Une ending that does not show completeness in its design. Keep a space be- tween the ornament and the letter. HAIR-LINE SHADED No. 648 Bruce HERE IS ANOTHER FRAIL TYPE Provided In One Size only. It finds occasional employment in Job work and in Magazine Pages intended to be decorative. Has a few accents. Capitals 14 12-point, old body 398 Lower-case 11 Ornamented Types of the ©e Vinne 'Press ORNAMENTED No. 1526 Bruce Sttkdl\ed to t\e Old-^tyle dl^kf^dtef dkmkge it^ tekiity Capitals 161^ 12-point, old iDody Lower-case III2 Of fekd t^^te ii\ ^u^ei^uou^ ofr\kinei\tktioi\ Capitals 231^ IS-point, old body Lower-case 16 Sy needle^^ Ofi|k]Hei\tktion Capitals 32 24-poiiit, old body Lower-case 22 Capitals 45 36-point, old body Lower-case 41^2 ^i>i?irHE Wl^IITBi;? SOMEIFIMBS Capitals IOI2 6-point, old body Small capitals 8I4 LipFjGeijy ©o DeffiORS©i^pse ©f?e si^mu pno iRGenuisy OP WHB DBSISHBF;, who PI^ODUGES IBHBSB eGGEHWI^IG IPYPBS IHO MBEW WHS INGESSAMUl DEMAND OF Pr^IHWEI^S AMD AD- YBI^IPISBI^S. ©HE NEW WYPES AFJB SUPPOSED WO BE HELPFOLl IN AlmSMPaiS Am roHE PI^ODUG- IPION OP WHAW IS GAliLBD fJl^lUlSrniG ei^INUING Capitals 16 8-point, old body Small capitals ISio ui^FOF{©unf?©eixy, j^pj© ir ©yee is no© iiikg f5F{© IH BAINTIKG OFJ SCULPIIIUI^E. iT DOES NOT LIYE POI^EVEI^. flDMII^ED IN THIS DEGADE ; DESPISED IN IPHE NEXT. TOHY ? Capitals 16 10-point, old body Small capitals IS^g MAY BE UNWISELY USED; m MAY BE HA6I^- NEYED ON TI^IYIAL WOl^I^ ROI^ WHIGH m IS NOII PUFIPED, UNIFIL MEN OP IPASIIE I^EJEGiB m IH EYEI^Y GOMPOSITION Capitals 19 12-point, old body Small capitals, 16 406 Ornamented Types of the ©e Vinne 'Press OXONIAN American Type Founders Co. oxonipn sy^e is ^fje ^ueue^ ADAPrPAiPION OP A ffllDDLE-AGB UNCIAL LCBipiIiBI^ING. SHOWS BESIP IN PANIPASTIG JOBS Capitals 26 18-point, old body Small capitals 20 ne^&uij @onne@©s fi big UNGIAL INIJPIAL TO A LIGHIJI BliAGI^-LEJPiPEr^ mBXTm Capitals 39 20-point, old body Small capitals 27^2 DO no© uuiiGfii^ize sy USING ON ilil^IYIAL WOI^I^. CHOOSE LAI^GBI^ SIZES Capitals 39 24-point, old body Small capitals 27^ Figures, some needlessly fantastic, are provided for each size. 407 Ornamented Types of the ^eVinne 'Press TEMPLAR With eooentrio capitals Boston Type Foundry OLD nijei^Ii EQODEW^ED Lower-case is siniple ai]d readable Bigures are too Baiitastic Capitals 27 14 22-point, old body Lower-ease 20 12S4507S9O EC6EPRICITIES Do liotnjake Capitals Obscure Capitals 37I2 28-point, old body Lower-case 24I2 I?OT FLORID It Serves for Ii^itials witli Sniall Type Capitals 0084 40-point, old body Lower-case 33I2 408 Ornamented Types of the ©e Vinne ^ress HALM Six sizes with lower-case and figures GeoRce r- halm, A desl^^ep ot penjapkable ability Was ipduced by the Pe V'i?i?e P^eSS to deVise this eppatlc style to please buyers ot ppiptii?^ ulbo u5epe tiplp^ ot cpudep poVelties tbep ip tasbioi;). Pesi^i? be^ap With ipterjt to in7itate ope njappepisn? ot Qpieptal lettepii?^ as ip Sapscpit ai?d HebpeW, by rpaklp^ the ali§pn7ei?t ot the letteps at the top apd pot at the toot ot each chapactep Capitals I4I2 8-point, old body Lower-ease 884 perweeN th^ y^ars 1555-55 Hain? toiipd taVop as a pleasipg poVelty ip the con?positio9 of Cards, Cipculaps, Le+tep H^adiip^s ai?d sn^all Jobs Capitals 16 10-point, old body Lower-case 11 ir ITS LiN^s weRe THicKeR f)^lrr) rr)\§bf be used pou3 to rrjucb adVapta^e Capitals 21 12-point, old body Lower-case 14 FANTASTIC LCTTCRS Po pot n95.ke it ditt}ci3It to res^d Capitals 3OI3 18-point, old body Lower-case 20 \ieeP5 L^APS Capitals -13 24-point, old body Lower-case 28I2 ORICNTAL /\li5r)rr)er)t at fop Capitals 58 36-point, old body Lower-case 39 409 Ornamented Types of the 'DeVinne ^ress MOXON Dickinson HAIR LINE TYPES ARE J^OT IN FAVOR Capitals 19I4 Has figures 12-point, old body MUEAL Boston STUBBY SERIFS ADDED TO GOTHIC FORM Capitals 1884 12-point, old body MAY BE USED WITH PROPRIETY Capitals 26I3 18-point, old body FOR PAPER COVERS Capitals o7 24-point, old body IS UNASSUMING Capitals .37 36-point, old body The four sizes of this face have figures and line endings, and this form of ^ on all sizes, which use only when directed. 410 Ornamented Types of the 'DeVinne 'Press ATHENIAN Six sizes with small capitals and lower-case THIS ATHKNIAN STYLE HAS THIN LIKES It shows a timid attempt at the transposition of the customary positions of Thick and Thin Strokes after an old Italian Fashion. To use It satisfactorily for Cards and Ciroulars two or more sizes should he used in combination. aOOD TWORK CAN BE DONE WITH CAPITALS AKD SMALL CAPITALS 6-point, old body Capitals 12 Small capitals IOI4 Lower-ease 9I4 ATHENIAN IS AN EASILY READABLE TYPE Each size has small capitals, figures, and Icwer-case sorts. It 'Will not bear huddling. Its composition is most pleasing WHEH THE LIHES ARE DOUBLE LEADED S-point, old body Capitals 15 Small capitals 12 Lower-case III4 COMPOSITIOH BEST IH BLACK INK Never select it lor red or any other pale color lO-point, old body Capitals I8I3 Small capitals 15 Lower-case 14 ITS GOOD FEATURES SUFFER Wlien set solid or mixed in job work with OTHER FANCIFUL STYLES 12-poiiit, old body Capitals 22I2 Small capitals I8I0 Lower-case I6I4 TOO THIK FOR DISPLAY In the Advertisements of newspapers OR m ORDINARY JOB WORK 18-point, old body Capitals 30 Small capitals 22I2 Lower-case 19 SHO"WS AT ITS BEST In open Job work ABUHDAKT WHITE SPACE 22-poiiit, old body Capitals 39I4 Small capitals 30 Lower-case 25I4 411 Ornamented Types of the ©e Vinne 'Press WASHINGTON TEXT Keystone Type Foundry ^5 ait ox of one ^ora Capitals 70^2 36-point Lower-ease 3223 On tlje IL^ft^Sibt of Us 3*fea6 as if iDelermlned Capitals SSlg 30-point Lower-case 2684 ytot to ^ake anj Tf ncllRation to righteousness of appearance Capitals 48 24-point Lower-ease 22 lH'owTAlberl:"2)urer anb (Beofro^ I3orY woul6 ^ave $tare6 at l\)is "artUtlc" vari- ation of t^e ^lack-letter (Tapltal Capitals 8684 18-point Lower-ease 17 Sirttd'G IbuTace of V^asblttSton Bext otil^ w^eit It \:)as been 5f eclall^ Requested. It is not an Improvement to avcg print Capitals 2884 14-point Lower-case I2I2 412 Foreign Text Types Foreign Text Types of the ©e Vinne ^ress GEEEK vioO 'A^paa^. 2 'AjSpaaja eyewTjo-e rbv 'Iffa- aK- *I(raa« 6e eyeVfijo-e Toi* 'laKwjS* 'laKu^ fie eyevyTjtre rov 'loufior, Kal TOus aBeK^oils aVTOu. 3 'louSas fie eyevvrjae TOV *apey Kal Tbr Zapa £K T^y 0ajiiap- 4»ap€9 fie iyevvijffe rbv 'E(rpw/t' 'Ecrpti)^ fi^ eyevvTjae Tov 'k.pafj., 4 'ApafL fie e'yei'i'Tjffe Tor 'Afj-LvaSa^' 'AjULfafia^ fie eyeVi'Tjo'e Tot' Noaffffuiv Naacrtrwi' 8e eyeVvtjtre tof 2aA- iniii'.— Matth. i. 1-4. Capitals 9I4 6-poiiit, old body. A. T. F. Co. 1 pair of oases Lower-case 1^4, 21 Teietat dk vlor^ yal xaXiaeis to ovofxa avtov ^IHZOYN' avtog yaQ fffoffet tov ?.abv avtov dno ttHv u[j.aQtiviv avrdir. 22 Tovto dk okor yiyovEVj Xra TtX^Qoidij to ^T/^ir VfZO tov KvQiov (Ji« tov vtQotpt'jtov, ?Ayovtog- 23 " ' l5ov^ f; TtaQ&hog hyaatQl 'i^et, xal ti- Capitals 9 7-point, old body 2 pairs of oases ^itfxi viov, Y.UI auXiaovot to ovotia avtov ^EMMASOYHA- o iatt fis^eQixtjvsvo^usvov. fis^' i]fi0JV 6 Qiogy 24 ^icye^^el? Sk d 'iwaticp (xrto tov VTtvov, kTtottjOEv oj? Ti^oai- ta^£v avtiu 6 uyy^Xo? KvQiov^ y.ai naokXa^E ti]V yvraly.a avtov. — Matth. i. 21-24. Lower-case 8I3 'PaxdP' Boof ie iykvvrjae tov 'il^^S Ik T^Q "PoiiB" 'Uji^S 6i kyhvriae Tbv 'leaaai. 6 'leacal Sk eyewTjae tov AafilS Tbv paaikia' Aa^ld ds 6 paaiTievg eyivvr;at tov So?M/j.ava EK TTJg TOV Ovplov. 7 2o/lo/zwv de sykwrjae S-point, old body. A. T. F. Co 3 pairs of oases Tirv 'Vo^od/i' 'Vo^oafiSh kyivvnae tov 'Apia- 'A.jiia Se eyivvj/ae rov 'Acto. 8 'Aaa ie tykvvj/ae tov 'luaaipat^ 'Iwffa^ar 6^ kykv- VTjffs TOV 'lupdfi' 'Iwpa/i 6e kykwrjce Tbv 'Ofiov. — Matth. i. 5-8. Capitals IOI3 Lower-case 9I4 4 Kai tfuvayayuv iravrag tous ap)(iEperj xai y^a,\),\t-a,Tiii rou Xaou, siruv^avETo Tap' auTUv irou XpitfTOf yevvarai. 5 Oi (5s eiVov axiru' 'Eu Bri&X££(A T^g 'Iou5ai'af ■ oiiVu yap ysy- pa*Tai 6m rov irpoipijTou" 6 "Ka/ rfu Bi]4X5S(A, yi) 'Ioij5a, ou(5a(j,us JXa- Capitals I2I3 10-point, old body, Ensched^ 1 pair of cases YiVTr) Si £v ToTs TjySfAotriv 'Iou5a' 6x ifoij yap £|eX£ufl'STai ■))youf/.£vos,o(fTis •roifjia- vfirTovXaov (xou TOV 'ItfpajiX." 7 Tote 'Hpu6i)g Xa^pa xaXstfaj touj fi/oiyous, rixpijSwtfE irap' auTUv tov }(p6vov tou (paivofJisvou dtfTEpoj.— Matth. ii. 4-7. Lower-oase III2 415 Foreign Text Types of the ©c Vinne 'Press GREEK 9 'OCia? Se EY^^^''!''^ '^^^ 'louaBa/j,* vi]ae xbv 'Ie)(ovtav xal too? iSeXtpou? 'Iu)d6a/i 8^ Ef^^^"'!'^ ™^ 'A^aC' 'A^ai; a&ToB, eicl tvi? netoixsoca? BapuXuivoi;. 8^ eYevvYjse lov 'BCexiav. 10 'Efextas 12 Mera U xr^v /ietoiXBOiav BapoXivo?, SHYevvY)05 Tov MavaooY]- MavaaaT)? 'lexovia? eYswrioe t6v SaXaSiYiX" Sa- 8^ Ifswqat TOV 'Ajxoiv 'Afi(ov 8e s-fiv- Xa6i7)X 8i ey^^^'T'^ '^°^ ZopopdipeX. vrjoe t6v 'loooiav. 11 'lajcio; 8^ Iy^^" Matth. i. 9-12. Capitals III2 Tisohendorf, corps 8. Flinsch Lower-case 9I4 2 pairs of cases 13 Zopo^apeX Ss ^Y^vvYjoe t6v 5e k^ivvriaB tov 'EXeaCap- 'EXe- 'A|3to65' 'A|3io68 8k Iy^vvtjos tov aCap Se lY^WTjas tov Mai6av 'EXtaxei[i,- 'EXtaxElfi Ss lY^vvTrjas MaTGdcv SI Iy^wtjos tov 'laxwp. TOV 'ACwp. 14 ''ACwp Se i-jsv- 16 'laxw^ 81 Iy^vvyjoe tov 'Iwotj^ VTjos tbv SaScbx- SaSwx Ss tov avSpa Mapia?, I? i^c k~(&vvriG-fi iY^vvrjOE tov 'AxEi(i." 'AxeI[a SI 'Itjoodc 6 Xsyojisvos XptaToc. EY^vvTjoe TOV 'EXiooS. 15 ' EXtouS Matth. i, is-ie. Capitals 1384 Tischendorf, corps 10. Flinsch Lower-case 11 2 pairs of oases 17 Ilaaat ouv at y^vsat aTzh 'A^paajji Ico? Aa^tS, ysveac Ss^.a-csaaapec* xac d-jro Aa^tS Itoi; x-^c [xstoixsotac Ba^u- XoJvoi;, Y^veat Sexaxsaaapsi;- xat 6tirb x"^;; [isxoixsoia? BapuXwvoi; l(oc xoOXptaxoo, Ysvsai Ssxaxiaaapec. 18 Too 8s 'Itjooo Xptaxou yj YevvTjaii; o5x(0(; "^v. MvirjaxEoQsiaTjc Y"*P x-^C ^-''jxpoi; auxou Maptac x(p 'IcooTjcp, irptv '^ auvsXQefv aoxou?, eupeSv] sv Y°^'3xpt Ixouaa sx 'TcvEujiaxoi; otYtoo. 19 'loja-^cp Se 6 dvTjp aix-^?, Stxaws cov, xat {jltj ^sXtov auxTjv TcapaSetYliaxioat, ePooX'^67) Xd9pa dicoXOaai auxifjv. 20 TaOxa Ss auxou Ev9u[nr]6EvxO(;, tSou, ^YY^Xoi; Kupiou xax' ovap EcpdvY] aux(p, XsYtov 'IcooYjcp, olhz Aa^iS, jjly] cpopTjO-^i; TcapaXapsCv Mapiotv xtjv Yuvatxd aou* xb Y^p ev aux-^ Y^'^^''^^^'^ ^* irvEyjAttxii; saxtv dYWU.-Matth. i. n-ao Capitals 15 Tischendorf, corps 12. Flinsch Lower-case I3I4 2 pairs of oases 416 Foreign Text Types of the T>e Vinne ^ress GREEK 16 Tore HpcuSjjs, iSiov ort ive- ■7rai)(6rj virb rmv ftAymv, iOvfiiadrj Xt'av Kol oLTrodTeiXjai dveiXe iravTas Tovs TratSas tovs iv BrjOAee/*, koi iv jratrt toTs opioi'S airrj's, airb SieroSs Ktti KaTT£po)j Kara Tov )(p6vov ov ^Kpi/Swire Trapa, tZv pAyimi. 17 Tot£ iirXrjpiiOrj to p7)dh> viro lepe/xiov ToC irpo^rJTov, \eyovTOS" 18 " ^(ovrj iv Pofia ■^KOvcrOr], Opyjvo^ koI k)uivO- /xos Kai oSvpixoi iToXv's, 'Paxv^ KXai- ovpy](Ta> ets Tot P'tpr) T^s roAtXatas" 23 Kni eX^cov KaTmKrjcra' ets 7roA.tv \e.yop.hrqv ^a^apir- ottojs TrXrjpoiOrj to pijdlv Sta Tai airo-ig etg BtjS-Xiiii, tint- lIoQevS'ivris, axQi^&g iicTciaarf nsQi TOv naiffCov inav &i tvQTixt^anay' yctXaxi not, Sniag xk/oj iX9-iiv nQOG- •AVviiOut avToi. 9 Oi ^a, x^v- Gbv, xac XCfiavov, »ai afivQvav. Matth. ii. 811. Capitals III4 7-point, old body, bold face 1 pair of oases Lower-case 9 12 Kal xpij/MftTtffdfj'TfS xav' ovaQ /i^ dvaxd/itpai XQOg 'Hq(o- 6riv, rft' iiXXrjg 6 € P € 1 T (0 e € G) O I K G) T N O P M I C AVTT- OOYNI6MONY- € MATNOYTOYA nAN6YHMy AnOYnOTCONKO KAroero_|€ N I K KOYPjTOPOCt 10-point Inscription. Dnigelin Type Foundry 418 2 job cases Foreign Text Types of the le bet lolte Slebel briiiK, aSne fujet «lmme«tu», JSBnnt' 1* tie4 ben mtims Ritbcn Unb bte tel^tcit SBlnbe ttlnaeti a*, mle fiW I* ml* bcstiiift ! anit bet Hfifte Satfatn ju. Dott ertlldt' 14 wane ^figel, (StWnt 8tii(*tt fe^' 14 slWen, ffiwlg liina unb emlB fitun ; Sffilnlenb jBlWcn bunlletn Saub , $att' id) Scbwlnjen, Wtf 14 giiiael, Unb bie Slumen, ble bott bWJen, 9lo4 ben ^ugeln jBg' 14 Mn. iiBetben lelne* SBlntert ataub. Capitals 10 6-point, old body Lower-case 6 2 pairs of cases 2)er 2)u son bem ^tmmel it|l, Stii^ ic^ Jin iti Zttiitni ntiibe ! mt gteub' unb Sii^mttjen fliKeil, SSai foU all ble Qual unb Su|l ? Sen, ber boppeU elenb ijl, ©iif et griebe, iDoppelt mtt gtqutiluns fitHefl ! fiomnt, «# lomm in meine Srufl ! Capitals I2I4 8-point, old body Lower-ease 7I4 5 pairs of oases ®eIoa' ernjler SSc^errfd^cr unb SWoJa's )ifen, binab, unb fie etgteifet bet ®ott. @o etjeugte bie ®i)bne fiii JDtatel — Sie StniUinge ttiinlet @ine SBoIfin, unb iRom nennt fi^ bie gfittflin bet SBelt. Capitals 13 12 8-point, old body (modem fractur) Lower-case 8I4 1 job case $erl>ftli(i^ Iciit^tet bie %\mm twin liinbltc^ flcfeKtgen ^crbe, tntftert unb glihtjet, mie raf(J^ ! faufenb tiom 9ietftg entpor, Siiefen 3llienb crfrent fte mi^ mel^r ; bcnn c^' no^ jut tol^le ®ii!^ Ui SBiinbcI tjcrje^rt, unter bie %\^t \\i) neigt, tonnnt ntein lieblic^eg 9Rob(^en. 2)ann ftonnnen SReiftg unb S^eitc, Unb bie ermdcmete 'SM)i mirb uns ein Blonjenbeg §ef}. Capitals 15I2 10-point, old body (Condensed) Lower-case 9 1 job case 420 Foreign Text Types of the ie fottt' ni*t fatten ! Capitals 1784 8-point, old body Lower-case 10 1 job case !Det todt' ein %1$ot, bet ba§ Begel^tt, ^a^ feine SSeife iebem tauge* ^ud^ ftcmbc§ aSort ]^at cMcn SSS^tt, Unb i^atfen ^lid ^at ftembe^ ^u^e. Capitals 21 10-point, old body Lower-case 12 1 job ease ^et te^te Xa^el ^at ntir fiitt tct§ me^v aU je&e0 Sob gefatten, T>cut iiemt bie ^emut tvo^il t>oc alien* Capitals 24I4 12-point, old body Lower-case 14 1 job case 0lur eine^ ^itttft mit ^etlig ^ed^t: (^d^ m<^ts mit ^nntttt hWtmnict, ^etttt eitier Jg^etjeti rid^tett md^i\ ^em felfiet nie— ^a$ Jgei?j ^chlniet Capitals 35I2 18-point, old body Lower-ease 19^2 1 job case 421 Foreign Text Types of the ©e Vinne ^ress SCHWABACHEE (German) From the Conner Foundry Die SdiXDabadjev vouvbz juerft in ben VtudwttUn von Sc^offer in 2Tlain3 gebraudjt, un6 tcirb Ijeute noc^ gem in 6eutf<^en Biic^ern benu^t. Capitals I8I4 10-point Lower-case IO23 1 job case Die alte|len Sd^riftcn jtnb bte gotifdjen, wcldje in (5uten= berg's Bibel im 3atjrc ^453 gebraud^t tourben un& in ben in KIdjiern gefdjriebcnen Biidjern gebraudjlidj n?aren. Capitals 20^3 12-point Lower-case 12 1 job case Dk „^urfip" f anb ifjre crftc 2lnrt)cn5ung in ctner (DftavausQobe bcs Ptrgil, bk 21I6us ZHanutius im 3^f?t:c H501 in Pencbig brufte. Capitals 26I4 14-point Lower-case I434 1 job case 422 Foreign Text Types of the Oe Vinne ^ress HEBREW :iNM npna njJDi 1*70 w now non 8-point, old body 1 pair of cases ••: - "^ T T T • • : :■ ••: T ^ T : - : ) v 10-point Has vowel points and musical accents 1 pair of cases RUSSIAN KapaBaH'b MOJiejiBinHKOB'b BHCTynaji's nst Bpai-b ^iap- deKa. BnepeAH ero ■fexaj'b OcMant h dpocaji'b b-b Hapo/i,'&/i;eHBrH; — HnaHH djiarocjoBJifljiH: oTxoflflmHXB CTpaHHHKOB'b; acHTejiH ycHnajiH nB'feTaMH nyTB Hxt. Capitals 26J4 12-poiiit Lower-case 19 1 job case ESTRANGELO SYRIAC 12-point 1 P^-i^ *^^ eases ftnd 1 sort case 423 Foreign Text Types of the ©e Vinne ^ress FRENCH CURSIVE Mayeur 'TScaiifu, 0^\.ai^et (JbfaMSiri , "SifoM" Cyatne^ Cp?teoM8c^ * Cou (tncivi, aue' 'TDirt yJ^iboutA^ clT ^^tQcuu foul (LiJ-'Juoi ? Ic' foM lyarfc^, f 'o^ coM^uM - ici ^ttc_ au (oiiz-, foEfauC iti <;foi(9_ » fa^ C^Voiffe. QKoiee' Ot^aUae, (mt ^^ii:it (a) Cecret^J) a VKO/mvitmcw^. ^e' fui at ^*fcoMMt ctfui ^^t /naive ^OMc^cUe' t'ttj) (JbfaMSm A C^amc-" tpipoMStr". Pournier, Manuel Typographique, tome n, p. 141. Capitals 24I2 Body 10 Lower case 9% 1 job case This " Cursive Francois," or " Civilit6 " as then called, was de- signed by Nicholas Granjon in imitation of a style of penmanship then in fashion, and cast at a type foundry of Lyons in 1556. It was used by Plantin, of Antwerp, for several books. Use it now, only on request, for short quotations from French authors of the Sixteenth or Seventeenth Century. The font is small, and was cast as a favor to us from the original matrices in a type foundry at Lyons. VISIGOTHIC • ei3KNrNOI3en7-Ak«)flGWVI/IR*RXNJFRnyiQ9*iy-*RPfY>r 424 Scripts Script Types of the ^atnt- nedd witfi ltd lADapzeterittoadaedd French body 24 Lower-ease 20^, St id a Jozopez c/foate foz tfie Uld Stifle cJooman Oype of any c/adkion French body 20 Lower-ease I6I2 cJtd Joowet-cade id a ohappy (combination of y 00a c/eatuted in dtatic and ^ctipt. c/e-w Ooetned jL>ette%d. JiDettetd do mot Gonnect. aioad (^iialit cJncLination, lOo Loopd to Joong Jaettetd. a\Dad Ujccentd fot (^mali Joettetd French body 16 Lower-ease li St id cFzequentiy Selected foz iBote and £ettet (ottcuiatd by tkode who didlike the STEonotony of cnooman Jjowez- caae jSettezd and the Ovezwozked cPhefinementd of Smita- tiond of (Soppezplate Sczipt. French body 12 Lower-case 11 iokiA (^maUedto <*F«(e of owelve-pointo may be too dmall fot detvice in the otdinaty lOote &hcaLat, buto ito can be uaed effectively foz iBamed of SSeidoni in the dheadingd of Jsettetd ana (oizcalatd, fox. wliich, putpode ito i(t ai diitincto ad amail yotkic oz tlie amali capilaU of cfooman. French body 10 Lower-case 8I2 These are some of the accents and figures : ddaeee'ei'ioiiuilgn ia3456/8po 428 Script Types of the ©e Vinne 'Press FRENCH SCRIPT LOUIS xrv From the Foundry of Gastave Mayeur, Paris clbad CDiglit (^Ued vdy 10 to ^odv 48 oy tencli ^tanclam French body 48 Lower-case 33I4 Uadt la ^atid vvitfi U^teack Q/j^cceatd Frenoli body 40 Lower-case 27 &et\)iceaDLe in JjipLomad, Jjociimefitd ana Jo>au> Wozk French body 32 Lower-ease 23 429 Script Types of the 'De Vinne ^ress RUNDSCHRIFT From the American Type Founders Co. Cm& UerUcat Sotipt \& &hown in gTouz &'ize& : Lxca oz iZ-ViOxni 28-point, old body Lower-case 1884 01 Sezman J/eai-an, \i con&ecMenmi &i30ti9S ciezwian Jueculiaziiie& \n (sccenizic (Saiaital. jCet-te'r&. cJt& jZowez-ca&e teem& &'maUf bui it i& zVx&iind ana 01 6ot« QJLeaaams inan oinez &iwiei> o| a mucn Xjxzaez &ace. 22-point, old body Lower-case 12 q)1 ia seldom caWed loi a& a SiwtaMe Cupe loz JCoie and X.ette» (Snculazei, wui it mau be setecied wvto adisantaae toz fljlotios and ciKiozi ©»i«acis lu Lampmets in rataces \meze me Uziinazu cfozm» o| oltauc seem dettcient in pw>pe? ri/istinctiveness oz ©wpraasis. 18-point, old body Lower-case 10 alia clxaMc criauiet>, ],X,3i§Q>COz)0, aze latae ana main, ana mai} v0 t4»0a (01 oinez ionib ot Ue-titcai x^Utfz m wnic^ uauieto axo neeaie^Mu iHcluitHci. alia Sccentitc @apUa{» tviU ve touna «eTi»cea«ve tn ine osn- necUna woxa o| toe cm»t X^me ot £axaaxar>l>» ot ual>t-|aoea Sslack-lMez tenen tneu aie viieotaea vu T^axoe ana Oinamentea oJntUaiei. 12-pomt, old body Lower-case S^ 430 Script Types of the ule of 40-poiiit, old body Lower-ease 38 ^A/<2^ ht ,£ii4-eA of S^a-'taa-tap^o pt^eoeb^eh ^-y. a Satg-e elni-tia-^ Setter. 14-point, old body Lower-case 14I2 431 Script Types of the ©e Vinne 'Press ENaROSSING Sruce A thin and angular Vertical Script with Eccentric Capitals "We f^am "Sm $'1^^: ym ofc 12-poM §)ml}U pica o/i 2l{-fCei^ and/^ate3(ead/a&fe ll}m ll}M 36-pouat, old body Lower-case 20 (Baijitafi can h mi ifli4 t|& ^oioet-cai& to good (mIimiH'' t(i^& ai t^e- l^eading^i- oik* ©iipCai^ %mi m ot^ and 18-point, old body Lower-case IOI2 ^^ Saioei'Cau (lolt^ capUaCi) of t^e Satgfei il^d iol(( hi found an Sffcctiu SettM foi ^ato^p^i in (Slicii(au t^at Mm to tec^uite ptonvinena logout ptodiumj an appearance of t^ ISoCdneil and l&tacknM nw^ 6if £atge @oaue '^tfpt^. '^^e invaf(e)i $iui au m^IkUA itiffu t^t couO 6e of good Mtoiw. 12-point, old body Lower-case 784 432 Script Types of the ©e Vinne ^ress ENGROSSING Bruce tended b &e <@Mi/R/t, &iit jltoctbe and 3(ead- a&(e, ani nat @^tenta- tiau4 uM/tl^ a ^ofd ad/ l&(a^ %dkin^, tf>b b e^peciattif MtaMe. 48-point, old body, No. 681 Lower-ease 28 433 Script Types of the ©e Vinne 'Press MANUSCRIPT From the American Type Founders Co. 24-pomt, old body, No. 2 Lower-case 25 24-point, old body, No. 1 Lower-ease 21I2 v-'oCoJCio-yi^iL- 0-1^ 'ti'Cuh.yeAy 0-4- it^vn^o^LL i^ti^'e^. 18-pomt, old body. No. 2 Lower-case 17 i^e^ OL^'^.'CL^t'a-fC'CVv U'i-e- o^C Ofic- ^^cut^e-t^ s^cuc-^^y uj-iM'C-^ ^^t^ JEngrmtoer^ 8 Open c^om, Lt^ uA-e-d, to- KJU^jLia-u^ o-m.= ii-^-'iJt-cu-yCt' rV o-vdLiiy ^{iyoJO iA^^e- iHAyw IKVU/Cpryt to cy\x)X[h\Ju tjnjo toAtt^ oX tru>^ey u>nx>' aybyjaAx)-n>ey oL lAytaAix^iiyt XyeytteAA> t/ru a/ruL CoAwuy rb^cuioJjXey Capitals 3084 18-pomt Lower-oase 22I2 Capitals 3734 24-point Lower-oase 30 435 Table Figures, Etc. Table Figures and Odd Characters TABLE FIGURES, ETC. Many of which have no mating fonts of letter Bruce 5-point, old tody (Patent) 1234567890 Extended Antique on 14-point, old body 1 284Be?880 6-point, No. 13 1234567890 6-point, Antique No. 302 1234567890 Title on 14-point, old body 1S34367890 7-point, old body, No. 11 (Patent) 1234567890i«ti2%i3%^%''8''8 7-point, old body. Title No. 140 1334567890 8-point, old body, not No. 11 (Patent) 1234567890 8-point, old body, Antique No. 302 1234567890 8-pouit, old body, Gothic 1234567890 439 Types of the ©e Vinne 'Press TABLE FIGURES, ETC. Bruee S-point, old body, Clarendon 1234667880 10-point, old body, Clarendon 1234567890 12-point, old body, Clarendon Condensed 1234567890 S-point, old body, Aldine 123456 7890 12-point, old body, Aldine 1234567890 10-point, old body, Title 1234567890 9-point face on 14-point, old body 1234567890 10-point, old body 1234567890 10-point, old body 1234567890 440 Table Figures and Odd Characters TABLE FIGURES, ETC. Bruce No. 1 on 14-point, old body 1234567890 12-point, old body, Antique No. 306 1234567890 14:-pomt, old body, Eoman No. 6. Johnson 1234567890E] Oabcd 18-pomt, old body, Antique No. 306 123 4567890 20 -point, old body 1 934567890 22-point, old body 1334567890 22-pouit, old body 1234567890 28-point, old body. Antique Condensed 1234567890 441 Types of the 1)e Vinne 'Press FIGURED LETTERS Fanner 8-point, old body ( No alphabet to match ) 10-point, old body ( No alphabet to match ) ll-point, old body ( No alphabet to match ) CANCELED LETTERS Farmer 8-point, old body 12-point, old body TIED LETTERS Parmer S-point, old body ChOuThrihngouowiiiWh 10-poiiit, old body OliSliTiiWhOudli^tiiVhiigouow ll-point, old body ThShWhCliOuWh^iai There are many more of these characters shown in the respective fonts to which they belong 442 Index INDEX Aesthetic; 398 Aldine; 268, 269 Aldus Italic; 312 Alexandrian; 397 A., M. & E., 6 pt.; 148, Gaps 116 Ancient Eoman; 100, 101 Anglo Saxon Black; 18, 31, 75, 76 Antique, Classic; 243-245; Caps 128 Antique, Condensed; 375, 377 Antique, Dictionary; 356 Antique, Doric; 372, 373 Antique, Doric, Ionics, etc., 355, 393 Antique Extended; 386 Antique, Ionic; 362, 363 Antique, Italic; 299 Antique, large; 360, 361 Antique, Latin, No. 520, 371 Antique, Miscellaneous small faces; 356, Antique No. 5, 6 pt.; 356 Antique No. 125; 357 Antique No. 302; 355 Antique No. 306; 357 Antique No. 310; 358, 359 Antique, Old Style, No. 310; 358, 359 Antique, Eenner; 225 Antique, Wood; 360, 361 Arlington; 193 A. T. r.. No. 26; 151 A. T. F. No. 313, 14 pt.; 152 Athenian; 411 Audsley Initial, 72 pt; 51 Augustan Black; 13, iSl Backgrounds (initial); 84, 85, 86, 87 Backslope Lining Gothic; 337 Bartlett old style; 357 Bauer Initial; 57, 58 Black; 2-31 Black, A. D. F. & S.; 22 Black, Anglo Saxon; 13, 31, 75, 76 Black, Augustan; 13, 31 Black Canon, No. 1; 23 Black, Canon, No. 2; 23 Black, five-line; 75 Black, Flemish; 8, 9 Black, four-line; 75 Black, Initials; 75, 76 Black, No. 1; 22, 23 Black, No. 2; 22, 23 Black, No. 3; 22, 25 Black, No. 4; 22, 23 Black, No. 400; 25 Black, No. 401; 25, 29 Black, old; 6, 7, 24, 25 Black, ornamented; 17 Black, E. S.; 23 Black, sloping; 12, 29 Black, Text, Washington; 412 Black, three-line; 75 Black, Washington Text; 412 B M & E, 8 pt.; 149, Caps 116 Bold face, Gothic, 5 pt.; 324 Bold face, Gothic; series; 334, 335 Bold Italic, Cheltenham; 300-302 Borussian; 16, 27 Borussian, Bold; 27 Bradford; 100, 101, 127; see also Maefarland & Ancient Eoman Bradley; 387 Brilliant, No. 17; 115, 133 Broadfaoe, Farmer, 10 pt.; 142 Broken Back; 387 Bruce Initial, No. 3, 46 pt.; 64 Bruce Initial No. 10, 22 pt.; 51 Bruce Initial, No 11, 30 pt.; 51 Bruce Initial, No. 12, 42 pt.; 51 Bruce Initial, No. 13; 56 Bruce No. 1074, 18 pts.-48 pts.; 78 Cabalistic; 78, 401 Cadmus; 104, 105, 125, 219-222 (for same 357 face, but other sizes see Elzevir, and French Old Style) Cancelled letters; 442 Canon Black, No. 1; 23 Capitals and Figures; 109-130 Card, Gothic; 336 Caslon; 179-191 Caslon, Caps only; 120, 121 Caslon Initial, No. 3, 32 pt.; 57 Caslon Initial, No. 10, 81 pt.; 50 Caslon, Initial No. 11, 90 pt.; 62 Caslon Initial, No. 12, 74 pt.; with border; 62 Caslon Initial, No. 12, 74 pt.; without bor- der" 59 Caslon initial, No. 13, 80 pt. ; 52 Caslon Initial, No. 16; 48 Caslon Initial, No. 19; 62 Caslon Initial, No. 21, 58 pt.; 50 Caslon Initial, No. 22, 30 pt.; 51 Caslon Italic; 292, 293 Caslon, large faces; 121 Caslon New; 241, 242 Caslon, wood; 121 Caxton Initial, 72 pt.; 54 Celtic; 250, 251 Celtic, light, 249, 252 Celtic Shaded; 252 Century, Capitals only; 112, 113 Century Expanded; 229-235, 261 Caps 112- 113 Century Expanded (magazine); 232, 233 Chancery Initial, 72 pt.; 52 Chapel Text; 15, 30 Cheltenham Bold Italic; 300-302 Cheltenham, Capitals only; 125, 126 Cheltenham Italic, Bold; 300-802 Cheltenham Old Style; 213-218, Caps 125- 126 Church Text (Elizabethan) ; 14, 30 Cincinnati, Initial; 44, 57 Clarendon; 380, 381 Clarendon Condensed, No. 320; 382 Clarendon Extended; 386 Clarendon French Extended; 387 445 Index Clarendon, French, No. 341; 383, 384 Clarendon, Wood; 380, 381 Classic Antique; 243-245, Caps 128 Classic Capitals only; 128 Cloister shaded; 403 C, M. & E., 9 pt.; 149; Caps 116 Compressed French-face, Body 12; 138, Caps 117 Condensed Antique; 375, 377 Condensed, Capitals only; 118 Condensed Clarendon, No. 320; 382 Condensed, Extra, Capitals only; 119, 130 Condensed, Extra, Old Style; 266 Condensed, Extra (Eoman) ; 268, 270, 280 Condensed Gothic Italic; 310 Condensed, Gothic, No. 2; 340 Condensed Gothic, No. 37; 341 Condensed Gothic, No. 123; 343 Condensed Gothic, No. 240, series; 338, 339 Condensed Gothic, No. 241; 342 Condensed Gothic, No. 242; 340, 342 Condensed, Gothic, No. 243, 6 pt.; 340 Condensed Jenson, 368-370 Condensed John Hancock; 286, 287 Condensed, Latin; 378, 379 Condensed, Old Style; 257, 258 Condensed Old Style, two-line; 102 Condensed Old Style, wood; 204, 212 Condensed Post; 390, 391 Condensed Roman; 259-261 Condensed, two-line; 96, 97, 98 Condensed, wood; 207, 209-212 Condensed, wood, Caps only; 123 Conner Gothic, 5 pt. (with 1. c); 324 Conner, Gothic, 5 pt. (without 1. c.) ; 324 Conner Initial, No. 11, 60 pt.; 58 Conner No. 4, 18 pt.; 147; Caps 111 Copley; 288 Cursive, French; 424 Curtis Post; 392, 393 Gushing; 246 Cushing, Old Style; 374 Dado; 400 Delia Robbia; 348 De Vinne; 273-280 De Vinne Italic; 320 Diamond; No. 16, 115, 133 Dictionary Antique; 356 Dirtot-face, Body; 12, 137; Caps 117 D, M & R, 11 pt.; 116, 150 Doric; 372, 373 Doric, Antique, Ionic, etc.; 355, 393 Eighteenth Century Initial, 52 pt.; 59 Elizabethan (Church Text); 14, 30 Elongated Italic; 299 Elzevir Caps only; 125 Elzevir Lining Gothic No. 2; 343 Elzevirs; 125, 219-222; Caps 104-105; for same face but other sizes see Cadmus and French Old Style Engraver's Hair Line No. 644; 248 Engraver's Italic; 311 Engraver's, open; 65, 402 Engraver's open italic; 315 Engraver's Roman; 252, 253 Engrossing; 432, 433 Expanded, Century; 229-235, 261. Caps 112- 113 Expanded Gothic, No. 200, 8 pt.; 325 Expanded Italian; 387 Expanded No. 180; 271, 272 Extended Antique; 386 Extended Clarendon; 386 Extended Clarendon, French; 387 Extended Runic, No. 643; 352 Extra Condensed, Capitals only; 119, 129 Extra Condensed, Old Style; 266 Extra Condensed Roman; 268, 270, 280 Fac Initial; 45 Farmer, Caps only; 113 Farmer Lightface, llpt.; 142 Farmer No. 4; 145, 146; Caps 114 Farmer No. 6, 12 pt.; 144; Caps 114 Farmer No. 12, 11 pt.; 143; Caps 114 Farmer No. 13; 139, 141, 144; Caps 114 Farmer No. 15; 139, 140; Caps 114 Farmer No. 18, 9 pt.; 140; Caps 114 Farmer's Broadface, 10 pt.; 142 Fifteenth Century; 192, 193; Caps 128 Fifteenth Century, Caps only; 128 Figured letters, etc.; 442 Figures and Capitals; 109-130 Figures, etc.; 437-442 FiHgree; 65, 77 Filigree solid, 48 pt.; 65 Flemish Black; 8, 9 Flemish, Old; 28 Foreign Text Types; 413-424 Four-and-a-half point (Diamond); 133; Caps 116 French, Caps only; 117 French Clarendon Extended; 387 French Clarendon, No. 341; 383, 384 French, Cursive; 424 French face Compressed; 138; Caps 117 French Light face Body 10, Eoman No. 7; 136; Caps 117 French, Old, Initial; 53, 55 French Old Style; 219-222; Caps 104-105, 125; for same face but other sizes see Elzevir and French Old Style French Old Style (Turlot), 11 pt.; 248 French Script; 428, 429 German; 419-421 Gothic, 6 pt.. Farmer; 335 Gothic, Backslope Lining; 337 Gothic Bold face; 334, 335 Gothic Bold Face, 5 pt.; 324 Gothic, Card; 336 Gothic Condensed Italic; 310 Gothic Condensed, No. 2; 340 Gothic Condensed, No. 37 series; 341 Gothic Condensed, No. 123; 343 Gothic Condensed, No. 240 series; 338, 339 Gothic Condensed, No. 241; 342 Gothic Condensed, No. 242; 340, 342 Gothic Condensed, No. 243, 6 pt.; 340 Gothic, Conner, 5 pt. Caps only; 324 Gothic, Conner, 5 pt. (with 1. c.) ; 324 Gothic, Conner, 5 pt. (without 1. c.) ; 324 Gothic, Elzevir Lining No. 2; 343 Gothic Expanded, No. 200, 8 pt.; 325 Gothic Grotesque, Series; 326 Gothic Hair-line Italic; 309 Gothic, Italic Condensed; 310 Gothic Italic Hair-line; 309 Gothic Italic No. 2; 309 Gothic Light face. No. 10 series; 329 446 Index Gothic, Lining Backslope; 337 Gothic, Lining, Elzevir, No. 2; 343 Gothic Lining No. 545, series; 332, 333 Gothic, Lining, Nos. 1, 2, 3 & 4; 6 pt.; 323 Gothic, No. 3, 8 pt.; 335 Gothic No. 3, 10 pt.; 325 Gothic No. 4, 12 pt.; 325 Gothic No. 5, 28 pt.; 325 Gothic No. 7 (light face) 6 pt.; 325 Gothic No. 10, series; 326 Gothic No. 123, 8 & 10 pt.; 328 Gothic No. 127, 8 & 10 pt.; 328 Gothic No. 200; 325 Gothic No. 201, series; 329 Gothic No. 520, Lining, series; 330, 331 Gothic No. 545, Lining, series, 332, 333 Gothic Eonaldson, series; 344, 345 Gothics and Eunics; 323-352 Graver's Shaded; 405 Grecian; 385 Greek; 415-418 Grotesque, Gothic, series; 326 Hair-line Engravers No. 644; 248 Hair-line Gothic Italic; 309 Hair-line Italic; 311 Hair-line Shaded; 398 Half Titles; 99 Half Title, two-Une; 99 Halm; 409 Harvard Italic; 298 Heavy Eunic; 350 Hebrew; 423 High, or Upset Initial; 46 Home-made Initials; 87 Inclined Eoman; 297 Initials; 87-130 Initial Audsley, 72 pt.; 51 Initial Backgrounds; 84, 85, 86, 87 Initial, Bauer; 57, 58 Initial, Bruce, No. 3, 46 pt.; 64 Initial, Bruce, No. 10, 22 pt.; 51 Initial, Bruce, No. 11, 30 pt.; 51 Initial, Bruce No. 12, 42 pt.; 51 Initial, Bruce No. 13; 56 Initial, Caslon, No. 3, 32 pt.; 57 Initial, Caslon, No. 10, 81 pt.; 50 Initial, Caslon, No. 11, 90 pt.; 62 Initial, Caslon, No. 12, 74 pt. (with border) ; 62 Initial, Caslon, No. 12, 74 pt. (without bor- der); 59 Initial, Caslon, No. 13, 80 pt.; 52 Initial, Caslon, No. 16; 48 Initial, Caslon, No. 19, 126 pt.; 62 Initial, Caslon, No. 21, 58 pt.; 50 Initial, Caslon, No. 22, 30 pt.; 51 Initial, Caxton, 72 pt.; 54 Initial, Chancery, 72 pt.; 52 Initial, Cincinnati; 44, 57 Initial, Conner, No. 11, 60 pt.; 58 Initial, Eighteenth Century, 52 pt.; 59 Initial, Eae; 45 Initial, High or Upset; 46 Initial, Home-made; 87 Initials, Jenson (wrongly called); 47 Initial, Kelmscott; 47 Initial, Mayeur, No. 697, 52 pt.; 51 Initials, Mayeur No. 699, 72 pt.; 50 Initials, Mayeur, No. 735, 46 pt.; 64 69 69 Initials, Mayeur, No. 761, 36 pt.; 64 Initials, Mayeur, 7611/2, 32 pt.; 64 Initial, Medieval; 47 Initial Miscellaneous; 72 to 83 Initial, Monk; 43 Initial, Morris; 47 Initial, Old English; 59 Initial, Old French; 53, 55 Initial, Pierced; 45, 85 Initial Eatdolt; 48 Initial, Eeed, No. 2, 36 pt.; 56 Initial, Eomance, 99 pt.; 55 Initials, odd; 79-86 Initials, Ornamented Black; 76 Initials, Eeed No. 1, 60 pt.; 56 Initials, Silhouette; 74 Initial, Tegner; 63 Initial Trail, A. D. F. & S. No. 12, 128 pt.; 71 Initial Trail, A. D. E. & S. No. 13, 81 pt.; 69 Initial Trail, Bruce, No. 8, 60 pt.; 71 Initial Trail, Bruce, No. 9; 70 Initial Trail, Bruce, No. 12, 81 pt.; 68 Initial Trail, Bruce, No. 14, 48 pt.; 69 Initial Trail, Bruce, No. 22, 108 pt.; Initial Trail, Conner, No. 10, 48 pt.; Initial Trail, Hagar, 108 pt.; 68 Initial Trail, M. & E., No. 3, 27 pt.; Initial Trail, No. 18; 70 Initial, Upset or High; 46 Initials, XVIII Century, 52 pts.; Initial, Zeeze, No. 17, 60 pt.; 61 Initial, Zeeze, No. 18, 48 pt.; 61 Initials, Zeeze, series; 22, 49 Ionic; 362, 363 Ionic, Doric, Antiques, etc.; 355, Ionic Wood; 360, 361 Italian Expanded; 387 Italic; 291-320 Italic Aldus; 312 Italic Antique; 299 Italic, Bold, Cheltenham; 300-302 Italic Caslon; 292, 293 Italic, Cheltenham, Bold; 300-302 Italic Condensed Gothic; 310 Italic r>e Vinne; 320 Italic Elongated; 299 Italic, Engraver's; 311 Italic Engraver's Open; 315 Italic Gothic Condensed; 310 Italic Gothic Hair-line; 309 Italic Gothic, No. 2; 309 Italic, Hair-line; 311 Italic, Hair-line Gothic; 309 Italic Harvard; 298 Italic, Jenson; 319 Italic, Law; 314 Italic Lithographic; 313 ItaHc Modernized Old Style No. 20 ; 294, 295 Italic, Niagara; 305-307 Italic, Old Old Style; 292, 293 Italic, Old Style Modernized, No. 20; 294, 295 Italic, Post; 303, 304 Italic, Eenner; 223, 224, 226 Italic, Show Card; 316, 317 Italic Title; 296, 297, 298 Jenson; 364, 367 447 59 393 Index Jenson Condensed; 368-370 Jenson, Italic; 319 John Hancock; 286, 287 John Hancock, Condensed; 286, 287 Kelmscott Initial; 47 Latin Antique No. 520; 371 Latin Condensed; 378, 379 Law Italic; 314 Letters Cancelled; 442 Letters Figured, etc.; 442 Letters tied; 442 Light Celtic; 249, 252 Light-face; 115, 174-178 Light-face, Caps only; 265 Light-face, Farmer's 11 pt. ; 142 Light-face, French, Body 10 (Eoman No. 7); 136, Caps 116 Light-face Gothic No. 10, series; 329 Light Eunic; 351 Lindsay; 161, 160, Caps 110 Lindsay, Caps; 110 Lining Backslope Gothic; 337 Lining, Elzevir Gothic, No. 2; 343 Lining Gothic Backslope; 337 Lining, Gothic, Nos. 1, 2, 3 & 4, 6 pt.; 323 Lining Gothic, No. 520, series; 330, 331 Lining Gothic, No. 545, series; 332, 333 Lithographic Italic; 313 Louis XIV Script; 428, 429 Louis XV; 247 Macfarland; 228. For other sizes of same face see Bradford and Ancient Eoman Macfarland, Caps; 127 M. and E., A, 6 pt.; 148, Caps 116 M. and E., A; 148, Caps 116 M. and E., B, 8 pt.; 149, Caps 116 M. and E., Caps; 116 M. and E., C, 9 pt.; 149, Caps 116 M. and E., C; 149, Caps 116 M. and E., D; 150, Caps 116 M. and E., D, 11 pt.; 150, Caps 116 M. and E. No. 22, 6 pt.; 148, Caps 116 M. and E. No. 28, 10 pt.; 150, Caps 116 Manuscript; 434 Mayeur Initial, No. 697, 52 pt.; 51 Mayeur Initials, No. 699, 72 pt.; 50 Mayeur Initials, No. 735, 46 pt.; 64 Mayeur Initials, No. 761, 36 pt. ; 64 Mayeur Initials, No. 761%, 32 pt.; 64 Medieval Initial; 47 Microscopic, Caps; 115 Miscellaneous Initials; 72-83 Missal; 16. For other sizes of same face see Uncials & Monk Missal, Uncial, ornamented, 30 pt.; 44 Modernized Italic Old Style, No. 20; 294, 295 Modernized Old Style Capitals; 124 Modernized Old Style Italic, No. 20; 294, 295 Modernized Old Style, No. 20; 195-212, Caps 124, 294, 295 Monastic; 264 Monastic Initial; 47 Monk; 43, 44 Monotone (now called Gushing); 246 Morris Initial; 47 Motteroz Body; 5, 117, 134, 135 Moxon, 12 pt.; 410 Moxon, 60 pt. ; 17, 76 Moxon (solid) ; 65 Mural; 410 New Caslon; 241, 242 Niagara; 305-307 Norman; 262, 263 No. 4 Conner, 18 pt.; 147, Caps 111 No. 4, Farmer, 14 pt.; 146 No. 4, Farmer, 18 pt. ; 145, Caps 114 No. 6, Farmer 12 pt.; 144, Caps 114 No. 7 Eoman, Body 10 (French Light-face) ; 136, Caps 117 No. 11, Bruce; 153-158; Caps 109 No. 11, Caps; 109 No. 12, Bruce; 163, Caps 109 No. 12, Capitals; 109 No. 12, Farmer, 11 pt.; 143, Caps 114 No. 13, Bruce, 14 pt.; 164-167, Caps 110 No. 13, Caps; 110 No. 13, Farmer, 8 pt.; 139, Caps 114 No. 13, Farmer, 10 pt.; 141, Caps 114 No. 13, Farmer, 11 pt.; 144 Caps, 114 No. 15, see Caslon No. 15, Farmer, 8 pt.; 139, Caps 114 No. 15, Farmer, 9 pt.; 140, Caps 114 No. 16, Bruce; 168-172, Caps 111 No. 16, Caps; 110 No. 16, Diamond ; 133, Caps 115 No. 17, Brilliant ; 133, Caps 115 No. 18, Farmer, 9 pt. ; 140, Caps 114 No. 18, Farmer, 12 pt.; 146, Caps 114 No. 19, Bruce; 159, 160, Caps 110 No. 20, see modernized old style No. 22, M. & E., 6 pt.; 148, Caps 116 No. 26, A. T. F.; 151 No. 28, M. & E., 10 pt.; 150, Caps 116 No. 71 ; see Caslon No. 105, two-Une; 94, 95 No. 313, A. T. F., 14 pt.; 152 No. 1828, A. T. F.; 162, Caps 114 No. 1828, Caps; 114 Numismatic; 41 Odd Initials; 79-86 Odd Letters, Figures, etc.; 442 Old Black; 6, 7, 24, 25 Old Flemish; 28 Old EngUsh, Initial; 59 Old Old Style Italic; 292, 293 Old Old Style No. 15; 183, Caps 120 Old Old Style No. 15 ; 179-191, see Caslon Old Old Style No. 71 ; 179-191, see Caslon Old Style Antique No. 310; 358, 359 Old Style Bartlett; 357 Old Style Capitals, large; 121, 122 Old Style Caps; 121, 122 Old Style Cheltenham; 213-218, 125, 126 Old Style Condensed; 257, 258 Old Style Condensed Caps ; 129 Old Style Condensed, 2-line; 102 Old Style Condensed Wood; 123, 204, 212 Old Style, Gushing; 374 Old Style Extra Condensed; 266 Old Style, Extra Condensed Capitals only, 129 Old Style, French; 219-222, Caps 104-105, 125. For same face but other sizes see Elzevir and Cadmus Old Style, French (Turlot) ; 248 Old Style Modern Capitals; 124 Old Style, modernized, No. 20; 294, 295 448 Index Old Style modernized, No. 20, two-line; 98 Old Style No. 20; 195-212, Caps 124 Old Style Portuguese; 194 Old Style Post Condensed ; 390, 391 Old Style SohoefEer No. 2; 346, 347 Old Style Title; 283-285 Old Style, wood; 204-212, 122 Open, Engraver's; 65, 402 Open Engraver's Italic; 315 Ornamented Black; 17 Ornamented, No. 1032; 405 Ornamented, No. 1049; 404 Ornamented, No. 1074; 78 Ornamented, No. 1515; 404 Ornamented, No. 1526; 399 Ornamented, No. 1536; 397 Ornamented, No. 1538; 349 Ornamented Type; 397 Outline, Uncial, 60 pt.; 65 Pen Text; 431 Pierced Initials; 45, 85 Portuguese Old Style; 194 Post Condensed; 390, 391 Post Curtis; 392, 393 Post Italic; 303, 304 Post Old Style; 388, 389 Prayer Book Caps; 111 Priory Text, 12 pt.; 22 Eatdolt Initial; 48 Eecord; 308 Reed Initials, No. 1; 56 Eeed Initials, No. 2; 56 Eenner; 223-227, Caps 127 Eenner Antique; 225 Eenner Capitals; 127 Eenner Italic; 223, 224, 226 Eiggs, 48 pt.; 173, Caps 117 Ritual; 42, 16 Roman, Ancient; 100, 101 Romance Initial, 99 pt.; 55 Roman Condensed; 259-261 Roman, Engraver's; 252-253 Roman Extra Condensed; 268, 270, 280 Roman Inclined; 297 Roman No. 7, Body 10 (French Light-face) ; 136, Caps 117 Roman Scotch, 236-240, Caps 113 Roman, Seotchface; 110, 161 Ronaldson Gothic, series; 344, 345 Rundschrift; 430 Runic and Gothic; 323-352 Runic Extended, No. 643; 352 Eunie (Heavy) No. 641; 350 Runic (Light) No. 640; 351 Runic (Square) No. 643; 352 Russian; 423 Satanick; 10, 11, 26, 27 Saxon, Anglo; 31 Schoeffer, old style No. 2; 346, 347 Sehwabacher; 422 Scotch-face Roman, 16 pt.; 161, Caps 110 Scotch Roman; 236-240, Caps 113 Scotch Roman Caps; 113 Script, Engrossing; 432, 433 Script French; 428, 429 Script Louis XIV; 428, 429 Script, Manuscript; 434 Script Pen Text; 431 Script, Rundschrift; 430 Scripts; 425-435 Script Text, Pen; 431 Script Vertical; 435 Shaded Celtic; 252 Shaded Cloister; 403 Shaded Gravers; 405 Shaded, Hair-line; 398 Show Card; 316, 317 Silhouette Initials; 74 Sloping Black; 12, 29 Square Runic, No. 643; 352 Syriac; 423 Tegner Initial; 63 Templar; 408 Text, Chapel; 15, 30 Text, Church; 14, 30 Text, Church (Elizabethan); 14 Text Pen; 431 Text, Priory, 12 pt.; 22 Text Types; 131-254 Text Types, foreign; 413-424 Text Washington; 412 Three-and-a-half point. No. 17; 115, 133 Tied Letters; 442 Title Italic; 296, 297, 298 Title Old Style; 283-285 Trail Initials; 66-71, 89 Tuscan; 385 Two-line Letters; 94-105 Two-line No. 105; 94, 95 Two-line Old Style No. 20; 98 Typewriter; 252 Uncial; 44, 43 Uncial, outline, 60 pt.; 65 Upset, or High Initial; 46 Venetian; 318 Vertical Script; 435 Washington Text; 412 Wood Antique; 360, 361 Wood, Caslon, 72 pt.; 121 Wood Clarendon; 381 Wood, Condensed Caps; 123 Wood, Condensed Old Style; 207, 209, 210, 211, 212 Wood, Gothic; (?) Wood, Ionic; 360, 361 Wood, Old Style; 204-212, Caps 122 Wood, Old Style, Condensed; 123, 204, 212 XV Century; 192, 193, Caps 128 XV Century, Caps only; 128 XVIII Century Initials, 52 pt.; 59 Zeeze Initial, No. 17, 60 pt. ; 61 Zeeze Initial, No. 18, 48 pt. ; 61 Zeeze Initials; 49 Zeeze Initials, series; 22, 49 449 illiiiiii' ifH'i ^ jjiiiiiLli Jul