■■'■■« 'IK , ,,, . . ,,..■... .j . ., [[I.l , H f . . I . , iihiiii afotttell Hnincratta SItbrarg Itiiaca, ^tm ^ork BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 ,,«cifk\ A£Ri6J95I_Hl Cornell University Library HF5825 .S55 Effective type-use 'prm^iiiXSiiMii^Ji?! olin 3 1924 030 170 744 f The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030170744 Effective Type-use for Advertising By Benjamin Sherbow Consultant in Typography Author of Making Type Work Sherbow' s Type Charts for Advertising etc., etc. 1922 Published by Benjamin Sherbow 50 Union Square New York h Copt/right, 1922, by Benjamin Sherbow All property rights reserved including those in foreign countries t\.^(^\(o "2, Printed in the United States of America Contents Foreword TMaat is good advertising typography? 1 Getting Attention 4 Delivering the INIessage 13 Good Looks 17 Advertising typography must invite the eye by its good looks Type dress should conform to the character of the message, 22 Decoration, 26 The relief of white, 32 II Livehness 41 Advertising typography must stimulate interest by its liveliness Display, 49 1 Display must stand out, 53 2 Display must be easy to read, 55 3 Display must be good to look at, 62 4 Display must be arranged so that its sense is clear at first glance, 63 5 We must not overdo, 64 Contents III Orderly Arrangement 71 Advertising typography must sustain interest by orderly arrangement Orderly arrangement in cataloging, 77 IV Easy to read 87 Advertising typography must grip attention by being supremely easy to read 1 The face of type, 89 Avoid freak lettering, 107 Avoid dark backgrounds for type. 111 2 The size of type, 115 3 The length of line, 124 4 Space between lines (leading), 128 A check-up for effective type-use 134 Foreword Foreword In 1915 The Century Co. asked me to write a little book on type . It was published in 1916 under the title of "Making Type Work." I confined my subject to the use of type in ad- vertising, discussing in as plain and simple a fashion as I could some of the things which my daily experience had taught me about making type work. "Making Type Work" has circulated all over the world. Several editions have been printed, thousands of copies have been bought; after six years it is still selling steadily and there are even instances of a copy being stolen! It is on the list of recommended books in many universities and colleges, and wherever advertising is taught. In a recent test to establish a list of the ten best books on advertising, it was given a place among the ten. The reason for the success of "Making Type Work" is that it talked plain common sense about the use of type in advertising, and showed how to apply what it taught, to everyday needs. During the six years which have gone by since I wrote my first book, I have worked out many new type problems, experimented no end, lectured, written, taught classes at Columbia University. And I have made "Sherbow's Type Charts for Advertising." This enriched experience has gone into the making of "Effective Type-use for Advertising." It probes farther and deeper than the earlier book — gets closer to the very marrow of the sub- ject. Plain to be seen also in this book is the result of my teaching and lecturing work. The sheer necessity of making things clear to the student mind has developed simpler and better methods of demonstrating the fundamental use of type. So here is "Effective Type-use for Advertising," another effort to advance the sensible use of type. /3ji^a New York January, 1922 Effective Type-use for Advertising What is good advertising typography? THE MAN who drives his cart through your street in Spring and yells "Strawberries ! Strawberries!" does perfect advertising. He gets the attention of potential buyers and tells them, understandably, good news of some- thing to buy and he has the goods right there when and where desire is aroused: all this is mer- chandising at its best. Advertising at its best is any means whereby large numbers of people can be told good news about something to buy. Advertising is simply a wholesale method of human communication. Advertising typography is just ordinary com- mon sense typography applied to advertising. It is not something wildly and fiercely unique. In fact, the general notion that advertising itself is a separate, special, peculiar, deeply mysteri- ous thing is a vicious idea . That attitude toward advertising is what makes so many advertising [1] efforts, both in conception and execution, pretty poor specimens. The best and wisest advertising men of my acquaintance strive with all their might for natu- ralness . They seek natural points of appeal , natural language in advertising, natural illustrations, natural comparisons and the atmosphere of every- day life in all they do. It is only the novice who wants to don long red robes, put on false whiskers, light up an in- cense smudge and wave a wand as the Stuffed Panjandrum of Intensive Merchandising! So type must be the clear, efficient conveyor of the advertising message. It must be simple and natural, no frills, no self -consciousness, no "showing off" — just doing its duty. In a nutshell, what is good advertising typog- raphy.'' It is typography that is supremely easy to read. [2] Typography is only a part of advertising. Adver- tising must do two very unlike things: First, get attention; Second, deliver a message. Attention is got almost always by something other than type. The message is delivered almost always by type; the only exception is that the picture may greatly help in delivering the message. You can make an advertisement wholly of type, but no advertisement can be made wholly without type. The supreme function of type is to deliver the message. [3] Getting Attention Have you realized how much of the money, work and genius spent in advertising goes merely to catching the eye of readers, or, to use the accepted term, how much is devoted to "attention-value?" Considerably more than half ; yes, perhaps almost two-thirds of the money spent in advertising is spent simply and solely to catch the eye, the residue paying for the message which is the real nub of the advertisement. Illustrations 1 and 2 are two typical magazine page advertisements. Note, first, that the story could have gone into less than a page, but the whole page was paid for to monopolize the field of vision — the eye — so that here at once is a big expense for attention -value. Then the pictures and all the white space serve the same end. See how little is left for the message, the real objec- tive of all this flow of money . The willingness of the advertiser to spend the greatest proportion of his money for attention- value is again shown in the Noiseless Typewriter newspaper advertisement (3) . [4] He paid for enough space to dominate the page and then wisely used only a portion of it in which to tell his story, so that the white space could act as an attention-getter. Again, money spent for special position on the newspaper page, is money spent for attention- value rather than for the actual delivery of the message. The small advertisement of The Mer- cantile Safe Deposit Company in illustration 3 would stand a greater chance of being overlooked if it were sandwiched in among a number of others rather than placed where it is. The all-type advertisement shown in 4 is all message , not enough eye-catcher . Alongside illus- trated and colored and big advertisements it would be a wall-flower, rather neglected. You can make, easily, a very good all-type ad- vertisement — but no advertisement is or can be made wholly without type. This is shown in the "teaser" advertisement (5). It is all picture and white space — no type at all. It occupied paid advertising space in a newspaper but it is not really an advertisement at all — it delivers no message. [5] TO THE EXCEPTIONAL MAN To (hat man, jucccisfu! in his gratify his reasonable desires — K (he miin of exceptional lasle— (]uicl distinction in appearance is a|. most second nature. He secures the air metropolitan by selecting whnl is finest in personal apparel quiit a very few custom tailors luniry. London, or Paris I Hirsh. Wkkwire Clothes . finish, and especially in the proper expression of individ- uality in appearance. We make our clothes not only to fit, but to befit men -of many different types, so that men like you may experience the substantial satisfaction oC finding close at hand such personal apparel as you will ioscinctively desire to wear If you are the enccptional man — exceptional in taste, in desires, especially in figure— you will find in Hirsh, Wickv/in: Clothes all that you have long sought. Just a note from Vou will br^ng by return of post the name of the smart shop where Hirsh, Wickwirc Clothes may be had. Hi RSH, WiCKWi RE Clothes Taiiartd by Hir,h. fVUtv This is a typical magazine page advertise- ment on which the greater proportion of the money spent was for attention- value by large use of white space. [6] Tkey keep yon looking your best # ADLER COLLEGIAN CLOTHES Smart styles for every man of i7ro7o Made by DAVID ADLER & SONS- COMPANY- Milwaukee ifilm (/ utOiI coco ibiln ilma lilt On this page advertisement also the greater proportion of the money spent was for attention-value by use of a large picture and large headlines. Here, however, the picture greatly helps to deliver the message. [7] , (-.ir.«-~.4..«BH Atf brartcre Are Mav lirop Quiz U'lrmrj",".™'::;;^. w'.T .■:]■""" ;~V^„,.^ p^njoniarjcoi.duh-.". ;""r.ft'.y.?HV!rJ Ounted, Soj'6 RW DaiiedMorePowcr,™™,,';r:^'".?;i:::L:l;j/;,-v'-;;;,;::r:'.r;^Er~' *^°"'"°'°*^'"''' >i,'i,.Tr.i:^n;«r.',-rii^ Clemons K ar BROADWAV We Wdl Place On Sale T of the bro.aeat. at the kmt ""^'' "*> "™ """" "»" '"'- lime the mosi intensive kind Profit-paying le Hera wilhln ThemelhodaofTailetlei^ ,_, 1'^"' ^'^'^^ wTidng speciaUat. ^^^^^^^ ™ "Z^ rTU'J;': Jul sod) ■ woffc Ii the "Shaw t-volume deu coonptioa of the prindplB behiDd Busmen CorTOpolkdeace SyiiCem"— ihc ntcnssful wtirr writing. A carefuJ rcsd- cBult of Systxh s 20 yeus of cipcriencB lof of this Shiv SyJIein nukes these rrilinfl Icltcn Ihal pay luiustuJ pmfils^ pnodplo clear lo you, and lUs to a targe y^u- SvSTGii sentb out millioDs of eilcnt elimirulcs guess-vork Vou are , ol Dm) oultci Eich piea Is de- ible to \niigc man accuntely whelbcr a limned lo nm e Correspoo. .^mpi^ Evrn the handlinn ol ordinary ^V ■J™" System." routine comspoodenni — mcb a time con- ^V Here, too, an the tdeu sumcr in the past— can be disposed of En a ^ lod methods of 7JI letter' siirprisingly short time, yet each letter be *.».«te» X^ writing sneclalisli. Mes midc to carry just the mosagt you want. ^-°~T^ ^, V Send no money — mail the conpon iSrftJ I^^^S'&S. \ Snnlyyonseelbevalueti) youof thc"Shiw4-voIumeBiis]- SJ'a'JJ.'"?Srj'""'^ Sm N- OB* Cormpondence System " Am) vou wiU vint to SiiSS5 jMBrJi B "JJ^- learojnsl what thbrrnuikalilcSyilzi Qaick Answers fb Your Difficult Preblenis -b» to pkl This advertisement invites the eye. "A man without a smiling face must not open a shop," says an old Chinese proverb. [19] YOU CAN'T PASS UP The Fort Worth Market One of the Richest in the Country INCLUDES ALL THE VAST, NEW TEXAS OIL FIELDS (with $200,000,000 annual produclion) AND BUMPER CROPS FOR 1919 (Cotton, Grain. Live Stock, Peanuts. Dairy Products. Feedstuffs, etc.) Offers To the National Advertiser a Potential Buying Power of Over a Half Billion Dollars THE CITY OF FORT WORTH With a population of 150,000 and growing at the rate of from 3.000 to 4.000 per month, is now engaged in TWENTY-FIVE MILLION EX5LLARS BUILDING PROGtUM. which includes OFFICE BUILDINGS (from 10, to 24 stories) HOTELS (including 17 story. $2,000,000 structure now building) eight new oil refineries in addition to three already built, manufacturing plants, apartment fiouses, (including several with over 100 apartments each) and residence permits being taken out averaging $30,000 daily You Can Cover This City and Market With One Newspaper FORT WORTH STAR-TELEGRAM Over 65,000 DAILY 70,000 SUNDAY Second paper in Texas— first in Fort Worth Write for booklet on market artd detailed eirculalion COMPLETE MERCHANDISING SERVICE DEPARTMENT Member A. B. C. AMON G. CARTER. Vic. Pr«. uid Cm. Mjr. a. L. SHUMAN, Ad.crti.ine Wet. 8 'Zounds! I was never so bethump'd with words Since I first call'd my brother's father dad." Shakespeare: King John [20] Why Buy a Bet When You Can Buy a Certainty? Hartford, Connecticut, is a city that responds to good advertising, Hartford probably has more money per capita than any other city of its size in the world. Hartford bought $ 1 30.000,000 in Liberty Bonds, which is as near to $ 1 ,000 for each man, woman, child and infant as any statistician can figure it. The assets of the banks of Hartford are greater than the combined assets of all the bainks in thirteen differpnt States. Established in 1817 The Times with its 36,000 three cent circulation eliminates the element of gambling when you go after Hartford business. In this very unique and exacting city it sells 25.416 copies daily (A. B. C, figures) against the second paper's 8,489 (A. B. C. figures) eJI of which every open minded space buyer will admit is an "argument" in favor of The Times. Don't buy mere space Buy results KELLY-SMITH COMPANY Representatives Marbridge Bulldingr Lytton Building NEW YORK CHICAGO 9 This is more the way in which a good sales- man goes at his job. Enough emphasis on his main points to get attention without "bethumping." [21] enter, with its wares carefully arranged and well displayed for quick and pleasurable inspection. What would happen to the salesman who bawled his story into your unoffending ear as the advertisement of the Fort Worth Star-Telegram (8) does with its visual shriek? I am sure you would feel like handing him over to the police. What is poor salesmanship in person is poor salesmanship in print. The Hartford Times advertisement (9) does its job much better. You are more willing to listen to it because it doesn't bawl. And yet it is quite as emphatic as a good salesman needs to be. Type dress should conform to the character of the message. It is easy enough to become smitten with the idea that every product demands a type- face all its own for its true expression and then start off on a wild chase for the right face of type to express the soul — of a button-making machine, let us say. When the rubbish has been swept away from this idea, what remains that is useful to us? Simply this: we should get into the type dress of [22] our advertising as much of the atmosphere of the product as we can. In other words, common sense would tell us to choose for the advertising of a tea gown or a perfume any good-looking, readable lightiace such as Caslon, Scotch Roman, etc., and to avoid boldfaces such as Cheltenham Bold. Or again, common sense would tell us to avoid feminine graces in the advertising of a motor truck and choose a vigorous, sturdy type dress, fitting to machinery made for heavy duty. To go beyond this simple rule of common sense into a search for types peculiarly fitted to express the true inwardness of this, that, or the other product, is an utter waste of effort. As a good example of fitting the type dress to the character of the product, compare the two Pierce- Arrow advertisements shown in 10 and 11 . Suppose for a moment that the truck advertise- ment had been dressed as the passenger car adver- tisement' now is. Could it have suggested power and strength for heavy trucking as it does now.'* Or suppose the passenger car advertisement had been dressed as that for the truck now is. Could it have suggested luxurious travel as it does now? [23] The only way to really know 'iJicra-Jfrrowh^ Said a demonstrator connected with the factory: "If I can get a prospect in this car and run him around a bit, 1 can sell him." That IB the present itate of mind of every man who hai had anything to do with the making oi Picrcc-Arrow. He IS surf the car will sell itself. The feeling the car gives the man who rides in it the first time is unmistakable Driving would be better than riding, but even the pasaenger gets that sense of ample power, of case and responsive- ness and elasttcily the Dual- Valve engine makes possible. The Dual -Valve is not new, but the three years since it was new have been judiciously used. It IS better The car that depends upon it is better. The body designs tcflect the qualities (he engine gives the car and they are full of con venience and comforts. Only a personal inspection can showyou what these things are and what they mean to you Pierce -Arrow Sales Co. Buffalo The type dress helps to convey the idea of luxurious travel. [24] speed and hill climbing The present Pierce -Arrows travel from point to point 15% faster than before. Their hill-climbing ability — pulling out of holes or through sand— is 25°o greater because of the Dual Valve Engines in them. R Governed to an indicated speed, their greater power permits them to maintain their pace, so thev make more trips and cover a wider radius each workinq dav Ar lerce row CHASSIS PRlCtS THE riEBPE ARROW MOTOR CAR COMTANY, BUFFALO II Here the type dress suggests power and strength for heavy trucking. [25] Decoration. To many, the idea of a good- looking page of print implies ornament or deco- ration of one sort or another. This results very often in dragging ornamentation into a piece of advertising print that would be better without it. Decoration wisely used where it belongs, gives an added grace to the printed page, invites the eye and thus helps to deliver the message. A good example of this sort of decoration is shown in the Locomobile newspaper advertisement (12). Decoration that does not help to catch the eye or deliver the message is not only superfluous, but is harmful. It distracts attention and uses up room that costs money. In example 13 the decoration fairly smothers the message and gives it little chance to be delivered effectively. In 14 the decoration is again overdone. Space between the paragraphs that would be better left white is here filled with bits of ornament that distract attention and slow up reading. A single one of the ornamental units between each paragraph would not have been entirely out of place and would have given the relief of white that is now lacking. Note this improvement in 15 . [26] Let me quote here from a report I made re- cently to an advertiser on his catalog: "To me it seems that the real interest and attention -value in a page must come from the kind of pictures you use and their arrangement with the type, rather than from such extraneous material as borders and miscellaneous decora- tion. If the pictures of the merchandise are not live enough and good enough to get attention by themselves then there is something seriously the matter with those pictures. "I do not believe that is your case at all. "It seems to me I have rarely seen pictures better adapted to their purpose than those you use, and in the main they appear to me to be ex- tremely well handled. That is why I see less and less reason for dependence upon decoration as such. If the pictures cannot get attention by the force of their inherent interest it would be neces- sary for you to get pictures that can." [27] LOCOMOBILE ®| 1917 I® The new six-cylinder series is now on display. Fashionably low in lines, powerful, re- sponsive and sweet-runnmg — the perfected chas- sis being equipped with a beautiful body, either standard or especially built to meet the indi- vidual taste and wishes. Underlying all is that distinction and quality which have so thoroughly established Locomobile excellence and prestige. THE LOCOMOBILE COMPANY OF AMERICA Sixty-first Street, next to Broadway 12 Decoration well used. It adds to the good looks of the message contained in the type and helps to deliver it effectively. [28] MJ A QUESTION OF REST ^ ^ NIGHT «r Is not so much of a question after all; this you will realize when you see our new stock of selected live Hair MATTRESSES. Then, too, we have something warm in Woolen Bla nkets — the choicest of stocks ever shown in Denver. We are offering special prices to create greater interest in our store The RED STORE MAIN STREET, DENVEK 13 The decoration smothers the message and gives it little chance to be delivered effectively. [29] It HOLLANDER MAIN STREET, DETROIT ■^ -^ 4i- -if -^ CORSETS ■^ -^ -^ ■^ -^ Fine Batiste Corsets. Dip hip and medium bust, supporters at front and side. Guaranteed. $1.45 Value, $2.^0 •^ -^ -^ -i^ -^ Stylish French Batiste Corset. Trimmed with Parisian Lace. Very neat for slender figures^ $1.85 Falue, I4.00 ■^ ■^ ■^ ■^ ■^ "Muriel" Corsets for average and well-shaped figures. The most stylish cut and outline. From $3.00 to $12.00 per pair -«=rao>|> 14 The ornamental units between the para- graphs distract attention from the message and slow up reading. [30] ir fL HOLLANDER MAIN STREET.DETROIT CORSETS Fine Batiste Corsets. Dip hip and medium bust, supporters at front and side. Guaranteed. $1.45 Faluejfi.^o Stylish French Batiste Corset. Trimmed with Parisian Lace. Very neat for slender figures. $1.85 Value, I4.00 "Muriel" Corsets for average and well-shaped figures. The most stylish cut and outline. From ^3.00 to $\i. 00 per pair 15 Same as 14, except that, most of the orna- mental units between paragraphs having been removed, they no longer interfere with quick reading. [31] The relief of white. Type needs a relief of white to invite the eye and make it easy to read . The printed page that is crowded and squeezed scares off readers. "Thoughts shut up -nant air, And spoil, like bales unopen'd to the sun." Young The Home Sector advertisement (16) is choked with type. It cries out for a bit of air to breathe in, for just a httle wedge of open space here and there to break up the jam. What a rehef after this to come upon such an advertisement as is shown in 17. It makes you feel as if you had just fought your way through a dense crowd and were out in the open again, free to move about as you choose and fill your lungs with fresh air. . We must beware of choking up our advertise- ments if we would invite reading. Give them air. But not so much air that the type has to be huddled off into a corner to squeak its message in a weak, thin, little voice not much more than a whisper. Such slathering of white space gets us nothing and loses us the chance of being read. [32] Look at the Bausch & Lomb magazine advertise- ment (18) and you will see what I mean. The Warren Company (19) makes a better use of its space. They use it to tell their story in large type that doesn't need a magnifying glass to read. [33] 'TEN SHUN! Every man who served his country in the Army, Navy or Marine Corps during the great war! T^Ae SlaTS and Stripes, which was the true voice of -the A. E. F ■■ from the early training days until the signing of the Peace Treaty, then went out of existence, but the soldiers who wrote and drew 90 per cent of all the material published in The Stars and Stripes did not scatter, each with his $60 bonus. They have kept close formation to edit a new magazine which is called' THE HOME SECT , ^-^A WEEKLY FOR THE NEW CIVILIAN CONDUCTED BY THE FORMER EDITORIAL COUNCIL Of Che Siars and Stripes This new weekly, which makes its first appearance September 1 7th, will interest all red-chevron Americans because it is lively with Baldridge's wonderful drawings — Wallgren's hilarious cartoons — Untold stories of the war — Tidings from all the old Yank sectors in France, Belgium and Germany — Several pages of humor, and SERVICE, a department which will be placed at the disposal of the former service man to answer all questions pertaining lo war-risk insurance. Liberty Loan bonds, back pay, travel pay, bonuses, pensions, legislation — state and national — and the dozens of other questions now perplexing former soldiers and sailors. Ask Service. Start The Home Sedor with this week's issue. TEN CENTS, ON ALL NEWS-STANDS $5 a Year. Write for Special Gambinadon Offer Agents wanted. The Butterick Publishing Company, Butterick Building, New York i6 After getting 'Tenshun, this advertisement repels further reading because the type is crowded, jamined and squeezed. [34] Nmo rtady for dutribution The Committee for Newspaper Research announces the publkation of Attainable Ideals in Newspaper Advertising An impartial study of the best ways to use Newspaper space ■pXURINC the nexf week tlicrc iiill The "copy" of each advertisement is «- -L' bc.distributcd to the principal ad- posiiory of the principle involved. vertiicre and advertising agencies Pvo Tlic other book is text maiicr ivhich publications of the Committee for Ne^vs- takes up comprehensively and without paper Research. bias tlie points for and against the news- One book takes up tlie-problem of get- paper as an advertising medium, ting satisfactory effects in illustntion, re- The publications will solicit nothing production and tj'pogriphy mth neu-s- and have nothing to sell. They will be paper stock and facilities. It is illustrative dbtributcd without charge, and suggestive, rather than dogmatic. It The Committee offers its publications consists of a forty-page newspaper printed in the hope that they will help solve some on ncwspaf«r stock, under regular news- of the problems that confront users of paper conditions. Itis filled with specially newspaper space. It believes that those prepared sample advertiscmcnls ivhich il- who rcccjvc them will find it wonh lustrate different phases of the problem. while to study them carefully. This Study has been made under the auspices of: The Biumu-yn Dailv Eaclc The Sacramento Bc£ The Minncapous Journal The Milwaukix Journal The Des Moines CAPrrAL The Omaha World-Herald and iKeir narioniJ representatives O'Mara & OiursBtE, Inc Committee for Newspaper Research zzs Fifth Avenue. New York 17 The openness and airiness of this advertisement invite the eve. [35] Ji piece of gUss f y 'iosl a bit of jood aad of salt ff^ exictly >combiocd, circfully mdicd. skilfully formed Afld poUsbcd —I LENS 1 — »nd windows optn upon other world;, K • linu nr ifio \kx away for naked eyes V «e«. Marvelous i the aid of 'Jiduslry, or play their vital part in vrar,on )and or sea or in tht airi old eyes erow younff, and weak eyes strong— all through tlie«e wonderful bits of glais r;nlled lenses, perfected by sci- ence thai inen may ace better and farther. q The^i The I myslciius q The uncr n The proji ^ iiioulnB P q C. cm sea q U[ihlhalmli)(eycElis!) lenses, wlikh correct rifcsichl, and add lo lile's richness and com- fl I'tecisc and delicate insliumenls. (or ciacl ^ ECicnliric research in man)i fields. These EUEROsl. tut (all (ar Fhorl cl mcasurini; (hu countless sorviccs rendered daily id hu- o( tenses and optical Instruments. BaUSch & LoMB Optical Companv Rochester. New Vork l8 White space in moderation is a good thing. But it should never be used at the expense of a readable size of type, as was done iq this advertisement. [36] THE TRAIN AND THE BOOK IN some English-speaking coun- tries newsstands are called bookstalls, and there they sell handy-sized books to travelers. A book that will fit the pocket has several advantages. It is light in weight, easily held in either hand, can be carried from car to car, can be read in the berth after retir- ing, and when you have finished it, you will have read a real book. Reading in bed, or reading any- where, in those intervals when there is nothing else to do but read, is always more pleasurable when the volume is compact and light. Believing that the American people, either travelingor at home, will welcome books that are easy to hold or carry about, books of small bulk that weigh little, we are offering to publishers, for such edi- tions, a truly remarkable paper that we developed originally for the Encyclopaedia Britannica and Webster's Dictionary. Warren's Britannica India is so thin and light that 1420 pages are only one inch thick. Yet this paper has a smooth, silky finish not only pleasant to the tdftch, but the pages open easily and freely with- out cohesion. Type printed on Warren's Britannica India has high legibility and for all its thinness the stock is remarkably opaque. In the New Century Library of Standard Classics, Thomas Nelson & Sons have produced long works like "David Co'pperfield" and "Bleak House," printed in ten- point type, in little books 4)^ x 6^ inches, not quite 3^ inches thick and weighing nomorethaneightounces. If you own any New Century Library Books, examine the paper. It is Warren's Britannica India — a Warren Standard. S.D.WARREN COMPANY, BOSTON BETTER PAP E It BETTER, PUmriNG 19 Here, a sensible use of the space provided for a size of type large enough (in the orig- inal) to be read with ease. [37] II Liveliness Advertising typography must stimulate interest by its liveliness 'Why should a man, whose blood is warm within, Sit like his grandsire cut in alabaster?" Shakespeare: The Merchant of Venice II Liveliness Advertising typography must stimulate interest by its liveliness The Century Dictionary defines lively thus: "Full of life or energy; active; vigorous; vivacious; brisk; alert." Check up this definition against the two facing pages from a booklet shown in 20. Do these pages look alive, brisk, alert? They do not. They look deadly dull. The story they have to tell may be very interesting indeed but it does not look in- teresting enough to tempt us to read. Contrast 20 with 21. In 21 we have a good example of liveliness in the printed page. It in- vites reading. It looks interesting. Suppose we analyze these two examples and see what was done with the type to make one of them dull and the other lively. The typeface in 20 is too bold for easy reading. It begets eye-strain. The page looks heavy, monotonous. The solid mass formation of the [41] genJouG and eclentific procedure. In by means of tbe keener insight into com- 1879 be established a phoio-cngraving mercial possibilities, although the origin plant for tbe Crosscup &. West Compoii?, of the idea was based upon the inven- of PtiilBdelphia, nhjcb concern in iSSi tions of Mr, Ives. began to manufacture his half-toac plalcs At about the period last named, Mr. commerciaUy. In 1886 he perfected the Ives developed the method of segregating process as now universatlj used; but. primary colors from a given subject by means of an bterposing color filter, which employers at this period realized the will, in common parlance, pick out and cominercial value of the invention of nhot retain in the "eye of the camera" the is now known as the sealed cross-line, or three primary colore, which are by com- the pin-hole glass screen, through which mon acclaim denominated yellow, red. and blue. Three separate plates being tbe sensitiied film. The desire on the made from three negatives, and etched part of the employers of Mr. Ives to re- by certain processes which are the result tain tbe process as a secret resulted dis- of skill and experience of the photo- engraver, when superimposed in the for the reason that others, reahzing the printing process, produce a faithful replica value of this new process, immediately of the original- This feature, however, turned their atteation to a means of se- curing similar results', and by obtaining fraternity, but perhaps due credit is not tendered to Mr. Ives for the most to* against other inventors. portant part he has played in the develop- The current history of the art has ment of the art, for the process of the tri-chromalic printing as known today Ives' business associates made a serious is due to the inventive genius of Frederic error in their failure to protect the origi- Eugene Ives. nator of tbe device, because it is within Process printing has compelled im- common knowledge that other manu- provyments b manufacturing of all the t Clements entering into printing, par- 20 An eflEect of deadly dullness that discourages reading page lets too little daylight come through the type. More space between the lines would have helped considerably, but not enough. The type- face itself is too heavy. The paragraphs are too long — only three paragraph breaks on two pages. There are no other sort of breaks to give a bit of breathing space and interrupt the flow of words, words, words. The whole produces an effect of deadly dullness that discourages reading. What gives 21 its liveliness.'* The little sil- [42] HOLMES PROTKCTION noT.MR-i fbotection"" " The IIobuM System fT^iiiB system ol electric protection is not the 1 local lUm «r be II -on-bull ding type or&ij[n[i]. Such B system wis abandoned by the HolmetCompuiySOyeBisBgf) ^^K ■s imulequatc. The Holmes Sys- m^ ^ Icm is u) inlricBte uid posiUvc (^rj central office ml»nn system in which til impoTtsnt entrances mid vulnerable poiiiU of stuck at veil OS viduiihlc show cue^iind reccp- An individual alarm fyviis system of interior wiring Is connected I with the Holmes Central Office, where il terminates in ui individual registering imtnimcnt th«t servci your proparty »nd no other. dition of the wiring on your premises and thus makes possible the early discovery of many fires, [«1 No delay with Holmes TN THE Holmes System, should Ihc wires be Itampercd with or in any way duslurbed, ai> A burRlar attempting to get in migtil jtat ra well Utipkmc lu in advance, for that is rmlly what he does when lie attempts to rob properly pro- Iccted by. the Holmes System. Here an adequate force of trained and experi- enced men arc conslanUy on duty. They molie Whal the Holmes System does JT i>oea this because all imparlant openings and lall vulnerable points of burKlar attack arc connected electrically. ^^tM This system of intcnor wiring in » '^W^ turn, is connected with the ajann \ jJ% sounding instrument in the Holmes ' ■ Centra] Office *• [>) 21 Liveliness that stimulates interest houette pictures help of course. But let's forget the pictures for a moment. These pages would have been lively without them. In the first place, the typeface itself is lighter and one to which we are more accustomed in our general reading. It is familiar and easy as an old friend. There is plenty of space between the lines to let the day- light come through. Display heads and sub- heads break up the monotony of solid text and stimulate interest. Short paragraphs provide fur- [43] ther breaks and add to briskness. These pages look alive and warm. They attract us as any live thing does. Compare the two magazine advertisements re- produced in 22 and 23. As you look at 22 you feel as if it were going to be a good deal of a job to read it. The typeface itself is hard to read and reading is made still harder by lack of space between the lines. A solid mass of type like this, unbroken except for space between paragraphs, does not invite the eye. The type arrangement does not of itself stimulate interest in what the advertiser has to say. 23 is livelier. Reading is made easier both be- cause of the typeface itself and the openness of its composition. There are no long, unbroken stretches of text. The eye is invited because the type looks as if it might have interesting things to tell us. The Vanity Fair advertisement (24) shows liveliness in type arrangement carried a good deal farther than is possible for products requiring [44] the presentation of closely-knit argument. The vivaciousness of the copy itself in the Vanity Fair example offered a chance for lively handling in type, of which the advertiser has taken full advantage. 49 and 50 are good examples of lively presen- tation. The very look of them stimulates interest in what they have to say. 58, on the other hand, looks so puffed up with ponderous dignity that it scares us clean off the premises. We feel that we are not on friendly soil. [45] Make It Readable You cd^n't get results from adver- tising unless people read iu The more people woo read it, the larger the results you obtain. Make it readable, therefore, if you want to make it more productive. That's the gist of the message in this announce- meat which is itself intended to be a eample of the more readable sort of advertising we are talking abouL This aoyertiscment Is set by band in foundry^ast type. As you can see for yourself, it is easy and inviting to read, and has' besides a marked distinetioa and type character both pleasing and attention compelling. Our booklet, Foundry-Cast Type and Hand Composition, is sent free to ad- vertisers and buyers of printing. It tells bow to get this supreme readability and type character into all yourprint- ing and advertising without adding a penny to its cost. Every advertiser and buyer of print- ing needs to know the important dis- tinctions between machine type and machine typesetting and foundry-cast type and band typesetting. All real founder's type must be set by band in a "stick" in the old-fasbioned, crafts- manship way. And it is the foundry type which you must have, if you want to secure printed pages that are easy and inviting to read. This is so because only the founder is able to make type true^to the pattern of the master de* eigner who originally cut the letters, years before typeraaking and typeset- ting machines were invented. Machine type bas to be convention- alized — emasculated from the original design — tofitthelimitationsofthe ma- qhine process; and as a resuUallof the readability and type character which Caslon or Bodoni puf into the letters is lost. Machine type is not only lack- ing in readability and character, but machine typesetting also adds further imperfections to the printed page. No machine can take the place of hu- man fingers in setting readable type pages. It requires the trained hand and eyes of good hand compositors to prop- erly apportion white spacing between words, to give your printing or adver- tising a close set, and to keep out the ''rivers of white which," as George Bernard Shaw says, "trickle up and down between the words on every ma- chine-set page, like raindrops on the window pane." Machine type and machine typesetting may do for cheap books, puhlications ana other ru^h work where output is more important than quality, but all good books and all readable advertis- ing must be set by hand in true foun- dry-cast type. Vour printer, every printer, bas foun- dry-cast type and band compositors. Ho can give you the better band typeset- ting and the foundry-cast type, if you ask for it, instead of the inferior ma- chine-set product. Write today for our booklet which ex- plains why it pays to specify hand com- position and loundiy-caBt type. AMERICAN TYPE FOUNDERS COMPANY JERSEY CITY, N. J. Branch Houses in Twenty Leading Cities in U. S. A, The headline says, "Make It Readable," but the typography of this advertisement does not carry out its own advice. It does not look alive. [46] Does your typography come riffht the first time? Are you spending time and money for unnecessary printer's revisions? SHERBOW-S TYPE CHARTS are o work- in;: tool tor practical advcrtiiiing dicii. They arv useful because 1 Ihey Icll you instantly, without claborntc calculations, how best to set a given oinount of copy in a given space, 2 Ihey visualize for you in advance exactly hotv your type will look, 3 they solve for you vexatious problems of effective heads and subheads to give vigor and sparkle to your advertisement, 4 they solve for you problems of proper leading and spacing, and correct lengihs of lines for different sizes of types, the essential importance of which in good *J'POo"PV 's liltle understood, 5 they make your copy come right Ihe first time without waste of effort or cosily 6 Ihcy brins \o you the result of fourlivn years' study in \\w lypogrnphy of odver- tK^ing and definite stiindiirtl:^ by whirh your copy ran Ih" iiiiidi' more eifeclive Whu are usinff them? The n-Npoii-M' of ihc advertising world to Sherbovv> Tviii- ("bjirts has In-en sogiral as to make niivss:ir\ n second rdrtion. Advertising ;iceneie:<. big and little, are usmg llu-se Chart.i regularly on every job llinl Ihev h.tndle Bank.i. department stores, automobile maker>. mail order houses, engmeering con- cerns insurann; companies, brokers, tailors. tnanufacturers of r.nns, cement, plows, pen- cils, dynamite, cnmerns, chocolates, paper, automobile accessories, knit giXKis, so.ip, paint, chewing gum and innumerable orlicr products find Sherbow's Type Cliurts essen tial in their advertising. Printers ore using them lo speed up and clinch sales by letting the customer sec in advance exactlj what he wants Piiblisncrsof magazines, tradep.ipers, news- papers, books are sold coni'lusively on lliein Letters of appreciation whicli pour in indicate how invaluable the Charts are The writers have discovered for lliriiisffres not only the time- and cosl-snviiiH fiatun.-s, but also the certainty with whicli a di-cision ciin be made and misunderstandings prevented SHERBOWS TYPE CHARTS are in no wnse tj-pc "specimen books" They consist o( WOScdiritiitiafr'oiij of types, headlines, etc, of the sort constantly used in advertisements, booklets, car cards, catalogs, posters and folders. They are not t.-\t books— thej are at your elbow to an.swer type questions from one minute to another in the day's work Write today'for a prospectus Till- prospectus contains74 ot the many testi- monial letters and shows in detail the way in wliirh the Charts can help make your adver- tising more effective PUait mention Ihta publication BENJAMIN SHERBOW 50 Union Square, New York Sherbow's Type Charts "Everything- visualized" 23 This is livelier than 22. The eye is invited because the type looks as if it might have interesting things to tell us. [47] NOW LISTEN You don't need to be hil over ihc head before you'll see. You don*! need to bo Bsuulted and battered into a grin of ap- ti^ou're a good ivork- ing mouel of a citizen with leisure interests. read TLY! Then- Vanity Fair is made for you and your kind. Vanity Fair believes that it is better to ba gay and gracioua tliao End and sullen. That Lillian Urraino as AJsBce - Lorraiiii], any day. That GoIfiB as impor- tant as Lloyd -George. That s new symphony is far more inspir- ing than a negative Senate. VANITY FAIR the magazine of leisure interests for men who know enough to have them Vanity Fair makes a direct appeal to people of inlellecl and anpreeiation. To men and women with a flair for the arbi and graces that brif;hlen a workaday world. And — whether your Vanity Fair finds you ot Piping Rock, Long Island, or Pinfcathcr, Arizona, it Will interest and amuse and entertain you. VANITY FAIR collects and reflect! and brilliance from every shinin metropolilan life. THE STAGE? P. G. Wodehoui Jean Nathan— Dorothy Parker about the stage, Dorothy being the ■■The First Hundred Plays Arc the of LETTERS? Lord Dunsany—G. K. Chesterton ' — Hugh Walpole — Thomas Burke — voya- " / World cf letters. : — George Hardes ' ley — George Chappell — humoris — willy with a dash of acid. SPORTS? Grant Rice and othi ing sportsmen do the golf, molori, airplanes, ;iiid the Other skiing, skating, and skidding sports. geurs II ' ARTS? Sir r\. Paul Mar younger artists, PORTRAITS? Vanity Fair prides itself on knowing every lovely, brilliant,' or bizarre woman in the world and printing her photo- graph in its pages. _ CLOTHES? The only department of sensi- ble, well-bred, correct fashions for men published anywhere. SPECIAL OFFER: Two Years of Vanity Fair for $4> Vanity Fair's reinilar subscriplioo price from now on is S3.S0 a year — two years S7.00. Bui— if vou m^l that coupon now, you may have TWO YEARS OF VANITY FAIR FOR $4. A saving of S3 on the regular eubscription price. Life isn't so fuD of cheerful things that you can afford to miss Vanity Fair. Don''t hesitate! Don't deiiiy! Don'l stand around on one leg like the Statue of Fran s- poi^tion on the State Capitol! Sign that coupon 1 This offer will not be held open long! '^iuS'ITTFAl^' i9VEST'"44lh'sTBEETrN CITY I am BDiOE 10 KC for mywK rf you ai( as loci as you tbinW you are Enier my subMnpOon for lu>i> year,. IxTgrnnioK wiih ihc ncKi possible .i^uc Heic'a my four dollars (OR) Ml rcmii four dollari on rcccipi copyrigbi Vaoity tail 24 'A merry heart maketh a cheerful countenance. Book of Proverbs [48] Display The use of lively display heads and subheads Display heads are intended to catch the eye of the reader and convince him that our advertise- ment has a live message for him. He might dis- cover this for himself without the display heads if we could depend on him to begin at the begin- ning and read to the end of our story. But since we cannot depend on anything of the sort, we erect sign posts (display heads) to stimulate his interest and give him in a quick glance the vital points of our message. Display type may be either lightface or bold- face. It may be either a larger size of the type in which the body of the advertisement is set or it may be a bolder face. Contrast is what we need in display. Display heads must stick out of the page and call particular attention to themselves. If they do this sufficiently for the purpose in hand, they may be either lightface or boldface. [49] For a line of secondary Emphasis The Century Dictionaiy define emphasis as- "Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring 9ut clearly or distinctly; make more obvioxis or more positive." Make your type look alive. Make it look as if it ha. Sl.oo What Outfit, Buddy? By T. Howard Kelly As Jimmy himself wouldsay. "This ain't no war book. It's just a lot of .^un that happened lo happen Over There." If you would laugh and chuckle, come along with Jimmy on his marvellous A.W.OX. lUuitiaUd. Foil 8m Si-Jo Michael Forth By Mary Johnaton This popular author has written a mystical novel of Love and Immor' tility. A book that touches deeply Ihe thoughts, desires, and dreams of humanity today. Si 90 A Year as a Government Agent By Vira B. WhitehouM Mrs. Whitehousc was the first wo- man to be honored wilb an impor- tant and rather delicate mission abroad. The story ol the resource- fulness of this American woman mokes one of the moslstriking side- lights of the war. Uluslraled. Crown Sk>. Qalh. Si.TS The Psychology of Bolshevism By Johr) Spar^o Just as Mr. Spirgo's book "Bolshe- vism" disclosed in sharp outline the Russian Bolsheviki. this book— a companion volume — lays bare the reasons back of the world phenom- ena of unrest. Poj/Sro, Clalh. SiJS The Doughboys' Religion By Judge Ben LindEey and Harvey O'Higgins People sre asking: "Well, did the war cleanse our souls? Are we all regenerated by our baptism of &rcr " Failito. Si .35 Open Gates to Russia By Malcolm W- DavU Not a war book, but a. iboroughly practical and authoritative book about the opportunities which Rus- sia will oSer in her coming period of reconstruction, written by a man who knows Russia and her people. lUiulraitd. Crovm 8m. Cloth. \iao Hither and Thither in Germany By William Dean Howella All the charm of Europe before the war lives in these pleasantly moving flagcs. The large following which take delight in cvciy book of this master hand wiU 6nd here a shrewd humor and [he firm, tranquil style they have learned to love. Fronliipiue. Peil Sw. Clelk. ta-00 Our Unseen Guest Ano. Duds By Henry C. Rowland "The wor-ild is lull of duds. Any day something leriiblc may happen," said the good old Czech Baron, as he sent off Capl. Plunkett, U. S. A., on his mission of running down trad- ers in German looL This is Henry C Rowland's most spirited tale. SI.7S In this cilraordinary book w an interesting example of a cations purporting to come chicSy from a young man who was killed during the World War — a person about whose existence iheic a do Crown ita. Si. 00 The Strangers' Banquet By Donn £yme Here 13 the slory oF Derrith Kcogb, the daughter ol that old Iriah rover of the green seas, Shane Butler Keogh, and a[ lonuiDCe aud love aa it cante to her. ».7S ■ HARPER & BROTHERS. E.t 1817 ■ 41 There is plenty of bold display here but it is good to look at — clear, plain, easy to read. (See page 62.) [61] 3 Display must be good to look at. The dis- play heads in the Harper advertisement (41) are good to look at, clear, plain, eiasy to read. The display heads in theDoran advertisement (40) are an offense to the eye, besides being much harder to read than those in 41. The Gothic (or block letter) display heads in 40 are needlessly black and ugly. The space used by the heavy rule underscoring each head would have been better left white. Note how much cleaner the heads look in the lower left hand panel where no underscoring has been used. There is plenty of bold display in 41, yet it is good to look at, while 40 repels us by its sheer ugliness. [62] 4 Display must be arranged so that its sense is clear at first glance. When a display head is so long that it must be split up into two or three lines, care should be taken to divide it according to the sense. Readers pause slightly at the end of any line, about as at a comma, therefore the line should break at the point where, if read aloud, a slight pause would occur, otherwise the meaning to be conveyed may be distorted. The following lines are arranged without re- gard to break by sense: Now In Progress — The Annual Year End Clearance Sale of Men's and Young Men's Clothing 42 Arranged like this, the sense becomes clearer: Now In Progress The Annual Year End Clearance Sale of Men's and Young Men's Clothing 43 [63] Another example of confusing arrangement: After-Christmas Sales of Win- ter Fashions Offering Very Pronounced Values 44 The following delivers its message more quickly After-Christmas Sales of Winter Fashions Offering Very Pronounced Values 45 5 We must not overdo. All display is no dis- play. Turn back to examples 6 and 8. Both of these advertisements are over-displayed to the point where they cause utter confusion to the reader. In the effort to make every point tell, the advertisers have overstepped the mark. Nothing stands out clearly. Compare the con- fusion of 6 and 8 with the common-sense display of 7 and 9. [64] We should be sparing in the use of display in the body of text matter. A word or two in italic here and there (or if italic does not give enough emphasis, then boldface), is about all the dis- play that is advisable in the body of text matter. We should let the heads and subheads attend to the display. That's what we use them for. We should make the arrangement of words place the proper emphasis on our thought. We must not expect type to do it all. Look for in- stance, at the hash that the Multigraph adver- tisement (46) makes of its story because of the over-display of its text matter. I feel sure that this was done deliberately in order to produce a stunt piece of typography. Now, stunts have their place as attention-getters, but their place is not in the type which must make our business story clear and plain to indifferent readers. We must avoid in our advertising whatever slows up reading and hinders the quick delivery of the message. Says Current Opinion: "If advertising men would spend the time they now waste trying to construct type contortions, and would give more [ 65 ] 'au're in ths SAMEBOAT You're both headed for the same destination—hlgger and better business through the medium of printed matter. And Mr. Printer is held back by your same difficuUies — Raio materials way up, and harder to get. Labor shoHage—ivages way up— production way down. The demand for your product sov\eihing terrific and every job wanted right NOW! You're both in the same You could grasp all sorts hoot— why not pull together in- of big opportunities you have stead of working at cross purposes. to pass up now. You can think of Why don't you give the printer a chance to doieiis o/ii'Msdin/s you could poll off, /fi/ow devote his broad experience and big equip- ifctc sure' of being able togetyourideasover merit to your big work, while you take a lot quick enough, of the rush stuff and routine printed matter a i . ^,7J „^ «.„. off his hands? Ana you would get your TUre are^ scores of jobs TS'-J^^aff £1*1^ it±'^ YOU can PHINT on the Multi- price tickets, bulletins, even your house graph—real printing from real type organ— the list is almost endless. with «al printers' ink. WITH THE MULTI' You'd get your rush stuff GRAPH you 'd dp it all ivithont -ivifvjhpnvauWunipcHt anrlna high-pnced he\p. wilkoitt big overhead JUSl IvnenyOU wantea it, ana as ^^^ expensive equipment, wiUioiU turning you wanted it, without a minutes yourestabtishmentintoa printshopandata worry- saving of 25% to 75% in your printing bills. You could send out sales Co-operation is the key- ammunition at an hour's notice, note of modern pusiness. Start ahead of, or with, or behind the boys pulling together with your friend, the on the road, that would help them maks' printer, NOW. Investigate the possibilities bigger quotas. of the Multigraph today. You Can't Buy a Multigraph Unless You Need It THE AMERICAN MULTIGRAPH SALES CO., acreland, Ohto Offitei In Principal Cilles THE INTCBNATIOSAI. MU1,TICB*PH CO. 1— rfon. 16-ie mJtio.= Vlidml, /Vrt* 3< BDiltnnt du Cap«lH( The MuHlgraph _. 1802 E. 40tb Si.. Clevclnrd, Ohio ' "™- PIciM icil me haw I tin help lb« boat with tbe Multigraph. Name_ 46 Type cannot deliver its message effectively if we jumble it up in order to do a type stunt [66] attention to the simplicity of the printed page, they would learn much about the fundamentals of the fine art of gaining attention." WE SHOULD RESIST THE TEMPTA- TION TO SET WHOLE PARAGRAPHS IN ALL CAPITAL LETTERS— LIKE THIS. OF COURSE,THIS PARAGRAPH STANDS OUT ON THE PAGE. GRANTED. THAT IS WHAT TEMPTS US TO SET IT LIKE THIS. BUT IT IS ENTIRELY TOO HARD TO READ AND THEREFORE NOT GOOD FOR ADVERTISING. An occasional word or even sentence in italic for emphasis is not objectionable, if we don't overdo. But we should avoid settitig whole paragraphs in italic. Even when set with care, italic is never as easy to read as roman, in which the body of this book is set. The display value of an italic para- graph like this is not great enough to make up for the difficulty of reading it. [67] Ill Orderly Arrangement Advertising typography must sustain interest by orderly arrangement "An honest tale speeds best, being plainly told." Shakespeare: King Richard III Ill Orderly Arrangement Advertising typography must sustain interest by orderly arrangement There must be clearness and deftness in the arrangement of our material on the printed page to aid the quick and easy understanding of our message. The atlas advertisement (47) asks us to work harder than we are ever willing to do when we read advertising. Instead of making it easy for us to follow the story step by step (as is done in 48), we are asked to pick up the pieces wherever we may find them in the holes left by the cuts and join them together as best we can. We become eyesore and weary and give it up as a bad job. The designer of the International advertise- ment (48) knew how to sustain interest by or- derly arrangement. No trouble at all to follow his story. A mere glance at the page gives us the high spots at once and we follow with ease wherever he leads us. [71] Revolutionizes Atlas Making A new atlas that will never be out-of-date An atlas that fits your individual needs ^~ THE WINSTON PERPETUAL Invisible LOOSE-LEAF ATLAS of the WORLD LOOSE-tEAF— It be kept con- stantly up-to-date DOES NOT GROW OLD LOOSE-LEAF SERVICE opens new uses in home and business THE JOHN C.WINSTON CO. lOJ WINSTON BUILDING, PHILADELPHTA j 47 # The lack of orderly arrangement in this ad- vertisement so befuddles us that we cannot keep straight on it without much difficulty. How many lazy readers will trouble them- selves with it? [72] The International Visible Adding and Listing Machine The International Visible Adding and Liisting Machine is gaining national preference through sheer merit. Introduced 5 years ago by the makers of the famous International Payroll Machine, it is now in use by such firms as The National Biscuit Company. Fisher Body Company, Campbell Soup Company and hundreds of others equally prominent, in- cluding some of the largest Banks and Trust Companies in Ainerica. ' There is no secret about this success. The reasons for International superiority are definite and convincing. Why it is better Complete visibility No tension on springs Self-correcting keyboard Unit construction Tmi*"H«i.lblo," niHumati. Electric drive models equipped with General Electnc Motors. Split and fraction machines. There are many other interesting features about the International Visible Adding and Listing Machine and a request for full information involves no obligation. The coupon is for your convenience. t ^V^gWI^jVfflM^ DUlrlct Office. COUPON iDternational Money Machine Co. Reading, Pa. r. K. Y. ChlniBO ■Mmit, Mlob. lljiiaoa, Cuba 48 This sustains interest by orderly arrange- ment. The advertiser has done all the hard work of making things plain, and so has made an easy job for the reader. [73] Compare the orderly arrangement of 7 with the confusing layout of 6. The Shaw advertise- ment (7) presents its message by a clear, well- ordered plan. In the Heater advertisement (6) you are forced to dig in a confused heap for what you want. One whets interest by orderly ar- rangement. The other dulls it by confusion. Again, contrast the orderly presentation of The Hartford Times' story in example 9 with the bawling confusion of 8. Can there be any doubt that an advertisement which looks like 9 will have a better chance to deliver its message effectively than one which looks like 8? Ideas may often be presented more interest- ingly and effectively in chart form than in the solid formation of an unbroken text page. 49 is a good example of the chart form of presentation . Note in the first place how you are able to take in the general idea of the whole presentation at a glance. And again, how clear and sharp each item stands out so that it cannot be overlooked. This method as applied to a part of an adver- tisement is shown in the lower right hand panel of 7. This panel is reproduced actual size in 50. [74] A Chart of Essentials for Patriotic Posters The underlying point to be borne in mind in the creation of a poster is the object to be accomplished by the poster IDEA 1 Artist's initial thought should be nnelc. not scattered clear, not voEue specific, not Kenernl should be adaptable to Emphic presentation. 2 Artist's thought of effect his poster will have on others He must decide whether it ii to appeal to cVcry one, or to a certain clou. He must eliminate Kis peisonal impression as thoroughly as possible, and look- at his poster with the eye of the public. 3 The intended appeal Must possess : 1 Attraction 2 Suggestion (prererably specific)^ 3 Memory value Must appeal to the emotions rather than to the intellect. The artist should have clearly in mind the bind or appeal for which his poster is keyed. For example — stimulation, warning, fear, sta- tistical facts, economy, sympathy, etc. (See chart in "The Battle in this Country," issued by Nationot Committee of Patriotic Societies.) He should select the most important one of these. 4 Choice of subject Careful consideration the choice logical or the above points will ICC of subject, and will make jistead of random. The poster instead of self- contradictory or 5 Wording Careful thought should be given to this, because design and IcRcnd should be complementary. The drawing should illustrate the legend and the legend should supplement the drawing. Wording should have 1 Attraction value 2 Absolute relevancy 3 Suggestion or advertising value 4 Memory value, through brevity EXECUTION 1 Design t The artist must l>e familiar with, or learn, the essentials of poster design, a He roust work with breadth, strength, surety, force ond unity. 3 He must duly consider the siic, or siies at. which the dtsign is to be reproduced. 4 He must duly fonsider the mechanical processes. 5 He roust keep in mind the specific nature rf his problem, whether it be a poster, a c-ir card, a window caid, or other use?. Z Technique The artist will do well, here, to adapt the tech. niquc in which he is roost proficient, pro/id'.d this be suitable for the renderine of a ixjs»cr. Proficiency roeans surety, and surety m-;ans strength. 3 Medium The note under "Technique" arpli'J also to medium, as water-color, tempera- oil, charcoal, pastel, or lithographer's pencil . The artist should give preference to strong, clean-cut color values which will attract as well as carry at long range. Mechanical reproduction should be kept in'mind. 5 Lettering Above all, lettering must be legible. It should also be in scale with the design as a whole, ond an integral part of it. Its placement is moat important. Legibility is aided by a sharp color contrast between lettering and background. Let- tering is best contrived when it Colls upon a clear, unbroken background. 6 Mechanical Reproduction The artist should be reasonably familiar with the technical possibilities of lithographs, process plates and flat blocks of metal or wood, and should avoid renderings which would be unduly difficult to reproduce. The question of cost of production here comes 49 Orderly presentation of ideas in chart form. You are able to take in the page at a glance, and no item is apt to be overlooked. [75] Quick Answers to Your Difficult Problems How to §ell by mail — how to inject personality into a letter — how to gather and classify material — how to pick out talking Eoints ow to develop effective persuasion — how to appeal to different classes — men, women, farmers, etc. — how to make the letter "standout" How to conduct a follow-up — how to use different kinds of follow-up — how to handle arguments in the lollow-up — how to find new angles for approaching prospect — how to vary appearance of I etters — liow to connect the product with prospect's needs IIow to make up lists — how to compile lists of prospects — how to keep mailing list up to date — how to put key marks on letters and check returns — how to test lists of names — how to be sure mailings average up to tests How to g»t buBiDcas from special lists — how to appeal to prospect's judgment —how to cooperate in con- sumer campaign — how to avoid negative appeals — how toovercome customer's mistrust —how to play up distinguish- ing features of your goods How to collect money by mail — how to bring the "trick- ster" to time — how to write a series of collection letters — how to urfie the "slow pay " to settle promptly — how to collect petty ac- counts — how to collect mercantile accounts — how to make instalment collections How to orgaoize correspondeDce work — how to put office mail on schedule — how to give every letter the right answer — how to bring office force up to standard — how to develop competent correspondents How to turn compiainM into business — how to form complaint policy — now to keep customers in friendly mood — how to reestablish good will — how to systematize com- plaint department —now to hold down com- plaints How to handle routine correspondence — how to save time, money and effort through auto- matic dictation methods —how to acknowledge orders with standard paragraphs —how to close sales with standard paragraphs — how to, fit form letters into collection work 50 This method of listing selhng points makes them vivid [76] Orderly arrangement in cataloging. By cata- loging I mean not only the price lists, specifica- tions and so on, that make up the regulation catalog or price list, but also any form of listing or tabulation of items. I would call 49 and 50 a form of cataloging. Cataloging or listing is well arranged in pro- portion to the quickness and ease with which it gives up its store of information. By clear and orderly arrangement we must enable the reader to get at a glance the information he wants. Note how clearly the important features of Vandyke Solar Paper are brought out in 51 and how hard you have to dig for them in 52. For the better success of our advertising we must do all the hard work of making things plain to the reader. The less efifort we require of him the more chance we have of getting our advertising read and remembered. 53 is a good example of clear arrangement in a price list. A house selling fine printing papers asked me to say my say about the typography of their specimen sheets. [77] VANDYKE Solar Paper For its distinctness of outline.clearness of copy, and permanency of results it is unsurpassed, besides possessing all the following essential qualities: 1 Is easily manipulated 2 Keeps exceedingly well 3 Does not become brittle 4 Prints rapidly 5 Saves original tracing The Vandyke Solar Paper was first in- troduced and perfected by us. Though several imitations have appeared upon the market, it still retains its title to being the leading paper of its kind. 51 Every point stands out clearly VANDYKE Solar Paper For its distinctness of outline, clearness of copy,and permanency of results it is unsurpassed, besides possessing all the following essential qualities: (1) Is easily manipulated; (2) Keeps exceed- ingly well; (3) Does not become brit- tle; (4) Prints rapidly; (5) Saves orig- inal tracing. The Vandyke Solar Paper was first introduced and perfected by us. Though several imitations have ap- peared upon the market, it still retains its title to being the leading paper of its kind. 52 Here you must dig for your information. This is far too common practice. [78] I admired them for their good design and beau- tiful printing. And I criticised them for their lack of attention to the convenience of the reader. "Suppose," I said, "in the middle of a busy morning I get a telephone call from my printer. He is not quite clear about some one point of my paper specification. He needs a prompt deci- sion. I ask him to wait while I get the paper specimen sheet that is supposed to contain all the information I need. "And what do I find? "A neat tabulation of all the facts about sizes, weights and colors so simply and clearly ar- ranged that a quick glance will enable me to answer my printer's queries in a jiffy.'* "No. As my eye roves over this sheet seeking light, it is puzzled by rows upon rows of beauti- fully composed capital letters — ^a veritable tri- umph of good spacing and 'squaring up.' "But where is the information I must have quickly while my printer hangs on to his end of the telephone.'' It's all there, to be sure, if I will just have a little patience and painfully dig it out of that beautifully composed block of capitals. [79] Blanks, Blank Business Forms and School Currency For use with Moore and Miner's "Accounting and Business Practice" BLANKS to accompany Text-book Part I Introductory Two blanks (Nos. 1 and 2) prepared for Sets I, II, III, and IV of the text-book, 20 cents Part II Intermediate A series of three sets of blanks (prepared for Sets V, VI, and VII of the text-book) for the Jobbing Furniture Business, the Wholesale Grocery Business, and the Dry Goods Business, 25 cents Jobbing Furniture Business Three blanks (Nos. 1,2, and 3) prepared for Set V of the text-book. Blank No. 1 contains, 20 pages, ruled for Journal, Sales Book, Cash Book, Bill Book, Trial Balances, and Statements. Blank No. 2 contains 16 pages, ruled for Ledger. Blank No. 3 contains 4 pages, ruled for Invoice Book. Part III Advanced A series of three sets of blanks — single en- try, manufacturing, and banking. 53 Orderly arrangement in a price list [80] "You see you weren't considering my con- venience at all. You did not have in mind that when I have to look up something in a hurry I want plain facts, plainly arranged in plain type, and that a typographic stunt at such a time only wastes my time and patience." When we are making catalogs, price lists or preparing any other reference material that is to be filed away and consulted again and again, let us forget entirely the most favorable conditions under which such consultation will take place and keep in mind only the worst possible condi- tions, such as hurry, impatience, lack of interest, poor light, telephoning. I was talking to a collector of books who re- ceives in the course of a year many booksellers' catalogs. "I want to keep in touch with what is in the market," he said, "so I look over a good many of these catalogs. I haven't much time, however, so I have learned to give attention only to those catalogs which consider my convenience. The others are not even taken out of their wrappers. They make me work too hard. [81] "Now look at this one. I would call this a good catalog from my point of view. My eyes are not as good as they were. I can't afford to waste them on small, poor print. This type is easy to read. As I glance down the page certain clue-words in bold type leap to the eye and tell me at once whether or not I will be interested in that item. The price stands out. Then if my attention is captured, I find that the detailed information is easy to get at. "I can look through a half dozen such cata- logs and get what I want from them in the same time that it would take me to wade through one of the others that I never look at any more." Consider for a moment the woes of a man who has to consult many catalogs for business in- formation. His desk may be placed in a dark corner of the room. Day after day he has to pore over prices and specifications printed in tiny, lightface type, very often on over-shiny paper. Does that add to his good-will towards the cata- log-maker? Hardly. We pay entirely too little attention to the kind of figures we use in our catalogs and price lists. [82] They are mostly too small and too weak. Figures should be unmistakable at a quick glance. That is a prime requisite. I realize that a lot of figures must often be crowded into a limited space, but even with that handicap much can be done if we will only study the matter carefully. Recently I had the problem of arranging a lot of tables for an insurance book. I had a small page and a lot of figures. It worried me a good deal for a while, but finally after much searching I found a six point figure with the clearest, strongest face I had ever seen in that size. And my tables could be read with speed and cer- tainty despite their six point face. I was prouder of those tables than of many elaborate pieces of typography I had engineered. In another catalog I happened to be working on, I let every other consideration slide until I had found good fractions for the specification figures. The catalog was literally stuffed to the hilt with fractional figures and those that had previously been used were very poor indeed — weak, thin little figures and so small that it [83] required a very good pair of eyes indeed, to read them. To me, the use of better fractional figures was the most important item in the entire catalog. The client was rather more interested in the pictures, the decoration and the selection of an unusual typeface. The following is a quotation from an address I made before an advertising convention: "The man who designs advertising print should ask himself this: 'What must this piece of advertising do.f* How can I make type do its most effective work in helping the reader to a quick understanding of the advertising story.'' How can I make it easy and still easier for him.''' And if the designer attacks his job in this spirit, even though his skill is not great, he will go farther toward making good advertising than the man who is concerned merely with producing the fuss and feathers miscalled 'artistic printing.' " [84] IV Easy to read Advertising typography must grip attention by being supremely easy to read "Write the vision, and make it plain upon tables, that he may run that readeth it." Habakkuk IV Easy to read Advertising typography must grip attention by being supremely easy to read "All readiBg demands an effort," says Sir Arthur Quiller-Couch. "The energy, the good-will which a reader brings to the book is, and must be, partly expended in the labor of reading, mark- ing, learning, inwardly digesting what the author means. The more difficulties, then, we authors obtrude on him by obscure or careless writing, the more we blunt the edge of his attention; so that if only in our own interest — though I had rather keep it on the ground of courtesy — we should study to anticipate his comfort." All that is needed to turn the foregoing into a fine little sermon on "easy-to-read," is to change the word "writing" to "typography." "Typography's big service to advertising," says Roy Durstine,"is in making advertisements easy to read — by the choice of type, by proper spacing between words and lines, and by using [87] the right size of type for the eye to follow with comfort and pleasure along a line of any given length." In this section we will discuss: 1 The face of type. 2 The size of type. 3 The length of line. 4 Space between lines (leading) . [88] 1 The face of type x\ll that I believe in as constituting good typog- raphy rests on and flowers from one principle: readableness, "easy -to-read." I do not believe that printers' type has any such thing as in- trinsic beauty. ABC For instance, here are A, B and C in plain type. They have no beauty of line. Of course, an artist by hand -lettering may add many scrolls, whorls and arabesques to an A, a B, or a C (as in 54) — beautiful, but not type beauty. 54 Consequently, type is nothing at all when it is not easy to read. It is all it possibly can be when it is easy to read. [89] lii^JAENECKE PRINTING INK CO. No factory anywhere is better equipped than ours for the making of printing inks to meet all require- ments. We are not middle- men but manufacturers from the raw material of dry colors, varnishes and other necessary ingredients, and the successful experience of three-quarters of a cen- tury is behind us. Branch Offices in New York Baltimore Chicago New Orleans Detroit And From Jobbers Everywhere FINE PRINTING & LITHOGRAPHIC INKS NEWARK. N.J. 55 The Gothic (or block letter) type in this advertisement, while it has a simpler out- line than the type in 56 opposite, yet reads more slowly because we are not used to it. [90] iiiiinnimiiiiiniiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii "Play Safe" "If a plate fails half way through a run the loss to the printer may be a very serious matter. This is true whether the printer or his customer furnishes the electro- types." — Ben Frankltn Monthly. To avoid the possibility of any such serious loss be sure that the shells of the electrotypes you put on your presses are the proper thickness — in other words let us make the plates. DINSE, PAGE ^ CO. Electrotypes, Nickeltypes and Stereotypes 725-733 South La Salle Street, Chicago Telephone Harrison 718S 5ii|n|iiiiii|fniiiiiiiiiiiiiiii|ii|ii|||i 56 We read this faster than the type in 55 be- cause we have had such an infinity of prac- tice in reading this roman type that our eyes and brains recognize the characters instantaneously . [91] Types are symbols of the spoken word, sub- stitutes for it. They can't be anything more, and it is nonsense to think of them as anything else, except that now and then light type is appropriate for advertising light articles and coarse black type for heavy goods. Why is some type easy to read and some not? Why are the lower case letters in roman the easiest of all to read.'' Is it because they have a very simple outline.'* No, because Gothic has a simpler outline, yet reads more slowly. ABCDEFGHabcdefgh Gothic ABCDEFGHIJabcdefghij Caslon (Compare for readability the Gothic type in 55 with the Roman type in 56.) Roman lower case is easiest to read solely be- cause from our childhood we actually have read very much more roman lower case than anything else. At school the first thing we had drilled into our bright, tender brains was the roman lower case of the Primer and the First Reader. [92] stile The pig came to a stile. The old woman said, "Pig, pig, get over the stile." The pig said, "1 won't get over the stile." And he ran away. He ran away from the old woman. The roman lower case in this Primer and First Reader is the most familiar and friendly type to us because ever since our school days we have read more of it than of any other kind of type. [93] NORTH WIND SINKS A SHIP 33 men and women in if? How dreadful! Still I can- not believe you are cruel, North Wind I" "No, I could not be cruel, and yet I must often do what looks cruel to those who do not know. But the people they say I drown, I only carry away to the back of the north wind — only I never saw the place." '*But how can you carry them there if you never saw the place ? And how is it that you never saw it ? " "Because it is behind- me. Tou cannot see your own back, you know. But run along now if you want to go with me to-night. I cannot take you till you have been to bed and gone to sleep. I'll look about and do something till you are ready. Do you see that man over there on the river in the boat who is just floating about? Now watch I" She flashed like a dragon-fly across the water whose surface rippled and puckered as she passed. The next moment, the man in the boat glanced about him and bent to his oars. The boat flew over the rippling water. The same instant almost. North Wind perched again upon the river wall. "How did you do that? " asked Diamond. "I just blew iu his face and blew the mist out of him." "But what for? I don't understand!" said Dia- mond. Hearing no answer, he looked down at the When we began to read stories it was the impression of this kind of page which was burnt into our minds — still the familiar roman lower case of our school books. [94] Later, when we read stories, the overwhelming bulk of the page was roman lower case. Still later, when we became newspaper read- ers, the same type formed our daily food. Pretty nearly the only reason why roman lower case to us reads almost without effort is that we have had such an infinity of practice on it that our eyes and brains recognize the characters in- stantaneously. If we had been brought up from childhood on some other type, say the German letter, I do not doubt that the German type would be the easiest for us to read. 57 is a sample of English in German type. "When the eye regards an unfamiliar object an error of refraction is always produced," says Dr. W. H. Bates in his 'Perfect Sight without Glasses.' "Children with normal eyes who can read perfectly small letters a quarter of an inch high at ten feet always have trouble in reading strange writing on the blackboard, although the letters may be two inches high. If a German child attempts to read Roman print it will at once become temporarily hypermetropic. Ger- [95] Afternoon EditLoa The Wmllier Fair iD-nighl and lo-nMrrmv Jfetor }j0rli Founded 1801— Vol. 121, No. 20 FRIDAY, Irish Question No Longer Factor in American Politics [ts Elimination Seen as Aid To Senator Lodge's t*?22 Campaign Rcciprocily With Canada Fore- cast in Washinglon as Result Of Dominion's Vote SINN FEIN SPLIT NOT LIKELY TO DEFEAT IRISH AGREEMENT Questions Raised by De Valera's Veto British Parliament Wilt Meet as Planned Brief Adjoununent Will Be Taken To Awart Action of Dail LoMKJN, December I L In (he Upper Chamber alikcd and ' auprvrted the lions or Iho DM an con- YouDg Arctic Explorer Four Yeais With Esquimau SEiTTtr, Waih., Dicombcr 9.- Harold a. Nolcc, who ten liA-o i tho ago or alxLeen In 1D1& (o Idl romalnlni! In tho Norih wiih tt tuner Unalsa- Nolce. credlttd wll being ono or tho younncsi explore i Copper Stocks Continue Strong Market as a Whole ly Very Unsettled Both High and Low Records Are Established— Call Money S/; Per Cent n SmclllnE. und RcHnlnE Commission Sp Final Transit P Ready Next M Springs Surprise by) paring to Issue Its I port Soon Oily and Companies Expd Fight Proposal and Val? — Discuss Dividend Wai ndarnloou pi«>ent Tho I'i.luntlon Ojures •[ t r Iho Broohlyn Itap When we became newspaper readers we did not have to practice on a new type. The familiar roman lower case of our school and story books formed our daily food. [96] X{)t .man ^o befignS abbertifing print fl)oulb aff I)imfelf t^tg: „mi)at muft t^tg pkct of abbertifing bo ? §ott) can ^ matt tt)pe bo its moft effective toorf in t)etping tf)e reaber to a quicE unberftanbing of tt)e ab» ijertifingftort)? ^o\v can:S^ ntafe it eafl) anb ftitt eafier for t)im?" ^nb if tf)e befigner attadg ^S job in t!^t§ fpirit, eben t^oug§ l^ig ffin is not great, l^e Witt go fart{)er totoarb mafing goob abbertifing t!^an tl)e man toi)0 i§ concerneb merely toit!^ :pro= bucing f^e fu§§ anb featfeerS miScalleb „arti[tic printing." 57 English words in German type. Try to read them. man print, or Greek or Chinese characters, will have the same effect on a child or other person accustomed to Roman letters." Or again, if we had been brought up on print set in all capital letters, we would have little difficulty in reading such an advertisement as 58, which now makes us work entirely too hard to keep a grip on our attention. [97] ANHSfOUNCEMENT THE NAME OF THE ADVERTIS' ING ART ORGANIZATION FOR' MERLY KNOUTSr AS AMSDEN & HCHTNER HAS BEEN CHANGED TO TEiE AMSDEN STUDIOS THEOLD QUARTERS PROVINGINAD' EQUATE TO OUR PRESENT REQUIRE' MENTS THE STUDIOS HAVE BEEN RE' MOVED TO THE TOP FLOOR OF THE ENGINEERS BUDLDING'CLEVELAND MR'CHARLES'R'CAPON'LATELYOF BOSTON' A DECORATIVE DESIGNER WITH RARE TASTE AND JUDGMENT AND AN UNUSUAL KNOWLEDGE OF THE RESOURCES OF ENGRAVING AND PRINTING IS ART DIRECTOR OF THEAMSDENSTUDIOS'MR.CAPONS LONGEXPERIENCE IN ADVERTISING ARTANDHIS EXECUTIVE QUALITIES MAKE HIM PARTICULARLY ABLE TO SELECT ANDTO INSPIRE THE ARTIST BEST ABLE TO REALIZE EACH IDEA 'THE RESULTIS PICTURES & DESIGNS THAT HELPTO SELL MERCHANDISE AMSDEN STUDIOS ADVERTISING ART ENGINEERS BUILDING'CLEVELAND S8 We have not had enough practice in this kind of reading to make it easy. It calls for a distinct effort, which few are willing to make. [98] I was talking with an advertising man out in Milwaukee one day about the use of all caps in certain kinds of announcements. "Don't you think the use of caps is all right for a dignified business announcement?" he asked. "It depends on the kind of feeling you want your advertisement to arouse," I told him. "If you want your announcement to chill people with the cold dignity of a tombstone, go ahead and use caps all you like. Nothing could be better for the purpose. "But if you want your announcement to radiate a bit of warmth and friendliness, then use a friendly type. Caps will help you suggest stodgy, standoffish dignity — if that's what you want. But lower case has a friendlier look. It is so open and easy of approach that you aren't a bit afraid of it!" If we had had a good deal of practice in reading italic type, 59 would not present the difficulties that it now does. [99] INTRODUCTION HE "Drama sought for a place in ^America from early Qolonial days. Fostered in some sections, frowned upon in others, housed appropriate- ly in some cities, elsewhere denied footholdorrooftree, the year 1787 found the w Tork, and Philadelphia, plays were often given by them, a few of which were composed by officers, 'playbills of these per- formances were sent to (general IVashington and members of bis armies. "Plays by writers of ^American birth had been published and acted in J^ndon before the Tieyolution. The honor of having written the first tragedy to be per- formed on an zAmerican stage by professionals, belongs to Thomas Qodfrey of Philadelphia. His The Prince of |*ar- 59 Italic type always slows up reading because we are not used to it. It calls for effort. The wise advertiser tries always to make reading effortless. [100] Once more, boldface type is the occasional, the less familiar type in the vast majority of our reading. Just because a boldface type stands out clearly in a head or subhead, does not mean that it will be equally clear and readable when set in masses for body type. It will not. Para- graph after paragraph set in boldface type like this, makes slow reading and quickly tires the eyes. It should be avoided. DeVinne in his "Plain Printing Types" says: "Print to be most readable, must have more of white than of black within the page." And agam "Types need a generous relief of white space, not only within but without each character, to give proper value to their black Unes." To cut a long story short, "easy-to-read" is merely a name signifying familiarity based on lifelong practice. No other theory can be made to stand analysis. In example 60 I am showing five good type faces for the body matter of advertising. There are other good faces than those shown here , but the more closely they conform to these familiar and friendly faces the more easily will they be read. [101] Body types to use This is Caslon Old Style, one of the faces everybody reads with ease, therefore good type for advertising. This is Scotch Roman, one of the faces everybody reads with ease, therefore good type for advertising. This is Century Expanded, one of the faces everybody reads with ease, there- fore good type for advertising. This is Bookman or Old Style Antique, one of the faces everybody reads with ease, therefore good type for advertising. This is Cheltenham Wide, one of the faces everybody reads with ease, therefore good type for advertising. 60 [102] Types NOT to use This isVogue. Unfamiliar typefaces such as this prevent quick and easy reading and so are bad advertising. Tlhns 5g W(Blb!b= lOinilfiiffiBnlair (typ® Easss r®sidln!B j aiffidl s® sur® Ibadl adlwerdnsnua^n Tnis is Packara. Unfamiliar type faces such as this prevent quick and easy reading, and so are bad advertising. Qlljia ta (3Ui lEttgltalj, Infamtltar igpc fa«B HUtlj aa ttjta prtofnt qutrk a«J» taag rpaJitng anil an nvi ba& abofrttatng. This is Cheltenham Bold Extra Condensed. Unfamiliar type faces such as this prevent quick and easy reading and so are bad advertising. 6i [103] I might say in passing, that in an experience covering more than fifteen years of practical type work I have rarely found it necessary or desir- able to go beyond the faces shown in 60. In 61 1 am showing five faces of type not good for advertising because reading them makes us work too hard. The typefounders' specimen books are full of faces equally bad. Avoid them. You cannot deliver your advertising message effectively if it is set in faces such as these. "Unfortunately the needs of the reader are lightly regarded by the men who make types," says DeVinne. "They think more of the display of their own skill. The punch-cutter's straining after a hair-line that stops just before invisi- bility is ably seconded by the pressman who scantily inks these light-faces with a hard ink- roller, and then with the feeblest possible im- pression impresses them against an inelastic surface on dry and hard calendered paper. This weak and misty style of printing is vastly ad- mired by many printers, and perhaps by a few publishers, but it is as heartily disliked by all who believe that types should be made for the [ 104] needs of the reader more than for an exhibition of the skill of the printer or type-founder. "The rights of readers deserve more considera- tion. The rules that editors and men of business apply to writing should be applied to booktypes. The handwriting that cannot easily be read, even if its individual letters have been most daintily and scientifically formed by a master of penman- ship, with the sharpest of hairlines and the great- est profusion of flourishes, is quite as intolerable as that which is slovenly and illegible. No printer desires it for his copy; no merchant tolerates it in his account books; no one wants it in his corre- spondence. If one seeks a cause for the mercantile and editorial dislike of a so-called 'pretty' hand- writing, he is sure to find it partially in its needless flourishes and largely in its delicate and unseen 'razor-edged' lines." [105] IPIONEERSl Tliireelumdred years ago, tiieml^lim fathers set out into the 'wSdemess so that they miglit imt their ideas of life into practice. It is taooncesvaUe that the dreatest dreamer among them hadanvvision of thematfrn- tude drthe conunonwealfli they -were bnildintf , or of the sinvad of its spuit over practically the xi^Ktle conlinetit. And so, some thirty years ago. the Miehle I>ress was destined and Iwilt in order to put an entirely new idea into practice. Neither the designer nor the makers could ever have dreamed that the introduction of tUs press would mark an epoai in the history of print- ing, or tiiat. in its Mnorld-'wide distrilmtion.it would hecome the standard press of its type. 62 "Gracious heavens!" he cries out, leaping up and catching hold of his hair, "what's this? Print?" Dickens: Somebody's Luggage [106] Avoid freak lettering. Lettering like that in 62 has no place in common-sense advertising. The function of lettering, just as that of type, is to deliver the message. It must above all things be easy to read. The fault of all such attempts as that shown in 62 is this: the freak lettering being used solely as an attention-getting device, makes no attempt to deliver the real advertising message efficiently. None but a most patient and eager reader would even try to decipher it. Attention has been got, but to what purpose? No, we must not do stunts with lettering or type to get attention. We must use our ingenu- ity to get attention in some other way and de- pend on lettering as well as type to say our say clearly and distinctly when attention has been directed to them. The following quotation is from a report I made to an advertiser: "Your lettering, pretty generally, is not as good as it might very well be. It is generally not as clear and easy to read as a good face of type. It is often freakish, and often entirely too black [107] for the needs of the occasion, particularly the numerous reverse cuts that you use. "I have no real objection to lettering when it • serves a more useful purpose than type. If, for instance, it attracts more attention or gives you a better looking page, or speeds your message better than type, by all means use hand-letter- ing. But I cannot see that this is the case in the pages I have been looking at. "Your lettering is not as easy to read as a good face of type, it has no more attention- value and, I presume, costs you more money than type- setting would." Last summer when I was out West working on a mail order house catalog, some of my energetic friends subjected me to the somewhat novel pain caused by an interview. Their presentation of my ideas seems to me to be worth quoting: "Take your plain, ordinary citizen. Is he im- pressed by type acrobatics.'^ He does not know Bodoni from swash letter . He reads for the thought or the message, with no attention to type fantas- tics unless they interfere with reading. "You remember when the big printers' strike [108] was on in New York and the Literary Digest came out in typewriting? It was a wonderful tiling to everybody in the printing or publishing business, and of course we admired it. "But what about the everyday American not in the printing business, who did not know any- thing about these matters? I'll tell you — the effect on the public was summed up by a lady, a great devotee of magazines, who said to a friend of mine, 'It doesn't seem like reading!' That was all the impression made upon her by the Digest's ingenuity. They pulled off a wonderful stunt. But it was akin to the grandstand plays I object to, and you can see the only impression it made on plain people was, 'it doesn't seem like reading.' "Type is nothing but type, that's what I am trying to say. It is only the freight car that carries the Victrola . It can't play music by itseff and must not be expected to." The more one fusses with type, in conscious and deliberate effort to do something new and astonishing with type, the more he defeats the only purpose of type, which is to convey ideas [109] by means of words. "Fancy" typographical -ffects always slow up the reading, and this condemns them from an advertising and selling standpoint. The vehicle of a message should never be so unusual and fantastic as to divert attention from the message itself. Yet precisely that happens when "stunt" typography diverts the mind of a reader from the advertiser's argument. To get good typography, the very opposite of fussing and straining for effect should be the rule of action. It might be said that to use type properly one should never think of type. Attention should be fixed all the time on the copy. Is this headline clear? Does its meaning leap to the eye? Is this text perfectly readable? Will the reader get this selling talk in an easy way, without confusion? Is there anything on this page that repels the eye, distracts attention, or in any way puzzles? These are the questions that the would-be good typographer should ask himself continually. Not one of them refers to type as type . Every one refers to copy . Yet thg effect is to produce the very best kind of typography — clear, attractive, simple. [110] Avoid dark backgrounds for type. The clean, white surface of paper is the best possible back- ground for type that is to be easy to read. The type in 63 is not easy to read because the clean surface of the paper has been muddied up by a halftone screen background. In 64. the back- ground has been cut out of that part of the ad- vertisement occupied by type and lettering, so that these show up clear and distinct. Dark-colored printing papers or dark tint blocks make poor backgrounds for type. There is never any excuse good enough for interfering with the legibility of type. I have already explained above why type should not be used stunt-fashion to get attention. White type on a dark background (as in 65) may be a good stunt as an attention-getter. It does not invite reading because it makes us work too hard. [Ill] 63 Type cannot deliver its message with quickness and ease if reading is made difficult — as it is here by the dark back- ground under the type. [112] 64 Here the background has been cut out of that part of the advertisement occupied by type and lettering, so that these show up clear and distinct. [113] SheafferS. V^ SELF FILLING . V' Jf FOUNTAIN PEN ^^'F The Pen for Business / < t the road or in the shop— • man has occasion to use it^the /' ^/ SHEAFFER Pen k always ready for action. A,','/' -y have been laying on the detk; Jostled / 7"^- n a traveling ba- ---■ -—-J- » '=* ' down in the packet; that dc_ ''-u'll Hnd the r ..i »llK A SHEAFFER llhe ■ The SHEAFFER Pen i> built for ba,me„. Il of the SHEA! SHEAFFER h SHEAFFER Pen '-^^