z^^ s^^" OlorttcU Uninerottg Slibrarg SOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND THE GIFT OF HENRY W. SAGE 1891 V ■-, r^iXlfvmKmtmim - ^^'33 DATE out F 1 5 '39 ; 6 '39 ' -;/ ^ 7 n 1945 Mm 2 5 1954 DC. r; Cornell University Library Z246 .S55 Making. tyj)e..w,ork,,,bJ(,,Benjamin„^ 3 1924 029 497 769 olin Library 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/cu31924029497769 Making Type Work Making Type Work By Benjamin Sherbow New York THE CENTURY CO. 1921 Copyright, 1916, by The Century Co. Published June, 1916 A, , 5" (^ I 5 \e Press of J. J. Little & Ives Co. New York Contents The Plan of This Book 1 By Way of Beginning 5 Booklet Designing, 11 I Advertising print must command attention Emphasis 17 Underscoring, 36 Initials, 38 Break-by-sense, 40 Subheads, 46 Emphasis by use of white space, 53 The margins of a book page, 66 Emphasis by the choice of appropriate types, 68 II Advertising print must get itself read What makes type easy-to-read? 79 Spacing 88 Letter spacing, 88 Word spacing, 92 . Line spacing, 95 Paragraph spacing, 98 III Advertising print must get itself understood Aids to Comprehension 103 Tabulation, 106 Extracts and testimonial letters, 120 Index 125 Making Type Work Making Type Work THE PLAN OF THIS BOOK This book deals with those details of type arrange- ment that help advertising to do its job. Since there is always more than one good way of arranging any given piece of text, I shall try to avoid laying down rigid rules. To do that might keep you from experimenting for yourself. Chiefly I want to show by comparative illustrations how much more effective some type arrangements are than others — to sharpen up the tools with which you work and pos- sibly add a few to your equipment. In arranging my material I came upon a consider- able difficulty. Print depends for its proper effect, first of all, upon various qualities in the face of type selected: its read- ability, color, distinction of design. Print depends for its effect not alone upon the face of type selected, but also upon its size; not alone upon the type itself, but also upon its spacing, its arrangement, its combina- tion with other types. In the designing of any given piece of work, all these factors have to be considered in their relation to each 1 2 The plan of this book other. They are vitally dependent upon each other. To neglect any of them is to be less effective in print than we might readily be. However, for rapid comprehension of what I have to tell you, it seemed to me necessary to present each division of my subject by itself. To do so would give us a clear-cut impression of each division before we went on to the next. On the other hand, to talk about all the interdependent factors of type arrangement at one and the same time, and on every page of this book, would be to leave us pretty badly muddled. Since then my material did not fall naturally into any clear-cut divisions, I had to create certain arbi- trary divisions of subject matter for convenience of discussion. Which may result in your asking at times why I place the cart before the horse; as for instance in talking about the emphatic use of types before I say anything at all about their selection for a more elemen- tary quality — legibility. You will imderstand why I have done this if you will consider for a moment that — Advertising print to do its job must: 1 command attention 2 get itself read 3 get itself understood 4 get itself acted upon We may dismiss (4) at once as not being strictly within the province of type arrangement. Good ty- pography can add to the force of the final impression, but action depends upon what the words say, not on The plan of this book 3 how they look in print. Anyhow, type arrangement has a big enough job on its hands to take care of the first three items on the list. Following then the foregoing outline of what adver- tising print must do, I have arranged my material in three main divisions: 1 Advertising print must command attention. In which I shall illustrate emphasis of various kinds which makes print command attention. 2 Advertising print must get itself read. In which I shall illustrate what makes type easy-to-read. 3 Advertising print must get itself understood. In which I shall illustrate aids to comprehension. BY WAY OF BEGINNING Back in the days when I first got the notion that I would like to learn how to make type do what I wanted, I used to make no end of dummy layouts. From magazines, newspapers, books and what not, I clipped all sorts of type pages, illustrations, orna- ments and borders. Then I played with them in much the same way that the child in the kindergarten plays with its pieces of colored paper. I was curious to see what would happen when I used this sort of picture, lettering, border or ornament with that sort of type. It was lots of fun and I learned some things. When I got an effect that I liked, I pasted it in my scrap-book for future use. And then I would be eager for someone to come along with a piece of advertising copy that I could pour into my ready-made mold and so achieve a masterpiece. But it almost never happened that way. The poor wretch who wrote the copy had made his headline too long or too short. He would demand bold subheads that weren't in my scheme. He wanted to show a picture of the factory. And there would almost certainly be one of those trademarks made in the dark ages of advertising, that would have to go in. So for the tenth time perhaps, I would sadly put aside my pretty dummy and go to work with real in- stead of ideal material. S 6 Begin with the advertising idea I still make plenty of experimental layouts for my pleasure and education. But I know now that no one will ever furnish me with just the right material to make these sketches come true. And there is no reason why anyone should. I discovered soon enough that the starting point for the arrangement of any piece of advertising must be the advertising idea itself and not some purely ab- stract effect that I wanted to get. Througlt All Steel .Electric Lighted, Trains Daily To PLORIDA A CUBA-SOUTH JTm Saperior Roadway, Equipment and Service to CHARLES- TON, SUMMERVILIJ;, AUGUSTA, SAVANNAH, ^ THOMASVn,LE, FLORIDA and CUBA Resorts Leatdng New York from Pennsylvania R. R. Station 9:15 A. M. (2:12 Efi«:U» Jimuorys) 3:34 and 9:30 P.M. DINING CAR SERVICE For illintrated literfttore and all inf onnation address Atlantic Coast Line TAe Standard RaUroad of the South NEW YORK, Broadway and 291)1 Sl BOSTON. !43 Washington SL PHILADELPHIA, 1019 Chestnut St BALTIMORE, Light and German Sts. WASHINGTON, 1406 N. Y. Av., N. W, No. 1. The ragged line at the right follows the out- line of the illustration which was a part of this advertisement. You will note that the type was set to follow this ragged outline. This never helps the look of print— and makes it harder to read. Typography must serve the advertising idea 7 In advertising print, typography is merely the ser- vant of the advertising idea. It should not exist for itself at all. It should never obtrude by a display of dexterity for its own sake. It is merely the medium through which an advertising idea is given that physi- cal form which helps the reader to grasp in the least time and with the least effort what is being said to him. Any willful eccentricity of arrangement that hin- ders the clear flow of the text injures the chances of the advertisement to get itself read and understood. Someone has said: "When an idea will not bear a simple form of expression, it is the sign for rejecting it." Let me illustrate with a few examples. Suppose you were looking hurriedly for informa- tion about Florida train service. Would you have the patience to dig it out of illustration 1? Why go to so much trouble to make print unreadable? Compare two advertisements of Cadillac Automo- biles (2 and 3). 2 is an attempt to gain distinction by lettering its text. But the lettering is hard to read. It confuses and worries the eye. It needs a good deal of patience to read it through. Distinction can be got- ten in ways that will not keep print from being easy- to-read and easy to understand. As is shown in illus- tration 3. 8 This Uttering is hard to read ' RECOGNITION DAY Washington's birthday FEBBUARY 22'? i5l6 THIS /€PPR0PRI/fr£ D^r IS SELtcrED BY THE DLrR"!!^ CjflDILLflC M°r°R MR C°MP/WY roR SPKML^INNVflLEXHIBin°N inRLCGNIO^N OT.rHi (jmu.AC coNCRiBvnoN ro rwt mpvsTRr in BRIKGING rORtH cm'HlCH-SPEEDJDCHtrriaENn; V-lVpt ENGINE, "i? H I SroRY MAKING CAR rwsEXHlBin^N 0T/1LLT1°DEL5 /ktovr SflLESROONS PRESENrS iW EXCEtDINGLY 5MS°N^BLt. OPP°RrVNiar m na RECEPrioN or pRoaptccrvB T/irRONS. Tvt CdNVENIZNCE OF rHtMCT SVSGtSTS IZSi (t mnNfirmtro ^rU^IDrHEEXHlBin^N ^[ND StCVRE r^lVOR^LE DELIVtRIES DnCR°ir>pe Founders CompanSF has been dominated h^ a policjl of co-opo*- EM ation vJiUi tKe trade mat it sells to. Mhis spirit is not ^1 actuated Irp a motrvie of altmism. It b pur^^ a iMianess M proposition. For ^Kis Cotnpan;j) realizes (ttat continual ad'Oancement of its business d^iends soIel>l on tKe con- tinual ad-^ancement of ^ industrp it deals v7itK. 'TKere neOer has been a farJanJ movement of an^ importance or a reform, or oh od'Oance in me printing or publishing business or tKe allied trades, tKat Kas not receri^ed ^ most Keartp and practical endorse- ment and co-operation of flie American Tj>pe Founders Compan;? AnantaprintinflindiBtiJ WngtowmJo a aepfona at d during ^ life of 4ifl American Tj>pe Founden Companjl diot \va not tnateimlljl incraaied Aio btoinGSi of &\e Compoir^. It is purely an automatic nnBngement. 'TKe American Tjfpe FouRoen Coeapaaj W oltf^ oopetatod and iKD continue to c^opeaXx to advance fiie interest of printos and puUiihen bacmne ricK ad^ancnncnt nwani much gmiter uxoess for 4ia Compel^. 'TK* printns ^ko ha^ benef ted bjl Aw piDgresa tn luHness at du lame time hoOe helped to make llie American TjIpB Founden Compan]^ file loigest ond iiwst piDgraan^lRlpe Foundi:p and Printers' SupfJ^ House in fha ^torld. <7his Company) consdentiousl;? baliffto it has done its port to malu Aw Printing Industijl Aw SixAt Businesi in Ate Unitgd States A continuance of dus mutual cooperation Will teruJ to still furrier raise me standard of tKe printing industt^i), and as a tesiJt, to iruxease fiie business of 4ie Largest Tjfpe Foundry and Printers' Supplj) House American Tppe Founders Company? SEUOJG HOUSB CDNVENlENIiY LOCATID No. 4. The designer of this advertisement did not think of his type as something to be read with comfort and pleasure. He thought of his type merely as a gray block, an element of his decorative scheme to be patted or squeezed into the required shapes. And the result is a pretty looking page. But assuredly it is not a page that either invites reading or is easy-to-read. BOOKLET DESIGNING The following paragraphs are quoted from an article I wrote for Printers' Ink: "Fitness for its purpose comes first in making an ad- vertising book. Whom is it intended to reach? What competition will it have — ^what kind of printed mat- ter comes to your prospects from other sources? Does the dress of the book suggest the quality of the prod- uct? And so on. And again when size is considered enters the ques- tion of convenience for mailing, for reading, for refer- ence, for filing. Be^ with the copy. Many books are begun with a pretty dummy. Copy and illustrations are patted, squeezed or stretched to fit the curves and twists of the dummy until the real purpose of the book — the advertising of a product or service — is lost in the making of something "artistic." Begin with the copy. Say what you have to say. Detail and particularize as much as may be necessary for clear imderstanding and appreciation. When your story is told well and completely, con- sider its illustration. It may not require illustration. Then don't lug pictures by sheer force into the text of your book. Consider with what purpose the makers of much- consulted encyclopedias and dictionaries illustrate — with the view solely to make clear the text. To be 11 12 Booklet designing sure, you may add decorative graces, but only after the main purpose of making clear is achieved. Use decoration frugally. Don't bedizen your book. Nothing has yet been said about the format of the book — its size, paper, type page, cover, binding. Much too often these things are thought of first, and an iron-clad dummy produced into which text and pictures must be forced as best they can. Why decide offhand that your business demands a book of so many pages, of such and such a size and on such and such paper? Your business doesn't really demand anything of the sort. It asks to be advertised adequately. And when you have provided the copy and illustrations, then let the book in a certain sense create its own format. Pictures of a certain kind need to be shown large to carry their full meaning. Some tables and diagrams may not be cramped beyond a given point. Within your imposed limitations, then, consider the size of the book from the standpoint of convenient mailing, reading, reference, filing. The tendency should be toward compactness without cramping. Large books without the necessary bulk or protecting cardboard are apt to be crumpled in the mails; they cannot conveniently be held in the hand for comfort- able reading; they cannot readily be referred to; they are hard to file. The size of the page decided on and the margins fixed, choose a size of type that will fit the page and Booklet designing 13 fit the eye. Don't let the desire to keep down the number of pages run away with you. On the average booklet the difference in cost between say sixteen and twenty-four pages is not a sufficient reason for reduc- ing the size of the type. Type may be too large as well as too small. In experi- menting with the page of a small book recently, I found that 11-point type was read with more comfort than 12-point. While again on a larger page with spacious margins, 14-point would be needed to fill the eye. Select the right size of type for your book first. That's the logical way to begin with type. Do not try by main force to squeeze type and cuts into an arbi- trarily determined number of pages. If you just can't have more than a fixed number of pages, cut down your copy or leave out illustrations that can best be spared. But don't go on the assumption that your book will be read no matter how small the type or picayune the illustrations. (Note) Please keep in mind that I was here speaking of the average booklet — not an encyclopedia like the mail order catalog, which is an entirely different matter. When the type is set, the cuts placed, and the whole arranged into pages, you will have the proper number of pages for your book. Some rearrangement may be necessary so that paper will not be wasted, or to ac- commodate the make-up of a press form. But with a little skill that can usually be managed." Advertising print must command attention Emphasis I Advertising print must command attention Emphasis Let me begin by quoting from a report I once made to an insurance company on its printed matter: "The general impression that I get of the physical quality of your printed matter is that it is dull and dreary. It lacks the attractiveness that makes you want to pick up a piece of printed matter and give it at least a look because its dress promises something of interest. There is very little in the dress of your printed matter that holds out this promise. It lacks sparkle, it lacks smartness. Its clothes are for the most part ill-designed, not to say slovenly and dowdy." Emphasis is defined by the Century Dictionary 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 out clearly or distinctly: make more obvious or more positive. Take the case of two speakers: One talks in a mut- tered monotone, which you must follow with strict attention if you hope to comprehend his statements. The other speaks distinctly with proper emphasis and 17 18 This talks in a monotone protect (Dur (^ood flame Vlaltara to th« Ooodyear f so lo- ries mra always Imprcatcd with a frsmed algn which coofronlB Umud at every taia. It hano oa the walla of all the Oaodyear bran- ch ee throushout the country, and le belns adovud by tira dul^e every- where «• *ii «■• preaeloD of the aplrlt la which tneir bualneae Is conducted. We bellevo that the public wlU b« Inleroitcd In the ■ DalyalB of thU simple but elrlk- Inc eentlmant which I a pnblUtaed Tho Goodyear Tire A RolalMirCo. A]0OD.Ohk> ^RIPPED to the J^ waist, hla huge C ^^ torso Btreamiog with sweat, a workman swings the heavy iron core to on iron table, flnd wrenches off a tire which has just come ateaming from the heater. His eye falls on the legend over his head, and he amiles. Our good name is also his good name. The two are inter- twined. He will protect tiic one white he subserves the other. His thou^ta are — as they should be — chie^ or himself, of bis little home, and of his family. Their good name, his good name, our good name — his good work will stand guard over them alL • • • Two thousand miles away-in Seattle, we will say^— the same thought, in the same simple words. An irritating moment has arrived — the temp- tation to speak sharply to a customer, to fling a slur at tmworthy competition. The salesman, or the manager, or whosoever it may be, looks up, and the quiet admoni- tion meets his eye. Protect our good namo. In a twinkling it smoothes the wrUildea out of his point of view. He is himself ag^n — a man with a respond- bility wtiich he could not escape if he would ; and would not, if he could. Back two thousand miles again to the fac- torica — this time to the experimental room. An alluring rtianr^ to save — to make more profit by skimping, by substitutioo. No one will ever know. But— the silent monitor re- peats its impresnve admooitioo. Protect oar good name. What diaooe to com- promise with consci- ence in the pr esen ce of that vi^lant guartUan? Thousands of men striving to kecfi a name And keefring their ovo clean in the process. • • a We Americans, it is said, make a god out X.et the slur stand. Whether it be true or not^t is true that busi- ness u our very life. Shall it be a rcproadi to us that we try to make business as good as it can be made? • • • Think of f A/s budness, please, in the light of its great animating thought: Protect oar good We are thinUng of you, always, when we say it — you American millions, and you mil- lions in the old world. We think of you Judg- ing us, judging us — by what we ore, by what we do, by what we make. We think of tens of thousands of homes in which our name can be made to stand for that which is worthy and worth whilek We ataataoltoBeyour goodwlU-~ve must not tan^ah our good name. You can call that any- thing you like. You can ^11 it bud> ness^ or senti m e n t, or idealism, or nonsense. It may be all of these. It may even be that tvhich our national critics call mg<""g a god of business. But at least it ^vea to us a motive that la tugger and brooder and deeper than money. It makes thousands Of men happier in their work and more iaith* ful to it. It baa made of this business a democraqf of imited thmight — a democraQT of commoit' endeavor — 'a democ- racy of purpose and crindpl& • * » And here is tiie oddest thing of all: — TAB more we Jb've qp to thla "impraatieaP' ideal, the greater the The mors we Jmbarfor lite tatare, the more we profit in the present. The more we strive for character, the greater the reward in money. TAemors wepat into our product, the more we take out in sales. Perhaps, after all, there is more than one sense in which it is good to make a god out of businesa. We think so. And we think you think BO. ^iFrealdeot The Coodyeu Tire dk No. 5 This speaks wUh well-placed emphasis 19 What Foods —make you thin —what foods make you stout — what foods make you nervous What foods cause constipation, faidigcBtion, fermentation, rheu- matiam? What foods rob you of mental and physical efficiency? What foods, haimlesa In themselvea, actually poison your syattm when eaten in combination with other harmless foods? Do you know that you can correct the evils of wrong eating — that you €»n literally eat your way to buoyant health without " dieting," without eating special foods, without eating what you don't enjoy 7 Hundreds of questions like these and thefollowing are answered for you in Eugene Christian's Little Lessons in Correct Eating— sent free on approval. What food! rob To lOD.OOD nm piaclbiliis BdcnUOo EUlns In AmBrmo.^-— K, A. Fulby, Hlas- ara Falls, Boutb Oat, Canada. "I am ddlilited tnyond «i- Eraaalan with Uio laaaona. Tbor an pni?ed Inraluablo to mo and nam retolalloolMd both tnv diet and oit bcalllL"^ Ollro H. Boca. T3S Eail Tlphn St., HuDUnstan, lod. "Tour inirli on BcloollDo BaUog la Inraluabia It Is with iDilcb ploasoro that I DroBpeoUTO studoote orsry- whero."— Chsa. &- ItteL IZll Tcrmaal Aiooua, Nnrih fiMB. Pllltburgb. Pa. „ is wondert ,. hu ElmpllBad tutb Iho eta«m- imiT of tho body and (hs ehon- litrr of tho food and loaobss dluuD."— BufoiiD 'a, ii^ns. Harrington Park. H J. "I tUok tbo Almlobl/ Knds nun oa tho eartli at dKTarcnt Mrlods with Indspciidmt and ^.^ Send ne -# lbe"ChrtB- ^ tlas CoUTsa T hi Comctlvs ^ Eatlnc." I will , either remain twltb- En Gve days or wad T0u93> ..State... mcthada bSTO bdpod J^ Address . yon. That la why wa acnd Oia 24 lossons^'^ n» wtUtont dcpoilt. Mall (he ooupDa or B^^ '•^'^ laUer bow — botoni yon forsot. ^^ ^ n •« CORRECTIVE EATINQ J^ CORRECnvC CATIHO SOCICTV, Ino. SOCIETY, Ino. ^ SI Huntor AveniM Meywood, N. J. SOCIETY, Ino. Jf B\ I No. 6 20 Don't discourage the reader some significant gestures, so that you cannot fail to comprehend. AppUed to t3T)0graphic emphasis, this point is very well illustrated by 5 and 6. There may be some things the matter with the food advertisement. Possibly its Gothic headlines are needlessly crude. A good deal of its body type is too small for comfortable reading. But its general ar- rangement is excellent. The headlines tell a complete story in themselves. The text is so clearly and sen- sibly arranged that, barring the microscopic type, the reader will have no difficulty at all in following it. To me this page looks alive and interesting, which 5 does not. The Goodyear page talks in a monotone. The reader is discouraged from the start. It does not in- vite. It looks like hard work to read it. The four column arrangement makes too narrow a line to read comfortably. There is too much space between the colimins and not enough between the lines of type. Stunt arrangements have their place, but we should not let them interfere with saying what we have to say, as simply and effectively as possible. Say I am given a piece of text to put into print. My first move, then, is to understand clearly jwhat the words say. I must make an analysis of the text and decide on the relative importance of its various parts. Only in that way can I make the types emphasize what is vital and subordinate what is not. Shifting the emphasis 21 Illustrations 7 and 8 are different arrangements of the same text — with the emphasis differently placed. 7 appeared as a full page in advertising publica- tions. Let's call it a piece of good type composition. It is. But when the same text had to be used for some printed matter, I decided that it could be given moi^^, briskness by a readjustment of its emphasis. The headline in 7, for instance, did not seem im- portant enough to merit the display it got. The key- note of the advertising idea was in the first paragraph of the text. So in 8 I subordinated the headline and brought up the first paragraph to a point where it dominated the page. The three paragraphs following were given their proper emphasis as three distinct phases of the main idea. And again the italic display line was used to emphasize what was clearly an im- portant point. 9 and 10 were again set from the same piece of text. 9 lacks distinction. The mere look of it gives no hint of the importance of the thing advertised. Its emphasis Is weak because it is divided into little bits so that none of it really tells. And its text needs re-arrange- ment to give a sharp and definite impression of what it is all about. The headline CURRENT HISTORY IN BOUND VOLUMES at first glance is slightly hazy in mean- ing. Is it a descriptive term for a set of historical books? Is it the name of a periodical sold in bound volumes? Obviously the first thing to do was to make 22 Emphasis vyrongly placed The Merchandising Issue Par Excellence of a Merchandising Magazine In its October issue— Woman'sWork Number— Good Housekeeping brings to its highest present point a sys- tem of service to advertisers which years have developed. All page advertisements will be made into shop-win- dow display bulletins, in two colors^ and be distributed among the 5000 Good Housekeeping Stores. The same advertisements will again go to those Stores in October "Good Storekeeping," and the Dealers' Service Department will use special effort to aid the distribution of the products. Reader Confidence has grown extraordinarily, thanks to the strongly-advertised Guarantee and the testing and censorship. Pulling power now is out of all ratio to the magazine's circulation — which also reaches high-water mark with the October number. The issue is rigidly restricted to 150 pages of advertising, balancing an equal amount of reading matter. Most of the space is already taken. Last October, under the same restric- tion, many late-comers were disappointed. Good HouseKeeping Magazine Cooperates with the Retail Merchant WEW VOm WASHINGTON No. 7 Emphasis rightly placed 23 The Merchandising Issae par exceJ^ace of a Merchandising Magazine In its October issue [™Tmbe7'"'] Good Housekeeping brings to its highest present point a system of service to ad- vertisers which years have developed 1 All page advertisements will be made into shop-window display -^ bulletins, in two colors^ and be distributed among the 5000 Good Housekeeping stores. 2 The same advertisements will again go to those Stores in OctoberGoon SToREKEEPiNG,and the Dealer's Service Depart- ment will use special effort to aid the distribution of the products. "2 Reader-confidence has grown extraordinarily, thanks to the ^ strongly-advertised Guarantee and the testing and censorship Pulling power now is out of all ratio to the magazine's circulation —which also reaches high-water mark with the October otinAytT The issue is rigidly restricted to ISO pages of advertising (balandng an equal amount of reading matter) Most of the space is already taken. Last October, under' the Gsme restriction, many late-comers were disappointed GOOD HOUSEKEEPING MAGAZINE Cooperates wilh the. Rstail Merchatti HEW .VORK WASRIKGTOH fdSTOli ;CKtCA^ No. 8 the name of the magazine stand out clear and bold by itself. And to individualize it still further by saying immediately under it that it is a monthly magazine of The New York Times, which statement appeared in 9 as part of the signatxire. In 10 I gave the words 24 Emphasis weak and scattered CURRENT HISTORY IN BOUND VOLUMES Six Numbers of Current History Magazine in One Volume 1,325 Pages Illustrated— Bound in cloth, gold-lettered with analytical indexes. Each volume contains all the most important war literature of each six months' period; an enduring, a valuable and, for a library, an indispensable possession, containing ALL the MOST IMPORTANT LITERATURE by the chief spokes- men of the world, official and literary, on the greatest war in history. Two Volumes Now Issued The two volumes sent postpaid to any address in United States on receipt of $4.50. Address CURRENT HISTORY A Monthly Magazine of The New York Times Times Square, New York City, No. 9 "In Bound Volumes" the emphasis of position by placing them above the main display. The four dis- play lines imder the main heading in 9 were in 10 set as a straight paragraph. The display line " Two Vol- umes Now Issued" was run into the body of the tejct Emphasis concentrated for better effect 25 In Bound Volumes Current History A Monthly Magazine of THE NEW YORK TIMES Six numbers of Curcent History Magazine in one volume; 1,325 pages, illustrated; with analytical indexes; bound in cloth, gold-lettered. Each volume contains all the most important war litera- ture of each six months' period; an enduring, a valuable and, for a library, an indispensable possession, containing ell the most important literature by the chief spolcesmen of the world, official and literary, on the greatest war in history. THE TWO VOLUMES NOW ISSUED sent postpaid to any address in United States on receipt of $4.50. CURRENT HISTORY Times Square, New York City No. 10 in capitals, without injuring its display value. The signature was cut down to its proper size. A piece of advertising may be easy enough to read and yet look so dry and humdrum that it attracts no attention to itself. 26 Easy-to-read, but humdrum FIRST In 1916, raider the Blxtecn ctasslf IcatioiB listed below, The New York Times published 4,764,143 agate iines of advertising— 2,464,148 lines, or 1,026 pages, more than any other New Yorli morning newspaper: CLASairtCATION. AOATBUNBS. Cl^AHSIPlCATIOW. AQATB UNStf AutomobUes 629,963 Men's Furnishings 314,p9Z Boots and Shoes 76,116 Musical Instruments 261,269 Charity and Beligious 63,037 Booka 844,681 Dmggist Preparations 174,035 Railroads : '. 68,960 Financial 947,679 Steamship and Travel 296,509 Hotels and Restaurants.. . .263,910 Tobacco 144,023 Jewelry 69361 Women's Specialty Shops. .434,746 ^leverages •. 10M64 Miscellaneous ,...,..679,609 The circuhition of The New York Times (over 320,000 copies every day, including Sunday) represents in one grouping the largest number of dis^ crlmhiating, intelligent and prosperous readers ever recorded by a news- paper. No. 11 Compare 11 and 12, two arrangements of the same text which appeared in succeeding issues of the New York Times. Would 11 command attention as quickly as 12? What then does 11 lack? It lacks the force, the dis- tinction that advertising print has to have to draw the eye to it and then to draw the eye into it. Now what has been done to provide these qualities for 12? This occupies only the same number of agate lines as its predecessor, but the space itself (two in- stead of three columns) is better suited to the nature of the copy. 12 was provided with a border that would not only give it color, but serve also to cut the advertisement off from any others that surroimded it. The headline Easy-to-read and emphatic 27 First! rr 1915, under the eixtcen claBBilicatioDfl listed below, The NEW YORK TIMES published 4,764,143 agate lines of advertis* ing — 2,464,148 Una, or 1,026 pages more than any other New Yorkmoming newspaper CLusmCAnon acati unis Automobiles 529,953 Boots.and Shoes 76,115 Chaiit; and Religious 63,037 Draggiat PrepanitionB 174,035 Finiuciol 947,579 253,910 Jewdiy 69,861 Beverages 105364 S14392 Musical Instnimenta 261,269 Books 344,501 Railroads 68,960 Steamship and Travel 296,509 Tobacco 144,023 Women's Specialty Shops 434,746 Miscellaneous 679,609 THE circnlation t>f The NEW YORK JWES (over 320,000 copies everyday* including Sunday) represents in'one group* ing the latest number of discriminating, intelligent and prosperous readers ever r^ corde4 ^7 b newspaper.. No. 12 was given its due importance by a larger size of type. Also by placing an exclamation point after it. The body type was of a more vigorous design. Initials were used to add color. The tabulated list was given its due prominence. And finally the name of the paper was displayed. 28 Easy-to-read, but no attention value TIMBS BUILDING TIMES SQUARE Large, light rooms, with all modem equipments, to rent in the Times Building— the centre of New- York's many activities. 2,050 square feet on a floor, making six or more rooms. Suit lawyers, physicians, real estate men, architects. Building open day and night. Elevators always running. Trains and cars in all directions. Subway station in building. Renting Agent— Room 406. Telephone 1000 Bryant No. 13 Again compare 13 and 14. Obviously 14 is the bet- ter of the two if merely from the standpoint of atten- tion value. The border in 14 helps a good deal to catch the eye quickly. So does the arrangement of the heading. When you come to the body matter you find that instead of setting it all in one block, and in the same size, the important first sentence was emphasized by subordinating the tj^jc below. This smaller type is nevertheless easier to read than the same words in 13. Each point stands out clearly by itself. m\ Easier to read and more attention value 29 Times Building Times Square Large, light rooms, with all modern equip- ments, to rent, in the Times Building — the centre of New York's many activities. 3,050 square feet on a floor, Elevators always running. makingsixormorerooms, _ , „ , „ .^ , I. • ■ I Trains and cars in all direc- Smtlawyers,pfays>cians,real ,. estate men, architects. Buildingopendayandnight. Subway station in building. RENTING AGENT-Room 406 Telephone 1000 Bryant No. 14 30 Emphasis by position Service to Readers Insures Results to Advertisers The foundation none o( advertiiing: lucceu in any magaiioe i* die •ervice which rKatmaeaiinegiKi to readers. Subscribeti read and have con^dcnce in the publication which gives them valuable leirice. That ■ervice may be' education or amuiement, but it must be definite and reco^iied service if the publication !■ to maintain the lubicriben' con- fidence. Without (uch fcrvicc the tubicribcr lotei interest in the paper, does not give it confidence and doei not pauonize the adverriaen. The Farmer's Wife gives read service to farm women Scores of papers are helping farm men solve their problems. Only one, The Farmer's Wife, is helping the farm woman solve her problems. It helps her socially, in an educadona way and in the practical affairs of her home. It gives her new and useful ideas on subjects of keen interest ranging from the kitchen garden to the care of hei- children. It is edited for her. Its subjects are ready made for farm use — she does not have to make them over to fit her conditions. Because of this service to farm women, The Farmer's Wife, with 62S,000 circulation in prosperous farm hoipes, produces remarkable results for advertisers. It will be profitable fo your use if your merchandise is adapted to the needs of pros- perous homes. Rates and other particulars upon appUcationi The Farmer's Wife The Foitett Gnnving Farm Paper in the World St Paul, Minn. W«bb Publljhiiv Comp.B7, Publltb«n H*ritrni Rtprtitnltitlvtl EaiUm StprtMnlatiwt GH>BaKW. HM.uT.Inc. W. C. RicHuiMOK, Inc. MO Pint Nntionol Hank Bldf. «t Park [low Cblcwi. 111. New York. N. Y. No. 15. Emphasis by Position. This shows how an explanatory paragraph necessary to the un- derstanding of the text that follows, may be set several sizes smaller than the main body of the text and still be given its due prominence by be- ing placed at the top. Shifting the emphasis 31 In 16 the emphasis is placed on the numerals, which might be considered important for accenting the dif- ferent points of merit described. But couldn't we draw the reader more quickly into the text by shifting the emphasis from the numerals to the important first words of each paragraph? Compare with 17 in which this is done. 1. Durable linings, with choice of aluminum or nickeled copper. 2. Steam-tight Metal Seal Covers — seamless drawn and strongly reinforced with a special stamped steel backing, to prevent denting. 3. Patented Adjustable Well Support — so that any settling of the well (and resultant leakage at the cover) is immediately overcome simply by tightening two nuts on the bottom of the cabinet, which anyone can do. 4. Patented Detachable Valve. Sterilized instantly by immersing in boiling water. Taken off to pro- vide dry heat for cake or pastry baking. No. 16 1. Durable linings, with choice of aluminum or nickeled copper. 2. Steam-tight Metal Seal Covers — seamless drawn and strongly reinforced with a special stamped steel backing, to prevent denting. 3. Patented Adjustable Well Support— so that any settling of the well (and resultant leakage at the cover) is immediately overcome simply by tightening two nuts on the bottom of the cabi- net, which anyone can do. 4. Patented Detachable Valve. Sterilized instantly by immersing in boiling water. Taken off to provide dry heat for cake or pastry baking. No. 17 32 Monotony of emphasis Have I started from the wrong end? Told you to emphasize when there is akeady too much tendency to over-emphasize in advertising? Well, isn't it a bet- ter start for our advertising to have it too much alive and tone down its exuberance if we have to? Rather than that it be still-bom and need to have the breath of life put into it? Only remember what EMPHASIS is for: to place significant stress. If you try to emphasize every- thing, you have a tiring monotony of emphasis, WHICH IS NO EMPHASIS AT ALL. As the typography of this paragraph shows. In illustration 18 for example, too many things are emphasized in too many different kinds and sizes of type. This makes reading a needlessly difficult job. It confuses the eye and the mind. The simpler treat- ment of 19 makes it more inviting to the eye, easier to read and to understand. The use of too mait^ bifferent feinbsf anb ^i}t^ of tvpt IN COMBINATION makes print jdarb to reoti and hard to understand Reducing the emphasis 33 No. 18 No. 19 Reducing the number of unrelated kinds of type always simplifies a piece of type composi- tion, makes it clearer, more inviting to look at and easier to read. 34 Display in every line But there are some kinds of advertisements which seem to require that practically the entire copy shall be emphasized in one way or another. Can this be done with good effect? Yes, if it is as well done as in illustration 20. Julius Oehme 320-322 Fifth Ave. iDvites Inspection ot soma recently teceWed Paintings Corot, Daubigny, Diaz, Henner, Ziem, Israels, Mauve, De Bock, Blommers; Kever, Weissenbruch and others. Northwest 0>rner 32d Street ai floor. Take elevator. No. 20 The firm name is displayed. So is the address. So is the business. So are the names of painters whose work is exhibited. All done in a 2>^ inch single column newspaper advertisement — and well done. No con- fusion. And you may absorb it all in a minute. Illustration 21 occupied only 2 inches and there is a good deal of emphasis for so small a space. But all the emphasis is good emphasis and helps comprehen- sion. Note how the words "Books, Prints, Autographs and Ex-Libris" are made to stand out in the body. Some cautions about display type 35 (e>ooii!S|>eeD'j3 TSoob'^pt^op £■ Park St, Boston, is known throngh- out the world. Book-lovers & collectors Car and near draw from its treasures of BOOKS, PRINTS, AUTOGRAPHS and EX-LIBRIS. "Anything that's a book." Monthly catalogues issued. Visitors welcome {^Vnxea in Boston, "BrotDSe (n-'s{ No. 21 Avoid the use of Condensed Display Types In combination with Types of Standard face or of either with an Extra Wide face This size of condensed type is not so easy-to-read as this smaller size of the standard face Too Many Capital Letters in a Display Heading Confuse the Eye and Make Type Harder to Read Lower case letters are read with greater ease and if necessary an Important word may be Capitalized UNDERSCORING Frequent underscoring of words or whole sentences on a page, like any other form of over-emphasis, does not make print more impressive or easier to imder- stand. It merely clutters up the page, makes it less inviting to look at, and harder to read. Also it is apt to look like an affront to the reader's intelligence. No reasonable objection can be offered to the occa- sional imderscoring of a word or even a phrase. The frugal use of such emphasis gives it its value. Note how the single phrase emphasized in this paragraph pops, while the underscoring in the paragraph above loses its value because it is so common. Now and then you find that an advertiser not content with setting an entire paragraph in a type bolder than the text, insists on piling emphasis on emphasis by un- derscoring it like this. THIS PARAGRAPH set in the same size of the same type as the above, with white space between the lines instead of imderscore rules, is made sufficiently em- phatic by the contrast it offers to the text type and setting the first two words in capitals. And it is less troublesome to read. 36 Over-emphasis which is no emphasis 37 Fabric is to your Tire what Structural Steel is to a Building Cotton fabric m the vital part of a tire. When Millei engineers achieved the epochal success of reinforcing the basic structure of tires thru preaeroing the nalural oege- table wax and oil in the collon fibre they gave to motorists an improvement as great as the development of steel construction for sky scrapers. The Structural Fabric lo GEARED-TO-THE-ROAD Ttrts Carries the Load and Strain Just as Sted Beams and Girders do in the Sky Scraper. A dre'a fabric is as incomplete without its natural vegetable wpn and oil as a steel structure is without its rivets. And just as it requires a multitude of rivets to bind togedier the entire building, so must the fabric have its wax and oil retained just as Miller preserves ail of it Heat is required to vulcanize tires. The secret and exclumve Miller Method of vulcanizing at a low degree of heat, cures thoroughly but does not bum the strength-giving lubricants out of die fabric. This same wonderful Milter Method also retains all the primi* tive endurance and toughness in the rubber and prevents its deterioration during vulcanization. But, unfortunately, all tires look very much alike. There is one safe way— insist on a Miller Geared' to-the-Road Tire and then you know it has not been worn out during manufacture^ Your car demands tires that are equal to the dual task imposed upon them by car and the road. Miller tires come from the fac- tory Inlacl — brimful of mile muscle, of eigor, power and slamlna. They come to you with all the qualities that give you long and sustained mileage. THE MILLER RUBBER CO, Akron, U. & A. No. 22. If you think I overdid it in my illustra- tion of underscoring, look at this advertisement clipped from the Saturday Evening Post. INITIALS THE use of initial letters may be classed as a form of emphasis. When we see an initial in the middle of a booklet page the eye marks it as a fresh start: the begmning of a new thought. And it helps to break the monotony of a plain type page. THIS is the wrong way to use an initial. Compare with the paragraph above. The initial should be set as an integral part of the text, closely tied up to it. It should not be set as a lonesome letter floating in space, as is shown here. This initial is the same size as that used in the paragraph above. The first initial aligns approximately at the bottom with the third line of type. As it should in this case because a three line initial was called for. The fourth line of the text appears underneath the initial — as it should. In this paragraph the fourth line of the text was not set under the initial because the metal shoulder at the bottom of the letter was in the way. In number one the shoulder was sawed off and the letter properly aligned with the type. DO NOT use a bold initial with a text type of a light face like this. Choose an initial of the same face as the text type if it is to be had. Otherwise use an initial the design and color of which approximate that of the text type. 38 Initials 39 ^^^^HIS is not a good use of an initial. Ij The initial letter itself is too far away nn ^ i| from the word to which it belongs. fl^ •A.'! Y°^ cannot readily read this initial I ^ilp^^^^ >! ^ P^^ of its word. While the decora- '' lyyvy-^^^.^vfc^^^yy^ tlvB Quallty of the border in which the initial is placed adds a grace to the type page, it is better to obtain this quality in some other way. The next paragraph shows one way. IHIS use of a decorative initial I would call good. It is designed for use with type, com- poses well with it and adds sparkle to the page. This is by no means the only good way to use a decorative initial. There are many other good forms of initials but I have room only for these few general hints. BREAK-BY-SENSE IN ARRANGEMENT OF DISPLAY LINES The single display line is usually easy enough to man- age. But when your heading needs more than one line to get the required emphasis, break up your lines by the sense of the words rather than by any con- ventional rule for display. There is an old, old rule, religiously followed by many compositors, that in a two-line head the first line should be long and the second short — no matter how the thought breaks on the first line. As for in- stance in this department store heading: Savings for the Woman Who Takes Ad- vantage of Advance Buying Wouldn't it be more sensible to arrange this head for break-by-sense? Like this: Savings for the Woman Who Takes Advantage of Advance Buying In the following heading from a financial advertise- ment, again no heed has been given to break-by-sense: Circular No. 1621 — "Convertible Bonds" It would be better arranged like this: Circular No. 162 1 "Convertible Bonds" 40 Break-by-sense 41 And still better if the unimportant first line were set smaller: Circular No. 1621 "Convertible Bonds" What would you say was the title of the book referred to in this heading from a trade paper advertisement? Did you get your copy ? Our Spring and Summer Stock Service Book is out Frankly, I was puzzled when I read it and I am still puzzled. The words of the fourth line suggest that the title may be " Stock Service Book. " In which case it would be better to emphasize these words: Did you get your copy ? Our Spring and Summer Stock Service Book is out But maybe I am wrong and the title is really "Serv- ice Book," the word "Stock" belonging by sense to the words on the line above. In which case I would arrange the heading like this: 42 Break-bysense Did you get your copy ? Our Spring and Summer Stock Service Book is out An advertisement that leaves the reader puzzled about any part of it is not doing its job well. The following is copied from a magazine adver- tisement for Yale Locks: K we asked you to write in this panel the name of the best known locks and hardware, what would you write ? More carefully arranged for break-by-sense the lines would read like this: K we asked you to write in this panel the name of the best known locks and hardware, what would you write ? Break-by-sense 43 ON MARCH TWENTY-SECOND THE EVENING MAIL WILL PUBLISH A SPRING FASHION SUPPLEMENT UNDER THE EDITORIAL DIRECTION OF MR. T. E. OLIPHANT WITH A COVER ILLUSTRATION BY STEINMETZ DECORATIVE ILLUSTRATIONS BY KIMON AND A HOST OF OTHERS MANY OTHER INTERESTING FEATURES No. 23. This is an excellent illustration of break- by-sense. For that reason it is shown here in spite of its use of capitals which are not easy-to-read. The window hanger must work fast. Mostly it has to depend for its effect on a passing glance. The tj^je arrangement that will get the sense of our words into the mind of the reader most quickly — and make them stick there longest — ^is the tjnpe arrangement we 44 The vnndow hanger must work fast One new EDISON Diamond Disc RECORD a week will soon give you the world's best music No. 24 ought to use. Compare 24 and 25 for break-by-sense. 24 is nicely arranged. It looks well. But does it drive home the sense of the words as quickly as 25? One new EDISON Diamond Disc RECORD a week — will soon give you the world's best music No. 25 Driving home the sense of the words quickly 45 There is no needle to change — nothing to wear out a record — in the NEW EDISON Diamond Disc Phonograph No. 26 There is no needle to change — nothing to wear out a record — in the NEW EDISON Diamond Disc Phonograph No. 27 For another illustration of break-by-sense, compare 26 and 27. In 26 that word "nothing" at the end of the first line stops you. Somehow it doesn't seem to make sense. Same with the word "NEW" on the second line. The staccato arrangement of 27 — a phrase to a line and each line carrying the argument a step for- ward — enables you to take in the whole thing in a jiffy. Note also that easy reading is helped by aligning the last line with the name of which it is a part. SUBHEADS Subheads are used in advertising print for any one of the following reasons: To accent the natural divisions of the story. To present a quick summary. To put more life and sparkle into, a plain type page. To avoid monotony. To increase the number of places in the text at which the interest of the indifferent reader might be aroused. The kind of type to choose for subheads, and how to arrange it, cannot be discussed in any arbitrary way. Too much depends upon the general character of the piece of print you are working on, the effect you want, and so on. First let us take the type nearest at hand, that in which the main body of the text is set. Every face of roman text type has five correlated series of alphabets: (1) the roman lower case or small letters (2) THE ROMAN CAPITALS (3) THE SMALL CAPITALS (4) the italic lower case (5) THE ITALIC CAPITALS 46 Subheads in the text type 4!7 I once had a book to make for a financial institution. It was complicated in its subject matter. It called for many subheads of varying emphasis. It had to be dignified— restrained in style. I found it possible to meet all these conditions by using only such emphatic types as were supplied by the regular fonts of the tesd; type. THE MAIN SUBHEAD WAS SET IN ROMAN CAPITALS The Secondary Subhead Was Set in Capitals and Small Capitals SMALL CAPITALS ONLY, run into the body of the text, furnished the third degree of emphasis, while The italic lower-case subhead, run into the body of the text, supplied the fourth degree of emphasis. The following suggestions apply chiefly to the book- let or catalog page. The italic subhead in the size of the text type arranged on one or two lines and used as the main sub- head, does not give sufficient contrast to the body type. Better use italic in a larger size It is not often necessary or desirable to use ITALIC CAPITALS FOR SUBHEADS 48 Bold subheads Often you can get along without bold subheads by using for your display The text type a size or two larger than that used in the body A subhead in the style shown above may not always give enough contrast to the body type to catch the eye quickly. Then use a bolder type. Only remember that enough contrast is enough. A HEAD IN SMALL BOLD CAPITALS IS NEITHER ATTRACTIVE NOR EASY TO READ The subhead placed on a separate line When this is aligned at the left instead of centered above the text it needs the space made by the inden- tion of the first text Ime to set it off more clearly. The flush subhead needing two lines will be more distinct if its second line is indented In that case the first text line will be better if set flush. Avoid too many bold subheads on a small page — particularly when there is only a slight sprinkliag of text type between. This sort of over-emphasis defeats itself. And it makes an unsightly page. Side-heads ^ 49 The bold side-head of few words is useful for marking the beginning of a new thought. Particularly when, as in this paragraph, it is an incomplete statement. THE SIDE-HEAD IN CAPITALS of the text type is not so easy-to-read as some of the heads shown be- fore and should be used sparingly. Capitals and Small Capitals may occasion- ally be used with good effect for short side-heads. The best result is obtained by letter spacing the head as is done here. ITALIC CAPITALS because of their decided in- cline do not make so pleasing or effective a side-head as some of those already shown. Italic lower case larger than the text type offers another good treatment for the short side-head. When it is necessary to use a rather full state- ment for a subhead it may sometimes be done by setting it with hanging indention in a larger size of the text face. This will be more easily read than the same amount of bold type and be less tiring to the eye. Beginning the text immediately underneath it with a flush paragraph serves to emphasize the indention. 50 The paragraph and culr4n subheads Another way to avoid using too much bold in the long subhead. Set the important beginning words in bold of the same size as the text type. Set the rest of the head in the body type, all in hanging inden- tion and all double leaded, as is done here. Begin the text immediately underneath it with a flush paragraph to emphasize the indention. The Newspaper and magazine editors like and cut-in ugg ^jjjg style a good deal. It is also found in many booklets and catalogs. But to my no- tion it is not so useful in advertising print as are some of the foregoing arrangements. The space that can be given to it on a page that is to look reasonably well is usually not large enough to allow for enough words in a proper size of type to obtain needed emphasis. And the sense of the words is often chopped up by having to set the type in so narrow a measure. TTopfii] Th® cut-in head consisting of one or two short words placed on one line, may be used with good effect as shown here. The marginal head 51 Some of my objections to the cut-in head apply also to the marginal head. It does The not catch the eye as readily as some of Marginal the foregoing styles. As the eye travels head down the type page it is very apt to pay no attention at all to the marginal head, or to see it only after the text has been read. Moreover, it wastes space on the page that might be put to better use. EMPHASIS BY USE OP WHITE SPACE Bold display type is not the only way of being emphatic in print. In a newspaper or magazine ad- vertisement you may sometimes get a good deal more emphasis by the use of a large amount of white space, than by bold display. Compare two magazine advertisements 28 and 29 I am not prepared to say that 29 is essentially more effective than 28. It is merely a different way of gain- ing attention. Neither do I mean to commend the Mimsey page. That might easily have been just as emphatic as it is now with a less brutal typographic treatment. 30 and 31 again illustrate two different methods of emphasis. The Collier page is filled with large type which fairly squirms for lack of breathing space. While in the Kodak page (which has approximately the same amount of text) the liberal use of white space forces attention. The Collier page illustrates a style of tjrpography with which I have no patience. It is a needless irri- tation to the reader to set so short a piece of copy in type several sizes too large for the space, and then to jumble it all up by setting it in three different sizes of type. The smallest of these three sizes would have been plenty large enough for the entire piece of copy. Or at least everything below the first four lines might have been set in this smaller size. 63 54 Emphasis by use of bold type AN APRIL SHOWER OF GREAT SERIALS 1 April The caUwn rf "tte illlU" aula AmmI Q Thuvia, Maid of Mars Apni O BY EDGAR RICE BURROUGHS HShtat^et^aBOmT Ymk No. 28 Emphasis by use of white space 55 Copr. Life Pub. Co. An You WoTtf0 to be a reader of life This requires a splendid Intellect B good disposition, considerable cultivadon, a moderate sense of humor, lasting patience and a iive- dollar biU. You Get For a five-dollar subscription commendog De- cember first LiFB for one year. The twenty-five-cest Otristmat and Easter Num- bera induded. A libera] education. The bandsome premium picture "Suniet" printed in colors ready for framing. More original pictures every week than are pub- lished by any other periodical. Charles Dana Gibson's exclusive drawings. As much wit and humor as you ought to have. Send us a list of friends to whom yau would like Life to go at a Christmas present ivilh a hatidsotne Christmas card. We will send you /■/I partietdars of jttst how to achieve this glorioiu result. A / Enclosed God One Dol- (Canadian Foreign ^<^/ I«r (CanadL /sr/ 51.13. Fordi jS^y »i.36). Send Ui iN^y ft" (liree mantlia \ UFB, 54 West aiit Street, Hew Yofk ] Om Tw^OO. (Csaadiu $5.52, Vmt^tMC) No. 29 56 Emphasis by crowding large type Chapters of modern history with the charm and readabil- ity of fiction are the feature articles Collier's is publishing on the big events of the war. In the next few weeks the latest experiences and conclu- sions of Frederick Palmer, Richard Washburn Child, Victor Murdock and Arthur Ruhl will be published. It is the work of men like these that has enabled Collier's to lead all American pub- lications in covering the great war. Collier^ THE NATIONAL WESKLT 4r6 Wilt tub Smi, Niw York Ciij No. 30 Emphasis by white space 67 That earliest slight break in home ties — the morning when tAe boy or (Ae girl first trudges off to school I From that day, the changes are rapid. Every year you note them. And, almost before you realize it, there comes the severer sundering of those ties, when John or Mary with a cheery "Will be home for Christmas, sure," waves a stout farewell. Both of you are choking back sentiment. And afterward — how pictures, showing all the rapid tran- sitions, do help. TAere*s a photographer in your town. Eastman Kodak Company, Rochester, N. Y. No. 31 58 White space carefully distributed Bohemia is here at its gayest and brightest— £ not the Bohemia of frayed cuflFs and long hair, n but the Bohemia of good-humored people, S with an abounding desire to get a whole lot y of real fun out of life and a knowledge of ^ where to go to get it. They come here be- X cause they always get more than they expect. S The Beefsteak Dinner— with Alabama waffles and cofTee—is ^ assorted relishes, Lynnhavcn served every night, from six to m Bays, Dixie biscuits, thicic stealc nine, in the Gardenia Grill, |^ broiled over hickory embers and where the ragingest darkey band )/^ served on toast, smoking baked in town sings and plays you right potatoes. luscious lamb chops, out on the dancing floor. Wheel Reisenweber's Columbus Circle No. 32 Type needs a relief of white in and outside of it and round about it to invite the eye and make it easy- to-read. See Spacing (page 88) for a detailed discus- Bion of this principle. Here I want to speak of the massing of white space to gain emphasis on a news- paper or magazine page. It is well to remember that the most striking effect is not obtained by carefully distributing your whites throughout a given space as was done in illustration 32. It is obtained by massing white space in one or two places for such telling use as is shown by 33. White space massed for attention value 69 ^ Bohemia is here at its gayest and brightest— H not the Bohemia of frayed cuflFs and long hair, ? but the Bohemia of good-humored people, JJ with an abounding desire to get a whole lot K of real fun out of life and a knowledge of s s where to go to get it. They come here be- y cause they always get more than they expect. JJ The Beefsteak Dinner— with Alabama waffles and coffce--is rt assorted relishes, Lynnhaven served every night, from six to ^ Bays, Dixie biscuits, thick steak nine, in the Gardenia Grill, V broiled over hickory embers and where the ragingest darkey band m served on toast, smoking baked in townsingsand playsyouright r* potatoes, luscious Iamb chops, out on the dancing floor. Wheel y K Reisenweber's iK Columbus Circle No. 33 This massing of white space is particularly efifective on a newspaper page. It makes the advert^ement pop. 60 A good deal of display type — not crowded 27. 'Years unto* one cxnthmons manq^Bioeiil: BANKING FOR 1916 We caidiany invite the peBple of Qeddi and Weber coonty to join forces doting 1916 with thii etrong, progmslve bale Oar coneervatfve- methods and our ample financial reiponaibility annre absolute safety for deposits, while our oompetent manage- ment and complete facilitiefl enable na to ren- der the most efficient, courteous snd satisfa;- toiy service, Our convenient iootiei^— llecd hotel cor- ner— ia an added advantage,' > VMl SIATEBM CAPITAL&SURPUIS $296/)OOX)0 ylnunercial car is econom- ical because it possesses a motor which utilizes every ounce of energy in the fuel consumed, and because its sturdy construction gives a guarantee of hard use without frequent trips to the repair shop. Therd is a wide margin of safety in this truck. It is made to use con- stantly and can be sb used with no danger of delays due to faulty or weak construction. Upkeep expense, even under the hardest usage, has proven a small item in the operation of the truck. Wotherspoon-Jost Auto Co. 2304 WASHINGTON AVE. No. 35 62 Emphasis by massing white space STOP THAT COUGH Before It Stops You Take Kemp's Balsam The 8Tea.te9t epidemic of colds and grip this country has ever known 4fl now BweepInK over the United States and spreading In Its path mtlltons of caaes of coughs and sore throats that slowly draw away the strength and energy of fhe entire body. Why take chances of niinlns your general health when it Is possible to remove every trace of the grip and the distress- ing cough that Is liable to hang on for months or even longer. The tldtUng In the throat Is relieved by the first dose of that old-fashtoned cough syrup, Kemp's Balsam, which drugglsU have been selling for nearly half a century. Every package bears a printed guaran- tee that thB purchase price will be returned If the medlcrne does not prove saU&Tactory. Ib it worth tryins? No. 36 Slezak — on the Edison Phonograph in all beauty and glory of the living voice. JACOT'S 25 West 35th St. near Fifth Are. EitaMltbeil m ISSJ. No. 37 Emphasis by massing white space 63 The Truth The Whole Truth and Nothing But The Truth The Journal of Commerce FStc Cents An News Standsl Or at Yow Home No. 38 36, 37 and 38 are further illustrations of emphasis by massing white space. 64 Ten different ways What will a man do for a drink? aoioraaru I A bMcDda writoi Aoui atai b* I gel UiitDrT hi THE AMERICAN y AOAZ1NB tar Uucfa ron wO ■indoriliDd why Uie barlsiid 'What-willaman doforadrink? IMJ Men In Mdooo*. Wtieo joo td Mi >IMT Id THE AMENCAN HA0A2INB tar Mmb r» wO uDdcritaad whj the baite&def i ■I WhatwiUa niandorar adrink? When roD CM hla 11017 In TMB AUERICAN HAOATINB tm lUrch yoa vlU nodwaUnd vby Mdrtak. What^vifla mandofiMT adrink? hu Mco Id mIoob*. Vfheo yoa got Ua Mory In THE AMBRICAM HAOA^ZINE tot Uareb yoa wO) iiDderiUDd wby ihe barteodar Whotvnlla mandofitr adrink? ^^ A bntHdn wtliea a^oui i^al ha hat M Wbea Tou fat hli ilaTT Id THB AUERtCAN MAO A2mE for Haicb too will uDdantaiidwbr WhatTnlla man defer adtink? baa IMO In laltxmi. WbcD jrou get Ua llniP in THE AHSRICAN UAOAZINE (or Harcb rou viD uDderitand why ihe baiiendcf hUnMK dect ool Mnk No. 39 of handling the same piece of copy 65 'Whattvinamando ^ fbradriiik.? Wheo jou eel bli ttarj in THE AUBRICAH UAQAZINB tat Much jou will undcnUDd wby tba baiteoiler himidtcka iwt Afait. V^hatwiUanian dofiM-adrink? A bcrtcodo' write* tbout wtaal be baa aecD in BaloooB. When you ECt fata itoiT in THE AMERICAN HAOAZINB tor MBrcb you wfll undcntand wby tbo barteDder UniKlfdaa Dot drink. 'What will a man dofiM-adrink? a ainul vbtX be lui Men in lalMHit, Wlien yon CM bii Btory fail THE AMERICAN UAOAZINB for Maich you wfll UDdoriUad why tbe bartender No. 39 Here are ten different arrangements of the same piece of copy in the same space. They are shown here as an illustration of the variety of ways in which white space may be used effectively. 2 2 The cost of good tsrpesetting typesetting. I hesitate to ven- is very little more than the ture an opinion as to the per cost of tmd typesetting— just fM^nt of profit or the actual dif- the price of skill and care in ference in dollars and cents. planning the work. And to But if you will telJ me the print legible, understandable dificrence in value between a text, costs no more than to salesman who talks clearly and ^ print the other kind. J t w^ll and a salesman who don't, ^ The increased money return I'll tell you there is just that from an advertisement or cat- difference between salesman- alog that has been made easier ship-in-print that talks dis- to understand (as compared tinctly and that don't. with the same text poorly It is my work to make type typed), shows a very real profit easy to read and your message on the expenditure for good easy to understand. 4> 4> No. 40 THE MARGINS OF A BOOK PAGE If we consider two facing pages of a booklet or catalog as a unit, we will get a more pleasing effect than if we look upon each page as a separate unit. 40 illustrates a good rule for margins: the smallest at the bind (1) ; a somewhat increased margin at the head of the page (2) ; a still larger margin at the out- side edge (3); the greatest margin at the bottom (4). Avoid the two extremes illustrated by 41 and 42. Make the type look easy. Give it enough air in which to breathe. Do not reduce the size of the type merely to have excessively large margins as in 41. Nor crowd large type so close to the edge of the paper that it makes the page iminviting as in 42. 66 M DO The cost of good typesetting typesetting. ,1 hesitate to Ten. ia very little more than the tore nn opinion os to the per cost of bad typesetting-^ust cent of profit or the actual di£ the price of skill and care in fercnce in dollars and ccnta'. planning the work. And to Uut if you will t^ll me the print legible, understandable difference in value between a text, costs no more than to salesman wh9 talks clearly and print the other kind. rtl tcU you there is just that from an advertisement or cat- difference between solesmao* olog that hns been made cosier ship-iD-print that talks dis. tinctly and that don't. with the same text poorly It is my work to moke type typed), shows a rery teal profit easy to read and ymir incssa^ op the expenditure for good easy to undeistaod. No. 41 The cost of good typesetting typesetting. I hesitate to ven- is very little more than the ture an opinion as to the per cost of bad typesetting — just cent of profit or the actual dif- the price of skill and care in ference in dollars and cents. planning the work. And to But if you will tell me the print legible, understandable difference in value between a text, costs no more than to salesman who talks clearly and print the other kind. well and a salesman who don't,. The increased money return I'll tell you there is just that from an advertisement or cat- difference between salesman- alog that has been made easier ship-in-print that talks dis- to understand (as compared tinctly and that don't. with the same text poorly It is my work to make type typed), shows a very real profit easy to read and your message- on the expenditure for good easy to understand. [14] Cl6] No. 42 EMPHASIS BY THE CHOICE OP APPROPRIATE TYPES Type can suggest not merely by the words it spells, but by the appearance of the type itself, such things as: femininity Strength Severity DIGNITY No. 43 Type can suggest 69 I N E B R I E T V Antiquity common sense (BSSSS No. 43 70 Type can suggest Since type can suggest certain things not merely by what the words say, but how they look in print, it is desirable that in the advertising of a jeweler, for instance, we choose a type that suggests the delicate workmanship of what he sells. We should not set his advertising in a type that suggests the product of an iron foundry. We might readily choose a type like this,for the advertising of high pressure pumps or dredging outfits. It suggests these things. But although this type can spell jewelry, veils and baby clothes, it is hardly fitted to suggest their character. On the other hand, if we set our words about high -pressure pumps or dredging outfits in a type like this, we scarcely convey our full meaning. This type does not suggest high pressure pumps and dredging outfits. Its delicacy does suggest jewelry, veils and baby clothes. Far be it from me to attempt a severe and fixed classi- fication of types for the advertising of certain prod- ucts. That would be absurd. Let me say only this: it will help the effect of an advertisement to choose a type that suggests something of the character of the product. And that is as far as I care to go. But arrangement is just as important 71 And again it is not merely a question of what type face to use. It is as much a question of its size, its arrangement and the general layout of a piece of advertising. For instance, the same type face is used in 44 and 45 but in different sizes, in different sur- roundings. And hence with a difference of effect. It is appropriate in both places. And the same is true of 46 and 47. 72 This is set in Caslon t/f Hand-Made Taper fntn Fabtiano, Italy ETRURIA Tait Btidiu PirtK u to modi and (or fine booka and printe cdidon^ implia id cfic&iveDea for the anooQiice* xnenb and booklet! of tbe bunncu to whicb printed matter of tliitinAioa b ao nigent necenity became it muit influence .people of taate. In additioD la letter-pren (prioud cither dij or wet) it maj be lued for photogravure, gelatine and Btee) plate printing Thl* ezwnple ii printed weL For dry piloting aee ipedmeo of BraDaiA Paraa in the upaller aixc n 1^ ■9M>*I5(- Bot» ■!»*>■ 3"» 500 il>w rwiB. CoDBWoaK DgMv (jarritd in Stock fy JAPAN PAPER COMPANY importen of High Qrade Tapen NlwYoaK AND PlIlLADaLPBU No. 44 And so is this 73 YALE-marked LOCKS We have said it before, bill it will bear saying many limes — "Every rime you put into stock any Locks ox Hardware bearing the name YALE, you add a very valuable asset to your business — the Yale reputation. Never overlook the fact that "The name Yale helps make the sale." YALE'Locki are known and trusted the world over. They arc easier to aell because of that reputation. And every day we arc making it itill easier for you to sell them by making thent itill bel- ter known. The April magaziaes arc carry- ing our message about "Yale- marked Locks'* lo your customers. We are driving home in our adver- tising the fact ibat "A Yale-marked lock is a lock that is absolutely the best for id purpose, whether it is a simple padlock, a door lock or a complicated bank lock." Every argument is on your side when you oRer yourcustomet^Yal^ marked Locks— the argument of well-earned reputation, the argu- ment of quality, and the argument of right price, quality considered. There can never be any "come back." How is your stock of Yale Locks? Are .you in the posirion to supply every reasonable de- mand? No. 45 74 This is set in Scotch Roman Why you should have a Pianola W H Y ilMuld roa have a PUdoU r Why ■hould Tou have boolu Id your libnirf Whr ibould joa hsTC pleturet od jaat wmllif Wby aboald f ou have any of the rcfincmenti or adTanUgO of prcMdt- dar lifer WLyr Bccaoie ve are drlllied be- Ingi, not llviiiR In the pait, bat In the pmcntt and oor dvUUatloD means cailtnre— eoltiire In the art of liriog and getUnK ^''^ moat out of life. Yon >T« obllKcd to have a pUno of tooie kind In yoar home, arc ;ov not? Yoar home would not be fumUlied without one. Then, of course, you want a piano that it a real musical Initru- ment— a piano that will furnlih the muilc of which It !■ capable and for which It was Intended and which will brinK not only entertaiament, but cnl- ture ai welt. Frankly, Un't the piano In yonr home DOW hanlly more than a piece of furniture? Ii It a real musical In- ilrumcnt and do yon use it at soch? Where Is the musicthatyoa hoped for when you bought It? Where It the help yoo hoped it would furiilih In educating your children ? Where It the entertain- ment yon bcllered It would topply? Your piano It not meeting your expectatloni, Is It? Your children may be learning to play on It by band, utd ao far to good, but Itli notCDlbTaUDg their knowledge of muilc — making them Intimate with the greatest and finest and most elevating of the art*. Simply learning five-finger exercises ■nd scales Is not making yovr childrm (amlllar with Beethoven, Chopin, Uut and Wagner and the great worka that these mastcra wrote. And your present piano won't give jTHi ■ musical evening whenever yon want It or need It. It won't enable yno to play the things yoo hear In the theatre and at the opera, and tfaoae old Cimlllarlivc-forever tunes you love, and the hymns of a Sunday night, for yoo and your children to sing. You knowitwon'tdoall these thing! even if yourgrown-np daughUr or your wife Is a good, average performer. No pianist In the whole world, even the best, hat a repertoire that Includes a thousandth part of the music that has been written. Whj not look this thing squarelyin the face. Your plalw was all right aa long as there was nothing belter. Bot there li something better now, and that Is— the Pianola. Let OS be perfectly f^ank. Either eon- scloutly or uncoosdoasly you have been holding come very errooeo os Ideas about the Pianola, or It would not be necessary to ask why you should have ooe. No. 46 And so is this 75 ffrrfrrfrrrrrrrrrrrrrrrrfrrrrr r r r r r r r r r r f r r r r r r r r r r r r r r r r r r r r r r r r r r r r y r Vlw «*lt lancBT la tin (HM bur or I I dallitatnil caanitt Growing by St. Nicholas CIILDREN grow by what they read. At this time next year many a boy and girl will have grown consider- ably by the ideals and ideas that they have found in their dailyreading. Those who spend the year with S^ liickolas will grow happier and wiser every day. Each month brings its new magazine—one hundred pages of entertainment and inspiration for children, little and big. S^ Nicholas is just com- mencing its fortieth year of friendship to all boys and girls. This book is its Alma- nac; sent to show you what a delightful comrade S^. NzcAo/as will be for your ypung people next year. Tbp Pnnd Ulo 0'Hasi*» ni tnod UIh D'HmnrlB U>r rida in her wif™. Elcr IukUu. or dnr. In TlMPVk^lUiBdkV; But (he'd dn all beiJd.Dra For sn* lulf the p1«Mar* DowB II>n«t|r'> wiy, When iTMinx DannT OlllJnn DriiMUiHlB Million Down Uuipbv'a I>I1I '('In ASt.NMalaiJiDil* rrrrrrrrriFrrrrrrrrrrrrrrfrrrrr No. 47 II Advertising print must get itself read What makes type easy-to-read? II Advertising print must get itself read What makes type easy-to-read? Advertising print that by one means or another com- mands attention and then scares us off by the difficulty of reading its words, does not do its job. When a reader is willing to listen patiently to some- thing we want to tell him, the least we can do is to bend every effort towards an economy of his time and at- tention. Indeed, if we expect to hold his attention be- yond the first sentence or two, we must use all our skill to make it easy for him. Reading should never look like the hard work it was to the man who wrote this letter to an advertiser: "I have your booklet before me. This has the appearance of being an interesting booklet but it is not easy-to-read, and although I took it home to read at my leisure I gave up the task, as the types, particularly under an artificial light, refused to tell their story without a great effort on my part. I simply gave it up." 79 This paragraph is not particularly easy-to-read. It has several faults, but chief of these faults is the poor choice of type face. The function of type is to be read but not all type is easy^to- read. Type designers are but human. There is opportunity for the exercise of judgment in the selection of the right face of type, not only to secure an appropriate and pleasing appearance, but also to secure proper legibility TMs type cannot be read with, comfort witiLOUt a good pair of eyes. Tou have to guess at its hair lines. The instant visibility of every stroke In every letter Is necessary to make type easy-to-read. Bold type is useful for emphasis but not for running text when there is much of it. It is not so easy-to-read as the lighter face in the next paragraph. Reading much of it at one time tires the eye. It gives to the booklet page an over-black, uninviting look. This paragraph by contrast is somewhat easier to read than those above. You may read it in less time and vfith less effort. The type is a better face for use as text. But the proper selection of the type face is by no means all there is to it. For example, try to read the next page as rapidly as your advertisement should be read if the reader is not to be discouraged or bored. 80 This page is RATHER DIFFICULT to read because of the injudicims USE OF CAPITALS AND ITALICS. Improper use of CAPITALS or Italics, even though the type face be good, DOES NOT CONDUCE TO EASY READING. Let me have a little fun with the following quotation from DeVinne's Plain Printing Types, to demonstrate what he did not mean. Please don't blame DeVinne for the way this paragraph is set — I did it. " The poverty of all other alphabets in single or double series is in marked contrast with the affluence of the five correlated series of the ROMAN ALPHABET, which enable the writer or printer to make EMPHASIS, DISPLAY, or DISTINCTION without a change of size or the violation of tj^ographical propriety. The judicious alternation of CAPITALS, SMALL CAPITALS, Italic and lower-case makes printed matter readable and rememberable." On page 47 I have shown to what good use we can put the richness of the roman alphabet. Woidd you care to read many pages of a book set like the next page? 81 THE DICTIONARY is a remarkable book. And by no means the least remarkable thing about a good dictionary is the skill and care with which it is put into type so that you may readily comprehend its text. A dictionary is such a familiar thing that you may never have realized how much your life has been lengthened by the printer, nor how much of your knowledge you really owe to the printer rather than to the learned graybeard who gave the printer his facts. The other day some statistician figured out how many years popular education had been retarded through giving all the school children a holiday for an afternoon. It would be amus- ing, if possible, to figure for the other side of such a ledger, the years of time the dictionary saves, a few seconds at a time, by so quickly giving up its store of knowledge in a way to be so quickly comprehended. A good dictionary, by proper use of type, not only saves time but facilitates comprehension. And here we reach the moral of my tale. Not a day parses but I see countless catalogs, order blanks, coupons and such things that sorely need dictionary treatment. A vast deal of advertising matter is a jumble of information which could be made much more profitable by type that helped the reader to understand it. The increased money return from an advertisement or catalog that has been made easier to understand (as compared with the same text poorly typed), shoivs a very real profit on the expenditure for good typesetting. 82 For an illustration of a very- bad practise in typesetting see the lower part of 48. I cannot imagine anything more irritating to a reader or more destructive of in- terest than to have to fol- low a piece of type in its tor- tuous windings around an illustration. Very little could have been done to im- prove this in the narrowtypespace between the pic- tures. I am here arguing against the designing of advertisementsor booklet pages that call for this kind of type arrangement. It is done often enough too, when there is plenty of space to set the type in some sort of alignment. The page you are now reading has purposely been set in two columns with the illustra- tion centered, to call your attention to When you buy the ordinary, unguar- anteed gas mantle you take a chance. H it breaks from handling or from use, you are out the price of itj when you buy Th« Guaranteed Gas Mantle Tha Pwhet C.•■.•- IS The Above 37 Owners Opera virning 25 or more White Trucks Mandel Broihtia If Naiional Casket CompHny IS New York Board orFIro Undsrwrlwrs 10 Oppsnheim, ColHos <& Company • ■ • 21 Prank Parmdea Compaiiy ..'.... I> Clly otPlliabotgh IS The Rotanbaum Company M Schulzc Baking Company 21 W. a. J. Sloane IS Standard Oil Company of CaUTomlk 31 Gundoid Oil Company of Indiana .,..,.... 120 Smndud OH Company of Niw Yotk ........ 119 Standard Oil Company ol Ohio I* Stem Brothers 19 Snpicma Baking Company ........... 2) Union Oil Company otCalUbrnJa II United Slates Oovemmeni Pott Oflkca Departmant . . . IH Word Baking Company •••• 33 te a Total ot 1571 White Truoka No. 51 Some of the Larger Users, Owning IS or B. AltnMB & Company 47 B. F. Goodrich Company .' , , . 17 Armour & Company 97 Gulf Refining Company ... 18b Ataodatad Bell Telephone Co'e . 95 Joaepli Home Company .... 42 AtlBatlclce& Coal Corporation. 15 Kaufmann Brotbcra 44 Allaotlc ReBnlnft Company ... 91 Keufmann & Baer Company . 48 City of Baltimore 19 Loa Anftclei Brewing Company . 19 BoUa & Buhl, Inc. . , 35 MandelBrothera 17 CltyotBoaton ; ... 39 Nailtfnal Caskel Company ... 15 City of Cleveland 19 New York BosTd of Fire Under. Cleveland- Akron Bait Company . 19 wrltera ... 18 Coca Cola Bottling Companies . 41 Oppenhelm. Colllni & Company 29 CImbcl Brother* 58 Frank Parmelee Company ... 18 ClBcicr Park TraMportatlon Co. 30 City of PKliburgh ....... 15 The Above 37 Owners Operate a Total of 1 No. 52 more White Trucks The Roscnbaum Company ... 14 Schuiie Baking Company. . . .XX W. & J. aioane 19 Standard Oil Co. of California . 35 Standard Oil Co. of Indiana . .131 StandardOilCo. of NewYork. .133 Standard Gil Co. of Ohio .... 18 Stern Brothers 19 Supreme Baking Combany ... 34 Union OH Company or California 35 United State* Governmenc Poat Office Department IM Ward Baking Company 29 630 White Trucks Another form of the squaring-up habit is pulling apart related information and drawing it together again with a line of dots or dashes, called " leaders, " as in 51. 94 The use of leaders This list of truck users appeared at the bottom of a full page magazine advertisement. The desire to square up this list with the main body of type above it resulted in what you see in illustration 51. 52 shows this same list clipped from this same adver- tisement in another publication, in which the list was much more sensibly handled in three columns. Note the compactness of 52 as compared with 51. K 51 could not have been set in three columns, at least the figures could have been moved over much closer to the name of the firm to which they apply, as was done in 52. Then the two columns coiild have been centered on the type above instead of being squared up with it. I prefer not to use leaders when the tjrpe will be just as clear without them. Note how this was man- aged in illustration 12 as compared with 11. In arranging tabulations and price lists, remember the reader's convenience. Do not make his eye jump back and forth from one end of the page to the other to tie up his information. It will be easier for him if you set related facts as closely together as possible. Line Spacing Why does your eye find this paragraph less invit- ing than those that follow? Isn't it because those below look easier to read? They are. The lines you are now reading are set solid. There is no space between these lines except that provided by the shoulder of the type itself. And that is not enough for a type like this. Between the lines of this paragraph a 3-point lead has been placed to give the relief of white that type needs to make it easy-to-read. There is no fixed rule about the proper amount of space to place between lines. It depends on the type face and the size you are using. Less leading for small types; more leading for large types. More leading for black-face types than for those of lighter face. When you are using the same size of type through- out a booklet give it all uniform leading. Do not double-lead on one page to make the type come to a required depth. Nor take out all the leads on an- other page to make the type come within a given space. This is an unworkmanlike way of overcoming a difficulty. It looks slovenly and hurts the inviting- ness of your print. There is no good reason why type should fill a certain depth of the booklet page. No ob- jection whatever to leaving part of a page blank. This white may give your booklet just the breathing space it needs. Read again on page 13 what I said about the selection of type for booklets. On the other hand uneven spacing between lines is 95 96 Uneven line spacing often essential in setting display matter. Note par- ticularly how the uneven spacing in 54 clearly indi- cates at a glance that the line "Wednesday and Thurs- day" has nothing to do with "The Strange Case of Mary Page, " a point that is left somewhat in doubt in 53. Tuesday Heiu7 B. Walthall In the second episode of "THE STRANGE CASE OF MARY PAGE" Wednesday and Thursday Vivian Martin In the dramatic masterpiece "MADAME X" No. 53 Tuesday Henry B. WalthaU In the second episode of "THE STRANGE CASE OF MARY PAGE" Wednesday and Thursday Vivian Martin In the dramatic masterpiece "MADAME X" No. 64 The spacing of subheads 97 Headings for tejct matter should be so spaced that they will show unmistakably to which section of the text they belong, whether to the paragraph above or below. A heading with uniform line spacing does not indicate this clearly This is a common fault in setting subheads. Details of this sort are important. They help to make print easy to understand. No doubt about the connection of this heading with the paragraph below There should be more space above the head to show the break in thought, and less space below to tie it up with the text to which it calls attention. Paeagraph Spacing De ViNNE remarks that: "White space is required to make printing comprehensible. A new chapter is identified at once by a larger allowance of blank at the top of that page. A change of importance in the subject-matter of the text, like that of a document, extract, or letter, is more plainly indicated by putting a full blank line before and after the insert. A change of minor importance is indicated by putting a small square of white, known as the em quadrat, at the beginning of a new paragraph. This petty square of white makes a break in the regular outline of the page which arrests attention." Note that the first line of the paragraph above is set flush with the lines below it. It has not the usual paragraph indention. It does not need it because it is the beginning of a new section and the white space that surrounds it is a sufficient indication of the break in thought. The paragraph you are now reading is set with an em indention which it needs to make the break on the page that "arrests attention." This paragraph is too widely indented. It does not help the looks of the page and makes nothing clearer. ^Remember what paragraph indention is for. We lose the value of it when we fill up the white space with an ornament like that used in this paragraph. The flush paragraph with no extra white space above it does not get attention as quickly as the indented 98 Space between paragraphs well used 99 The increaae in her national debt should encourage the devdopment of her vast but hitherto olmost untouched natural resources, so that that debt may be promptly and easily paid. The tremendous effort being put forth to manufacture munitions and supplies for her armies should mean the establishment of a domestic manufacturing organization incom- parably superior to any that existed before the war. The decrease in State revenue due to the abolition of the vodka traffic has been accom- panied by au unparalleled increase in savings bank deposits and efficiency of labor. The withdrawal of the Teutonic organiza- tion that, before the war, practically con- ducted the industry and finance of Russia at first almost paralyzed the operation of the Empire, but taught the people the folly of depending in peace too much on citizens of a foreign country which might become at any time an enemy power. fsi No. 55 paragraph. It is simply one more method of squaring up type composition of which I have already spoken. The flush paragraph is properly used with white space above it to indicate the beginning of a new thought; as in illustration 55. 100 The disjointed page On page 104, 1 speak of the desirability of breaking up a page into "easy eyefuls of type" by the use of short paragraphs. Some advertisers carry this idea too far and give their print a disjointed look by putting a good deal of extra white space between paragraphs closely re- lated in thought — as is shown on this page. The common-sense use of spacing in advertising print means to place together ideas closely related in thought and to keep apart ideas not closely related in thought. In illustration 55 you will note that each paragraph deals with a separate idea. Space between the para- graphs is therefore used as a valuable means of get- ting attention for each different piece of information. It is a mode of emphasis which takes the place of the subhead when the subhead is not wanted. Ill Advertising print must get itself understood Aids to Comprehension Ill Advertising print must get itself understood Aids to Comprehension Advertising print to do its job well must not only conmiand attention; must not only get itself read — it must also get itself imderstood. I have already had a good deal to say about arranging type so that it gets itself understood. Under the heading of Break-by- sense, for instance, beginning on page 40. This is an important aid to comprehension. Consider for one thing the vast field for improve- ment in the arrangement of catalog matter. The catalog like the dictionary, or any other book of ref- erence, should give up its store of information with rapid certainty. Might we not profitably give more time than we do to devising better aids to compre- hension for our catalogs? The illustrations that follow do not apply only to catalog material. They are meant for every sort of advertising print that needs to get itself understood in the least time and with the least effort on the part of the reader. Before I illustrate some of these aids to compre- hension, let me first say a word about the breaking up of a page into easy eyefuls of type. 103 104 This looks interesting and easy-to-read THB JOYOUS HEART tnui^arent shadow over her eyei; thea connng back to bi's face : "Oht it ia jroa I Yoo'vt taken csre of iL" **Coasui Ance aent tome one every jear to clear it ap." *'Yn, tbe always did that** **But I told her at last that I'd attend to it I tbonght I'd leave a good many dunes to grow as diey would, and uinply keep the briars from overrunning the phcc If you wish, Vella, 111 "No, no, I would not bave it tbanged, Dcrer. I^d you know— come" — she moved before him —"did you know there was a sweet-briar on my mother's grave?" He nodded as she looked back at him. "You planted it there t I didn't know— I didn't think you'd be so good, Elmore." ™I don't know that I was 'good.* " Elmore'a voice bad a growling sincerity. He stood star- ing down at tbe IJttle lusty, aromatic bush.. **I always tfaougjit what they tell about her was something that lifted women. There was one —with sll that beauty, too, was true to her bns- tnuid, too-pare and true to Eve on when^-loolc' at the way yon see them, marrying ooe man iftet ■nodierl She wanted to die." {33} No. 56 Have you ever watched people at a library select- ing books for home reading? Other things being equal, if they see enough pages that look like illus- tration 56, which promise interesting dialogue, they are much more apt to put the book imder their arm and walk away with it, than if they see too many solid pages like 57, which always suggest hard work. This looks like hard work 105 THE JOYOUS HEART hearty practicaliHes of the everyday world, though gaiety and the pride of life still colour their days, yet the whole inward consciousneGS is continually shot with thrcads'of pain from the past Vella had grown patient under her own experience; the strange thing now as she sat here was the cessation of all stings and scourgiags; she was full of peace ; she remembered, yet she was full of peace. Even that curiously physical pang that always caught her as her own last words to Elmore rang in her ears, even that dwindled to nothing now. All that pertained to hencif seemed to take its small place in a great far prospect, a prospect that was fair inasmuch as it was great and far. And Sarah's life and Dr. Lea's bloody, squalid end, and many a sorrow .and sin of the living and of the dead rose before her mind and y£t seemed lost, transformed by an outlook so broad that they grew small, and by a light so soft that they were softened. AU lay quiet in a beauty that overflowed even the despised present. Sorrow showed noble, and the bitter, the black, even the pettily mean grew pathetic What did it signify to see things so? Was not evil evil? The thought only glanced her mind; she was not one to feel she must stpurc a blessed experience With any doctrine; (263) No. 57 This is an important point in advertising typog- raphy, and many are the devices used to relieve the too solid look of a page. Sometimes this is done with pictures, sometimes with subheads, often by cutting up the matter into shorter paragraphs, or by a com- bination of all three. TABULATION It should require little demonstration to prove that certain kinds of information will be more easily understood and remembered if presented in tabular form instead of the running paragraph. Compare 58 and 59. The book for which 59 was designed is intended not alone for a single reading but for constant reference. Its information must there- fore be so clearly arranged that the reader may find the particular item he wants without loss of time or patience. You can see for yourself how much easier it is to get the information you want from 59 than to dig it out of 58. Method of Opening Accounts Individuals should file: (a) Specimen of their signature; (b) Letter giving instructions as to: (1) Statements (2) Method of crediting their accounts (3) Any particular matters which they desire cared for. Guardians should file: (a) Certified copy of letter of guardianship; (b) Specimen of signature. Trustees should file: (a) Certified copy of de- cree of Court appointing the trustee, if the trust was by Court appointment; (b) Certified copy of will or deed of trust evidencing their authority. 'In some cases the original deed of trust should be exhibited; (c) Specimen of signature. No. 58 Aids to comprehension 107 Method of Opening Accounts Individuals should file: (a) Specimen of their signature. (&) Letter giving instructions as to: 1. Statements. 2. Method of crediting their accounts. 3. Any particular matters which they desire cared for. Guardians should file : (a) Certified copy of letter of guardianship. (b) Specimen of signature. Trustees should file: (a) Certified copy of decree of Court appointing the trustee, if the trust was by Court ap- pointment. (&) Certified copy of will or deed of trust evi- dencing their authority. In some cases the original deed of trust should be exhibited. (c) Specimen of signature. No. 59 108 Aids to comprehension Consider SAFEPACK for wrapping, case- lining, crate-lining, car-lining, bale-lining and flat-car sheathing and covers. Because SAFEPACK is more than water- proof — it is stormproof, soakproof, dampproof , greaseproof, mildew-and-rustproof, airtight, dustproof, dirtproof, verminproof, smellproof, it has no smell. In rolls, sheets, strips, bags and ready-to-use case-linings made-up to fit your cases. No. 60 Compare 60 and 61. See how each use and each quality of Safepack is more sharply defined by its arrangement in 61. Aids to comprehension 109 Consider SAFEPACK for: wrapping car-lining case-lining bale-lining and crate-lining flat-car sheathing and covers Because SAFEPACK is: more than waterproof — it is stormproof dustproof soakproof dirtproof dampproof verminproof greaseproof smellproof mildew-and-rustproof airtight it has no smell In rolls, sheets, strips, bags and ready-to-use case- linings made-up to fit your cases No. 61 110 Aids to comprehension Some kinds of facts presented like this : Among other Russian Products may be mentioned: apples, apricots, asbestos, barley, caviar, cement, chemicals, cherries, coal, cop- per, corn, dairy products, dates, fish, flax, furs, game, gold. No. 62 are not so easy to grasp and to remember as when the same facts are presented like this: Among other Russian Products may be mentioned: apples chemicals dates apricots cherries fish asbestos coal flax barley copper furs caviar corn game cement dairy products gold No. 63 Aids to comprehension 111 This way of saying it in print does not invite reading: A Few of the Things for which Simple Directions are Given Adjust any make or model of carbureter. — Put electric machinery together right. — Make a noisy engine run quietly. — Trace wiring and locate breaks. — Time poppet, sleeve or rotary valves. — Locate grounded, short circuited or worn wires. — Keep trans- mission from coming out of gear. — Locate starting and lighting trouble by looking at the ammeter. No. 64 This clearer way of arranging the same facts invites the eye and helps understanding: A few of the things for which simple directions are given Adjust any make or model of carbureter. Put electric machinery together right. Make a noisy engine run quietly. Trace wiring and locate breaks. Time poppet, sleeve or rotary valves. Locate grounded, short circuited or worn wires. Keep transmission from coming out of gear. Locate starting and lighting trouble by look- ing at the ammeter. No. 65 112 Aids to comprehension This is arranged for looks: BEECH-NUT PACKING CO. CAHAJOHARIE, HEW YORK Makers of Famous Beech-Nut Bacon; Beech-Nut Peanut Butter; Beech-Nut Tomato Catsup; Beech-Nut Chili Sauce; Beech-Nut Mustard. Also the Beech-Nut Jams, Jellies and Marmalades — Grape, Crab-apple and Red Currant Jellies; Strawberry, Red Raspberry, Blackberry, Damson Plum and Peach Jams; Orange Marmalade; Beech-Nut Confections — Chewing Gum and Mints. ASK YOUR DEALER No. 66 While this is the same text arranged for easier com- prehension: BEECH-NUT PACKING CO. CAITAJOHARIE. HEW YORK Makers of Famous Beech-Nut Bacon Beech-Nut Peanut Butter Beech-Nut Tomato Catsup Beech-Nut Chili Sauce Beech-Nut Mustard Also the Beech-Nut Jams, Jellies and Marmalades: Jams: Strawberry, Red Raspberry, Blackberry, Damson Plum and Peach Jellies: Grape, Crab-apple and Red Ciurant Marmalade: Orange Beech-Nut Confections — Chewing Gum and Mints ASK YOUR DEALER No. 67 Aids to comprehension 113 What We Have Bad — ini* iBClndM TOBI Tans' ijnkarinj^ for pdUHcbI and*. Five tariff' revisions in twenty-three yean. Confidence shalcen. Business' demoralized. Huge money Iogmo. Millions of workers unemployed. NOBODY SATISFIED f Aw YOU?) What We Need— "^"■""^ ttaa wkat TOO tueat A sone and permanent tnrifi' policy. A sdcntific adjustment More common sense, less polities. All the £acts hroo^t out. Somebody OB the job, ALL THE TWE. A square d^ for everybody. lIUamauKTWI How We Caa Get It — ■^^■'^~™"^~~™^'"~"'~'~ (RaTOn FjlabliBh a penoonent Tariff* Commis- sion. Make it non^nrtasan. (Hve it broad poven. Give it on ample appropriation. Have everybody represented. (lot taiEBtUBt TOOt iTb* Ttriff CoraiBluhm will be a body of Knmft Inen, who will give TREIH BBTIQB TIHE to OB urdarly oind tdantifle invMti^- tKM, l)i*t ihall fuDy ami fairiy ^"^^ P^ ■" >ho heft nhiis^ to the tariff, u tbat GoBftnu will be alilA to oet vbh full luiowledhe ol tha What It Wm Do - Stop lobbying and lo^Tollin^ Bring out all the facts. Rodnce onemployment. Establish confidence. Stabilize-' businesB. YcmrPart — Write to your Congnesnuin. Write to both your Senators. Tdl them YOU wont a permanenti non-partisan Tari£P Commission. Your Postmaster will ^ve you their Who Wants a Tariff CommiSBJon? — iMu,nm The Chamber of Commeice of the U. S. wants it. The American Federation of Labor wants iL The National Gran^ wants it. Hundreds of oi^nizations, including business, agriculture and labor, want it: They have said so. Odtcrs arc saying so every day. Thousands of good citizens want it. Many of them ore working for it. The names of a few are over the page. They are good names. No. 68 Illustration 68, a reproduction of two pages from an envelope stuffer, shows how crispness is obtained by cutting down the argument to bare bones and arranging it in tabular form. 114 Aids to comprehension MANICURE ARTICLES Emery boards, 1 doz IOC Pocket nail files, in case ISC Tweezers, sc IOC and 25c Buffer, remov- able c h a - mois 19c Gillette razor — pocket style, $5 value, $2.98 Complete man- icure set with buffer IOC Hair brushes, at 49c Nail brushes, 25c values, 150 Rubber gloves, pair 25c Hospital cot- ton, 1 lb., 23c Thermos bot- tle, 1 pt 98c No. 69 The above price list, copied from a department store advertisement, shows lack of judgment in arranging matter of this sort in two narrow columns; the same matter set in one column gives us this clearer result: Manicure Articles Emery boards, 1 doz., loc Pocket nail files, in case, 15c Tweezers, sc, loc and 25c Buffer, removable chamois, 19c Gillette razor, pocket style, $5 value, S2.98 Complete manicure set with buffer, IOC Hair brushes, at, 49c Nail brushes, 25c values, isc Rubber gloves, pair, 25c Hospital cotton, 1 lb, 23c Thermos bottle, 1 pt, 98c No. 70 Aids to comprehension 115 2865K SAFEPACK Paper: 60-lb Kraft (sulphur free) Cloth: 16 X 8 yarns to the inch Weight: 33 lbs per 100 sq yards Quality: An excellent cloth-back wrap and case-lining. ' In rolls: 100 lineal yards 36, 40 and 48 inches wide. No. 71 2865K SAFEPACK Paper: 60-lb KRAFT (sulphur free) Cloth: 16x8 yarns to the inch Weight: 33 lbs per 100 square yards Quality: An excellent CLOTH-BACK wrap and case-lining InroUs: 100 lineal yards 36, 40 and 48 inches wide No. 72 Compare 71 and 72. Note how much faster you see the sample number in illustration 72. Note also how much more clearly each item of information stands out when arranged as in 72. And how the emphasis on KRAFT and CLOTH-BACK helps to identify this particular sample. 116 Aids to comprehension Side Walls. A mix of 1-2 J^5 has been found to give the best results and these proportions are fast becoming the most generally used. The price per cubic yard ranges from $7 to $8. (Note) — With a mix of l-2}^-5 a four-unit Cinch anchorage will meet the tensile strength of wrought iron bolts. Foundations and Piers. Where bulk rather than strength is of first importance a mix of 1-3-6 will be found satisfactory. The price per cubic yard averages from $5 to $7. (Note) — Not less than a six-unit Cinch anchor- age should be used with a mix of 1-3-6, to meet the tensile strength of wrought iron bolts. No. 73 Compare 73 and 74. Note how much more readily the subheads in 74 catch the eye by setting them in hanging indention. Also how the rearrangement of the note in 74 makes it easier to see and )iow the dif- ference in spacing shows more definitely to which heading it belongs. Things like this are very important in catalogs that are filed away for reference and must deliver their information at a rapid glance. Aids to comprehension 117 Side Walls. A mix of l-2J^-5 has been found to give the best results and these proportions are fast becoming the most generally used. The price per cubic yard ranges from $7 to $8. [note] — With a mix of 1-2 3^-5 a four-unit Cinch anchorage will meet the tensile strength of wrought iron bolts. Foundations and Piers. Where bulk rather than strength is of first importance a mix of 1-3-6 will be found satisfactory. The price per cubic yard averages from $5 to $7. [note] — Not less than a six-unit Cinch anchor- age should be used with a mix of 1-3-6, to meet the tensile strength of wrought iron bolts. No. 74 118 Price lists Here are two good examples of price list tabulation: For Den Decoration DOGGEREL DODGERS. Deliberately designed for den decoration. Humorous animal studies cleverly executed by Albertine Randall Wheelan. Brightly printed in quadri-color, with tints. Mounted upon brown vellum cards. Size, 9 }4 X 11. Six in set. Boxed net $1 . 50 Each card, in original envelope net .25 Each appropriately framed and en- closed in box: dull finish net 1 . 50 polished or gold nei 2 . 50 l.FoR It's Always Fair Weather WHEN Good Fellows Get Together. Three jolly dogs — a very waggish- looking trio. 2. Buns and Rolls: Food for thought. Fimny Bunnies at the Skating-rink. No. 75 PR. EMERSON FARRAR A corner in Elizabeth's garden. Four flowerets of melody: 1. Song of the moonflower .60 2. Song of the daffodil .50 3. Song of the night-blooming cereus .60 4. Song of the jasmine .50 WILSON G. SMITH Op. 96. Three pieces: 1. Allabazza. Petite polka 60 2. Staccato minuet . 60 3. Moment musical .75 Op. 97, No. 1. Sans souci. Caprice joyeux .60 No. 76 Hanging indention for short paragraphs 119 To do this: I. The Call of the Job II. Some Allies of Love III. Impersonality in Love will always look better and be easier to follow than to do this: I. The Call of the Job II. Some Allies of Love III. Impersonality in Love When your text is made up of a number of short para- graphs, each dealing with a separate fact or idea, and each not more than two or three lines in length, it may be arranged to good advantage by setting the first line of the paragraph flush and indenting the succeeding lines. Like this: Three eighteen-hole courses are augmented this year by the new nine-hole course which will be open for play. Every facility provided for trap shooting, one of the largest equipments in America being located here, 4,000 acre private shooting preserve. In this arrangement the first words of the paragraph catch the eye more quickly than if set with the regu- lar paragraph indention, like this: Three eighteen-hole courses are augmented this year by the new nine-hole course which will be open for play. EXTRACTS AND TESTIMONIAL LETTERS There are a variety of good ways of setting extracts, testimonial letters and other quoted matter which you may want to make a part of the body of your text. Short pieces of matter which are just as impor- tant as the text itself, may be set in the same width of line as the text proper; with the same leading between the lines; and with a full blank line at top and bot- tom to give this inserted matter the necessary dis- tinction. Like this: "Extracts, letters or documents made a part of the page should be so composed that the reader will dis- cern at a glance that they are not a part of the text proper. When the added matter is of high importance and is made the subject of conament, it may be set in the text type and inclosed in the ordinary marks of quotation." DeVinne. Longer extracts may be set in the same size of type as the text proper, indented one em at each side; with less leading between the lines; and with a blank line top and bottom of the extract. As in the following quotation from DeVinne's Correct Composition. "The old practice of setting extracts or docu- ments in eight or seven-point for the text in twelve-point Is not in present favor. The re- 120 Extracts and testimonial letters 121 duced size which is proper in the foot-note is not proper at all in the extract, for it cheapens and seriously degrades the workmanship of the page. Authors object to this treatment; they say that the subject-matter of extracts is often as important as that of text-matter, and should have nearly equal prominence. Readers are al- ways better pleased when the printer puts these inserts in a type that is easily readable. " Another good way of setting long extracts if your space is limited, is in one size smaller than the text, indented one em at each side. If for instance the extract is a letter, try to get along without the ad- dress and salutation. Usually they are not important and merely clutter the text. Begin the letter with a two line initial, and, if you like, a subhead like this: From an Illinois School Teacher SINCE the receipt of my set I have given the books a very thorough examination. They are beyond my expectations. I have here a collection of the choicest and most elegant gems of thought put into language, not of one person, but of all our representative men of modern times. THOS. J. FOHDELL Quotation marks are not needed. The arrangement of this letter is enough different from the body of the text to make it distinct. 122 Extracts and testimonial letters The use of italic for extracts, testimonial letters or long subheads is not often necessary and rarely desirable. Italic is always harder to read than the same size of roman. Particularly when, as in this paragraph, it is set solid. Neither is the use of a type bolder than the text to be often recommended for extracts and letters. If your copy is carefully arranged by some one of the meth- ods shown here, it will have all the distinction it needs to set it off from the body of the text. Index INDEX Advertising print what it must do, 2 must command attention, 17 must get itself read, 79 must get itself understood, 103 Aids to comprehension, 103 Alphabets, five correlated series of the roman in text types, 46, 81 Analysis of text, 20 Appropriate types, emphasis by choice of, 68 Arbitrary shapes, forcing types into, 10, 90, 92 Attention value, 28, 59 Bold type to avoid over-use in subheads, 49 not good for text type, 80 not advisable for extracts and testimonial letters, 122 Book page margins of, 66 severest test of a compositor's ability, 86 Booklet designing, 11 Booklets, size of type for, 13 Break-by-sense, 40 Capitals for subheads, 47 for side-heads, 49 injudicious use of, 81 letter spacing of, 89 125 126 Index Catalog matter, field for improvement, 103 Color of a page, 86 Combination of too many different kinds and sizes of type, 32 Comprehension, aids to, 103 Crispness, 113 Crowding, 56, 61 Dictionary treatment of advertising material, 82 Discouraging the reader, 20 Display headings, 40 letter spacing of, 89 Display type, cautions, 35 Displaying every line, 34 Easy eyefuls of type, 103 Easy-to-read, 79 Economy of reader's time and attention, 79 Emphasis definition, 17 shifting the, 21, 31 wrongly placed, 22 rightly placed, 23 weak and scattered, 24 concentrated, 25 of position, 24, 30 monotony of, 32 over-emphasis, 32, 36, 48 reducing the, 33, 53 by use of white space, 53 by use of bold type, 54 by choice of appropriate types, 68 Extracts, setting of, in body of text, 120 Index 127 Facts made easy to grasp, 110 Flush paragraphs, 98 Gray block of type, the, 10 Illustrations following the outlines of, in setting type. 6, 83 centering, 83 Illustration, its purpose in booklets, 11 Indention, hanging, 116 for subheads, 50 for short paragraphs, 119 Indention, paragraph, 98 of extracts and testimonial letters, 120 Initials, 27, 38 Italic for subheads, 47 for side-heads, 49 injudicious use of, 81, 82 not advisable for extracts, testimonial letters or long subheads, 122 Leaders, 93 Leading, 86, 95 Letter spacing, 88 Lettering that is hard to read, 8 Line spacing, 95 Margins of a book page, 66 Monotone, talking in a, 18 Narrow measure, 83, 114 128 Index Paragraphs spacing, 98 indention, 98 white space between, 100 hanging indention for short paragraphs, 119 Paragraph mark, 98 Price list, 114. 118 Products, arrangement of list, 110, 112 Reader's time and attention, economy of, 79 Reference material, need of clear arrangement for, 106 Relief of white that type needs, 95 Size of type for booklets, 13 too large, 84 too small, 85 Small capitals for subheads, 47, 49 Spacing its purpose, 88, 98, 100 for legibility, 91 letter spacing, 88 word spacing, 88, 92 sentence spacing, 92 line spacing, 95 paragraph spacing, 98 Sentence spacing, 92 Short paragraphs, 104 Solid look of a page, relieving the, 105 Squaring up, 90, 92, 99 Subheads, 46 purpose of, 46 of the text type, 47, 48 Index 129 Subheads bold, 48 paragraph, 49 cut-in, 50 marginal, 51 spacing of, 97 hanging indention of, 116 Tabulation, 106 Ten different arrangements of the same piece of copy in the same space, 64 Testimonial letters, setting of in body of text, 120 Text, analysis of, 20 Text type, letter spacing of, 88 Typography, the servant of the advertising idea, 7 Type can suggest, 68 Underscoring, 36 White space emphasis by use of, 53 massing of, 58, 62, 63 between paragraphs, 100 Window hanger must work fast, 43 Word spacing, 92 BY THE SAME AUTHOR A new method of determining all ques- tions of typography quickly and surely without setting any portion of the matter experimentally in advance; — for printers, advertising agencies, pub- lishers and advertisers generally. Sherbo^A^'s Type Charts "Everything visualized" IN FOUR VOLUMES Comprising 1208 typographical combinations SHERBO'W'S TYPE CHARTS four volumes, bound loose-leaf are unlike any existing com- fashion, permitting easy with- pilation in the type field. The drawalofany Chart for use. The plan is wholly new and original, author, Benjamin Sherbow, is a The 1208 typographical combi- professional type consultant of nations cover every contingency twelve years' experience. Hia likely to be met in practical work clients are well-known adver- upon advertisements, books, tising agencies, national maga- booklets, folders, catalogs, post- zines, printers, newspapers, ers, car-cards, etc. The set is in general advertisers and others. BLACKMAN-ROSS CO., Advertising Agents, write: "The Charts do away with about 75% of the mere mechanics of type layout — an im- mense gain — and save costly revises." MARSHALL FIELD & CO., Chicago, say: "We wouldn't want to try to get along with- out Sherbow's Type Charts." Send for prospectus Benjamin Sherbow, 50 Union Sq., New York