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Author: 
 
 Trezise, Frederick James 
 
 Title: 
 
 The typography of 
 advertisements 
 
 Place: 
 
 Chicago 
 
 Date: 
 
 1921 
 

 MASTER NEGATIVE # 
 
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 T72 
 
 Trezise, Frederick James, 1875- 
 
 The typography of advertisements, by F. J. Trezise 
 Chicago, The Inland printer company, 1921. 
 
 4 p. l, 11-134 p. illus. 19^"". 
 
 1. Printing, Practical. 2^ Advertising. i. Title. 
 
 Library of Congress 
 
 Z246.T84 1921 
 (2i 
 
 22-437 
 
 
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 The Typography of 
 Advertisements 
 
 Trezise 
 
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 \ntiit€\tpofMmfink 
 
 LIBRARY 
 
 7n 
 
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 School of Business 
 
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THE TYPOGRAPHY 
 <?/ ADVERTISEMENTS 
 
 By 
 F. J. TREZISE 
 
 Formerly Editor Job Composition and Specimen Re'vieiv 
 Departments of The Inland Printer 
 
 CHICAGO 
 THE INLAND PRINTER COMPANY 
 
 PUBLISHERS 
 1921 
 

 ?- 
 
 (K 
 
 The Inland Printer Company 
 Copyright 1911 
 Copyright 1921 
 
 2.53. a 
 
 - 
 
 
 PREFACE 
 
 TTT'HILE the growth of advertising has been exceed- 
 ▼ ^ ingly rapid, accompanied by a proportionate increase 
 of expenditure, and while vast sums have been spent in 
 securing the best in advertising copy, the question of the 
 presentation of this copy — the typography of the adver- 
 tisement — has been to a great extent neglected. 
 
 Those who have made a study of the psychology of 
 advertising have emphasized the importance of the eflfect 
 of the design of the advertisement upon the mind. It is 
 from the design, rather than the wording, that the first 
 impressions are gained. 
 
 The composition of advertisements, hke all other type 
 arrangement, is based upon certain fundamental principles 
 of design, the carrying out of which is necessary to the 
 most pleasing advertising typography. To select the most 
 readable and satisfactory type-faces, and to arrange them 
 in such manner that the eye is involuntarily led, by reason 
 of the design as well as the wording, through the adver- 
 tisement, is the end to be desired in the composition of 
 advertisements, and it is to indicate the application of the 
 principles governing these points of design that this work 
 
 is undertaken. t- t -t- 
 
 F. J. T. 
 
/ 
 
 CONTENTS 
 
 CHAPTER I. Importance of Good Advertising Display . 11 
 CHAPTER n. Laying Out the Advertisement . . 17 
 
 CHAPTER HI. The Question of Display ... 33 
 CHAPTER IV. On Choosing Type .... 49 
 
 CHAPTER V. On the Use of Borders . . . . 63 
 CHAPTER VI. The Department Store Advertisement . 79 
 CHAPTER VII. Hand-Lettered Advertisements . . 90 
 CHAPTER VIII. "Agency Advertisements" . . .100 
 CHAPTER IX. Illustrations in Advertisements . . 110 
 CHAPTER X. How to Set the Advertisement . . ,123 
 
 u 
 
 
1 1 
 
 THE TYPOGRAPHY OF 
 ADVERTISEMENTS 
 
 CHAPTER I. 
 
 ^ROM the time, some three thousand 
 years ago, when the Egyptians 
 used hand-bills and posters made of 
 papyrus to give descriptions of run- 
 away slaves and advertise rewards 
 for their return, through the peri- 
 ods of the illiteracy of the masses 
 when signs were used to indicate 
 the goods for sale, past the periods of the crier adver- 
 tising orally, and down to the present time, advertising 
 has ever been a prominent feature in the business 
 world. 
 
 Advertising became associated with printing soon 
 after the invention of the latter, and the imprint or 
 printer's mark early became a feature of his work. 
 These devices were but trade-marks, used as means of 
 identification. That they were considered valuable is 
 shown in the fact that they were subjected, as they are 
 even at the present time, to imitation and theft. 
 
 [II] 
 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 A large question — and an elusive one — this ques- 
 tion of the typography of advertisements. 
 
 One billion dollars is spent each year in the United 
 States for advertising purposes. 
 
 The annual appropriation of single firms is enor- 
 mous, several of them spending between $500,000 and 
 $1,000,000 yearly. 
 
 Ten dollars an agate line, or nearly $150 an inch, 
 is paid for space, and even that is not the maximum. 
 
 A " double-page spread " at $7,500 is a common 
 occurrence. 
 
 A page advertisement at $5,000 is an ordinary thing 
 and excites no comment whatever. 
 
 One is inclined, in view of these figures, to question 
 whether or not such advertising pays. 
 
 This, of course, depends upon what percentage of 
 the total sales goes into the advertising appropriation. 
 
 One New York department store is said to spend 
 $500,000 a year in advertising — on a three per cent 
 basis. The average is perhaps two per cent. The 
 average for salesmen, however, is from five to ten per 
 cent. 
 
 A Chicago department store recently ran a twenty- 
 page advertisement in the Sunday editions of two Chi- 
 cago newspapers. The cost for the single insertion in 
 the two papers was approximately $25,000. 
 
 The effects of this advertising hardly can be esti- 
 mated. Things which in the ordinary course of affairs 
 one hardly ever hears of, become, after the insistent 
 bombardment of facts from the advertising pages of 
 
 [12] 
 
 THE TYPOGR APHY OF ADVERTISEMENT S 
 
 dozens of magazines, necessities. Advertising has, 
 time and again, changed our habits as a people. It 
 has, in thousands of homes, substituted for the old-time 
 breakfast of coffee, meat and potatoes, one of cereal 
 drink and breakfast foods. It has, to a large extent, 
 put the barber out of business by the enormous demand 
 for safety razors which it has created. 
 
 Advertising, as we know it to-day, is a necessity 
 due to modern conditions. In the old days of hand- 
 work, before the introduction of the labor-saving 
 machinery and devices which characterize our factories 
 of the present time, the problem was not how to sell 
 goods but how to make them fast enough to supply 
 the demand. The man who made furniture by hand 
 was concerned in filling his orders — in making, by his 
 tedious processes, enough to supply the demand. With 
 the introduction of improved machinery and labor- 
 saving devices the problem was reversed. It became a 
 question of creating the demand. And this advertising 
 
 does. 
 
 Emerson wrote, '' If a man can write a better book, 
 preach a better sermon, or make a better mouse-trap 
 than his neighbor, though he build his house in the 
 woods, the world will make a beaten track to his door." 
 
 But that doesn't apply to the present time. It 
 applied to the days of slow processes of manufacture. 
 The man of the present day who can make better 
 mouse-traps than the other fellow, can make them in 
 such quantities — and must make them in such quan- 
 tities in order to meet competition — that the tedious 
 
 [13] 
 
 ' 1' 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 business of waiting for the world to make a beaten 
 path to his door wouldn't do at all. He must go to the 
 world — and that by advertising. 
 
 And advertising to get his goods before the public 
 is not sufficient — he must advertise in order to keep 
 them there. The man who controls the market in his 
 line — who has practically all of the trade — must keep 
 up a campaign of advertising as an insurance against 
 losing his business. As an example, it is said that the 
 National Biscuit Company instituted a certain news- 
 paper advertising campaign which involved the expen- 
 diture of $175,000. Of this amount $60,000 was spent 
 in New York city, where the company already had 
 over ninety-eight per cent of the business in its line 
 The money was not spent in the expectation of increas- 
 ing business — it was spent as insurance against the 
 possible inroads of competition. 
 
 And now we come to the part the printer plays in 
 all this publicity. Upon him falls the problem of pre- 
 senting these things to the public in a manner that will 
 attract attention. And even that is not sufficient — it 
 must be favorable attention. 
 
 Many printing-houses fail to give sufficient atten- 
 tion to the typography of their advertisements. The 
 copy may be most carefully gotten up by a specialist — 
 and some of these specialists are paid as high as $1,000 
 a week for their services — but when it comes to pre- 
 senting this costly message to the public it is done in 
 a haphazard manner. 
 
 In justification of this condition, some one comes 
 
 [14] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 along and says, " Oh, well, it doesn't pay to put too 
 much time on the composition of advertisments." 
 
 Doesn't it? 
 
 John Jones is going to run the same advertisement 
 
 in six different magazines. 
 
 He pays $6 an agate line in each of them. 
 
 In ordinary display and average size type he may 
 average three words of copy to one agate line of space. 
 
 That means that for each word of that advertise- 
 ment Jones will pay $12. 
 
 At that rate, can Jones afford to have anything but 
 the best of typography ? 
 
 Just pause for a moment, Mr. Ad.-compositor, and 
 let the question of the cost of advertising get thor- 
 oughly into your system. Put yourself, for just a few 
 moments, in the shoes of the man who pays for the 
 advertisements, and if looking at things from his view- 
 point does not bring to you a realization of what good, 
 careful typography means to him, then, indeed, ad.- 
 composition is not your line. 
 
 One can not get away from the fact that the com- 
 positor plays no unimportant part in the effect of the 
 advertisement on the reader. The psychologists who 
 have turned their attention to advertising lay great 
 stress upon the effect of the design upon the mind. 
 True, they do not minimize the importance of the 
 words, but the first impression — the basis from which 
 they must start in their psychological deductions — is 
 the design. 
 
 Advertising is not, as yet, an exact science. Get a 
 
 [15] 
 
 II 
 
<tMHn 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 group of ad.-writers or ad. -compositors together in the 
 discussion of certain advertisements and you will find 
 as many opinions as there are persons present. Like 
 job-printing, the composition of advertisements has 
 been in a more or less chaotic state, but happily we are 
 now getting it on a sound basis of principles. And it 
 is with these principles and their application to the 
 typography of advertisements that these chapters will 
 deal. As before stated, the compositor is a prominent 
 factor in the completed advertisement, and his treat- 
 ment of it does much to enhance or detract from its 
 effect on the prospective buyer. If he can get — and 
 this is possible — certain acknowledged fundamental 
 principles of design to apply to his work, it will give 
 him a solid foundation upon which to build. 
 
 CHAPTER IL. 
 
 The minute a compositor begins work on an advertisement, that min- 
 ute he becomes a salesman, and his major thought should be to set an 
 advertisement that will sell the goods. Fads, fashions and mechanical 
 cleverness must be secondary to the selling factor in his presentation of 
 the subject. 
 
 T is not without certain misgivings 
 that I undertake this discussion of 
 the typography of advertisements. 
 Varying conditions in printing- 
 offices and in the mediums in which 
 advertisements are used make it 
 hard to arrive at a place where we 
 can all stand on a common ground 
 in this matter. The comparative newness of advertis- 
 ing as a profession is also a drawback. The ad.-writers 
 themselves do not stand on a common ground. The 
 discussion of the relative merits of a piece of ad.-copy 
 will call forth just as great a diversity of opinion 
 among ad.-writers as will the discussion of its arrange- 
 ment in type bring out differences of opinion among 
 printers. 
 
 Of one thing we are certain, however. The trend 
 of the times is toward a definite understanding, both 
 in ad.-writing and in ad.-composition. The writing of 
 advertisements is gradually being placed on a more 
 
 [i6] 
 
 [17] 
 
 , 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 
 
 I; 
 
 definite basis with regard to what is good and what is 
 bad. Likewise the compositor is devoting more and 
 more attention to the fundamentals of his craft. The 
 ultimate result can not be other than beneficial to both. 
 
 Another thing that has militated against a more 
 speedy improvement of the typography of advertise- 
 ments has been the attitude of the printer toward the 
 ad.-writer, and vice versa. 
 
 I fully realize that this is treading on dangerous 
 ground — that, like the proverbial peacemaker, one is 
 more than liable to '* get it " both going and coming. 
 
 Do you doubt that the attitude of the ad.-writer is 
 frequently a detriment in the production of good 
 typography? Then read the following, taken from a 
 text-book for ad.-writers : 
 
 *' The average compositor, particularly the * old- 
 timer,' prides himself on his ability to crowd into a 
 given space all the type-styles it will hold. Samples 
 of these typographical nightmares are to be found in 
 nearly all publications. Regarding this too prevalent 
 fault, a writer facetiously remarks : * If your printer 
 insists on setting your advertisements in fourteen dif- 
 ferent styles, sizes and faces of type, he should pay 
 half the cost of the advertisement for the privilege of 
 showing his stock.' Obviously, then, it behooves the 
 ad.-man to master the rules of type arrangement and 
 type harmony. A fair knowledge of these, and of the 
 general technicalities given elsewhere in this book, will 
 enable him to plan a * set up ' in an intelligent manner, 
 and to give specific instructions to the compositor." 
 
 [i8] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Rather a " soft " way in which to learn a trade. A 
 fair knowledge of " these " and of the general techni- 
 calities given elsewhere in " this book," and behold you 
 can show the compositor more than he has learned in a 
 
 lifetime. 
 
 On the other hand, what does the compositor say 
 of the average ad.-writer? Did you ever hear the 
 comments of a compositor while trying to crowd into 
 an advertisement, in eight-point type, the matter which 
 the ad.-writer had specified to go in twelve-point? No? 
 Then you have missed some choice bits of oratory. 
 Expurgated, they run something like this : " Well, 
 what do you know about that ad.-school graduate who 
 got up this copy? Why, say, that fellow wouldn't 
 know twelve-point Caslon from a shooting-stick or a 
 paper-stretcher, and he tried to tell me — me — how 
 to set ads. I'll show him where he gets off " — and so 
 on, and so on, until the advertisement is up or the com- 
 positor's mind is distracted by fresh troubles. 
 
 And if you have ever witnessed the unholy glee 
 with which the compositor follows copy and instruc- 
 tions on an advertisement which has been poorly laid 
 out, chuckling over the expected outcome, and his 
 endeavor to " show up " the ad.-writer, carefully avoid- 
 ing doing anything which would tend toward an 
 improvement, you can not have failed to see an attitude 
 detrimental to the best results. 
 
 This spirit of mutual distrust manifests itself in" 
 much of our ad.-work, and until the writer and printer 
 get together on a basis of mutual understanding, our 
 
 2 [19] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 advertising pages will not reach their greatest possible 
 
 effectiveness. 
 
 As stated above, the compositor is getting down to 
 a solid basis in his work — he is concerning himself 
 more and more with the questions of cause and effect. 
 No longer content to " go it blindly," he insists upon 
 reasons for every move. He wants to know " why," 
 and these comments on the typography of advertise- 
 ments are made with that fact in mind. The field can 
 not be fully covered — and no attempt will be made to 
 do so — but suth points as have come under the obser- 
 vation of the writer will be offered in the hope that 
 they may help to clarify the question of ad.-compo- 
 sition. 
 
 CHOOSING THE DISPLAY. 
 
 The first thing which the compositor must do is to 
 choose the parts of the copy which he will display. In 
 this he is, of course, frequently assisted by the ad.- 
 writer, who designates his preferences on the copy. 
 
 The copy has much to do with the general effect. 
 Too many display features make a good advertisement 
 impossible in spite of the best efforts of the designer. 
 Some ad.-writers realize this, and in consequence they 
 get good advertisements without any difficulty what- 
 ever, while others are at constant war .with the com- 
 posing-room. 
 
 Most advertisements contain too much display. 
 Display, like all other good things, can be overplayed, 
 and no matter how good a thing may be, too much of 
 
 [20] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 it is not desirable. This is illustrated in Fig. i. Here 
 we have an advertisement set in a manner calculated 
 to bring out all of the various features. The composi- 
 tor evidently has endeavored to overlook no point 
 which should be displayed. But in his desire to bring 
 out everything he has succeeded in bringing out noth- 
 ing. He has forgotten that where everything is 
 emphasized there is no emphasis. As you look at the 
 advertisement your eye is attracted first by one group 
 or spot and then by another, in such rapid succession 
 that it all becomes a jumbled mass. In Fig. 2, how- 
 ever, it is different. You turn to this advertisement 
 with a feeling of relief, you take it in at a glance. The 
 heading and the signature tell the vital points of the 
 story, and they are pleasingly brought out in contrast 
 with the gray tone of the background furnished by the 
 descriptive matter. The heading has been left in the 
 same type as in Fig. i, but the subordination of the 
 balance of the text causes it to stand out, by reason 
 of the contrast in sizes, much more prominently. This 
 question of contrasts should not be overlooked by the 
 compositor, for contrast is the most potent factor in 
 typographical display. The ten-story building is a 
 marvel in a town of two and three story structures, 
 but in the loop district of Chicago or on the lower end 
 of Manhattan Island, surrounded by buildings twice 
 its height, the ten-story building is not noticed. The 
 building is just the same — it is simply a question of 
 contrasts. Just so with type. The line of twenty-four- 
 point capitals stands out prominently and is relatively 
 
 (21] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 large, when surrounded by ten and twelve point type, 
 but place it among a number of other lines of twenty- 
 four-point and it loses its effect. And it is largely 
 
 MEYER ALL-WOOL 
 SUMMER CLOTHES 
 
 Are worn by the 
 
 BEST DRESSERS IN 
 CHICAGO 
 
 They are popular in all of the great fashion 
 centers in America. They are offered to the 
 men of this country at 
 
 Prices as Low or Lower 
 
 than they are asked to pay in most stores for 
 commonplace and inferior goods. You will see 
 the force of our arguments as soon as you try 
 these clothes on. The 
 
 GOOD WORKMANSHIP AND 
 CHOICE PATTERNS 
 
 must surely appeal to you. You will know 
 what we mean by "clothes that fit and keep 
 their shape." 
 
 R. R. MEYER & COMPANY 
 
 127 State Street, Chicago 
 
 1 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 than in the original. Of course, the rules on either 
 side tend to set it apart from the other matter, but the 
 absence of the confusion which is noted in the original 
 
 Pig, I. — Where everything is emphasized 
 there is no emphasis. This advertisement con- 
 tains too much display. , 
 
 because of this contrast that the words " are worn by 
 the best dressers in Chicago " are much easier to read 
 in Fig. 2, although set in a size of type much smaller 
 
 [22l 
 
 MEYER ALL-WOOL 
 SUMMER CLOTHES 
 
 Are worn by the best dressers in Chicago 
 
 They are popular in all of the great 
 fashion centers in America. They are 
 offered to the men of this country at 
 prices as low or lower than they are 
 asked to pay in most stores for com- 
 monplace and inferior goods. You 
 will see the force of our arguments as 
 soon as you try these clothes on. The 
 good workmanship and choice pat- 
 terns must surely appeal to you. You 
 will know what we mean by "clothes 
 that fit and keep their shape." 
 
 R. R. MEYER & COMPANY 
 
 127 State Street, Chicago 
 
 Fig. 2. — A resetting of the advertisement 
 shown in Fig. i. Much easier to read, more 
 pleasing to the eye, and with the important fea- 
 tures brought out. , 
 
 and which is due to the conflicting of the two groups in 
 the large size of type is mainly responsible for its 
 legibility. In the one advertisement we realize the 
 
 [23] 
 
INTENTIONAL SECOND EXF^OSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 large, when surrounded by ten and twelve point type, 
 but place it among a number of other lines of twenty- 
 four-point and it loses its effect. And it is largely 
 
 MEYER ALL-WOOL 
 SUMMER CLOTHES 
 
 Are worn by the 
 
 BEST DRESSERS IN 
 CHICAGO 
 
 They are popular in all of the great fashion 
 centers In America. They are offered to the 
 men of this country at 
 
 Prices as Low or Lower 
 
 than they are asked to pay in most stores for 
 commonplace and inferior goods. You will see 
 the force of our arguments as soon as you try 
 these clothes on. The 
 
 GOOD WORKMANSHIP AND 
 CHOICE PATTERNS 
 
 must surely appeal to you. You will know 
 what we mean by "clothes that fit and keep 
 their shape." 
 
 R. R. MEYER & COMPANY 
 
 127 State Street, Chicago 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 than in the original. Of course, the rules on either 
 side tend to set it apart from the other matter, but the 
 absence of the confusion which is noted in the original 
 
 Fig. I. — Where everything is emphasized 
 there is no emphasis. This advertisement con- 
 tains too much display. , 
 
 because of this contrast that the words " are worn by 
 the best dressers in Chicago " are much easier to read 
 in Fig. 2, although set in a size of type much smaller 
 
 [22] 
 
 MEYER ALL-WOOL 
 SUMMER CLOTHES 
 
 Are worn by the best dressers in Chicago 
 
 They are popular in all of the great 
 fashion centers in America. They are 
 offered to the men of this country at 
 prices as low or lower than they are 
 asked to pay in most stores for com- 
 monplace and inferior goods. You 
 will see the force of our arguments as 
 soon as you try these clothes on. The 
 good workmanship and choice pat- 
 terns must surely appeal to you. You 
 will know what we mean by "clothes 
 that fit and keep their shape." 
 
 R. R. MEYER & COMPANY 
 
 127 State Street, Chicago 
 
 Fig. 2. — A resetting of the advertisement 
 shown in Fig. i. Much easier to read, more 
 pleasing to the eye, and with the important fea- 
 tures brought out. , 
 
 and which is due to the conflicting of the two groups in 
 the large size of type is mainly responsible for its 
 legibility. In the one advertisement we realize the 
 
 [23] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 same sensations that we would if a half-dozen fellows 
 surrounded us and shouted in our ears, each telling a 
 different story, while the other one produces an effect 
 
 DO YOU KNOW 
 
 that 
 
 Queen Chocolates 
 
 Are the Best to Be Had at Any Price? 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shall speak at a time — and common sense decrees that 
 to bring out one point at a time is good advertising. 
 It has been said that a man can do better service 
 
 Nothing but jhc best of ingredients 
 arc used in the manufacture of the 
 widely celebrated ^ueen Chonlatet. 
 They are made under the conditions 
 which guarantee absolute cleanliness 
 and this, in connection with their 
 purity, makes them the most desirable 
 of confections. There is no more 
 appropriate gift than a box of ^ueen 
 Chtctlatet. They are packed in boxes 
 of different sizes. The pound boxes 
 are 60 cents. 
 
 Do You Know that 
 
 Queen Chocolates 
 
 Are the Best to Be Had at Any Price? 
 
 Nothing but the best of ingredients 
 are used in the manufacture of the 
 widely celebrated ^ueen Ch»ctlates. 
 They are made under the conditions 
 which guarantee absolute cleanliness 
 and this, in connection with their 
 purity, makes them the most desirable 
 of confections. There is no more 
 appropriate gift than a box of ^ueen 
 Ch§c9latet. They are packed in boxes 
 of different sizes. The pound boxes 
 are 60 cents. 
 
 The Chocolate Company 
 
 Chicago 
 
 Fig 3._The feature line of an advertise- 
 ment should have a- direct bearing on the sub- 
 ject. The heading in this advertisement would 
 suggest hard coal as readily as chocolates. 
 
 similar to that which would result from a person quietly 
 and convincingly stating the case to us. 
 
 Common politeness decrees that but one person 
 
 [24] 
 
 I 
 
 Fig. 4. — A resetting, in which the proper line 
 has been given the most prominent display. 
 
 with one club than he can with an armful. Likewise 
 the advertiser can get better results by emphasizing 
 one point than by calling attention to a dozen. 
 
 The feature line of an advertisement should have 
 
 [25] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 same sensations that we would if a half-dozen fellows 
 surrounded us and shouted in our ears, each telling a 
 diflferent story, while the other one produces an effect 
 
 DO YOU KNOW 
 
 that 
 
 Queen Chocolates 
 
 Are the Best to Be Had at Any Price? 
 
 Nothing but %hc best of ingredients 
 arc used in the manufacture of the 
 widely celebrated ^ueen Chocolates. 
 They are made under the conditions 
 which guarantee absolute cleanliness 
 and this, in connection with their 
 purity, makes t hem the most desirable 
 of confections. There is no more 
 appropriate gift than a box of ^ueen 
 Chocolates. They are packed in boxes 
 of different sizes. The pound boxes 
 - are 60 cents. 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shall speak at a time — and common sense decrees that 
 to bring out one point at a time is good advertising. 
 It has been said that a man can do better service 
 
 L 
 
 The Chocolate Company 
 
 Chicago 
 
 I 
 
 I 
 
 Do You Know that 
 
 Queen Chocolates 
 
 Are the Best to Be Had at Any Price? 
 
 Nothing but the best of ingredients 
 are used in the manufacture of the 
 widely celebrated ^ueen Chocolates. 
 They are made under the conditions 
 which guarantee absolute cleanliness 
 and this, in connection with their 
 purity, makes them the most desirable 
 of confections. There is no more 
 appropriate gift than a box of ^ueen 
 Chocolates. They are packed in boxes 
 of different sizes. The pound boxes 
 are 60 cents. 
 
 The Chocolate Company 
 
 Chicago 
 
 Pjc 3 _ The feature line of an advertise- 
 ment should have a- direct bearing on the sub- 
 ject. The heading in this advertisement would 
 suggest hard coal as readily as chocolates. 
 
 similar to that which would result from a person quietly 
 and convincingly stating the case to us. 
 
 Common politeness decrees that but one person 
 
 [24] 
 
 Fig. 4. — A resetting, in which the proper line 
 has been given the most prominent display. 
 
 with one club than he can with an armful. Likewise 
 the advertiser can get better results by emphasizing 
 one point than by calling attention to a dozen. 
 
 The feature line of an advertisement should have 
 
 [251 
 
 I 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 a direct bearing on the subject. " Do you want," " Do 
 you know," *' When in need," etc., prominently dis- 
 played at the head of an advertisement have no selling 
 value whatever. And yet how often we see advertise- 
 ments with just this sort of display. Fig. 3 is an exam- 
 ple. In this advertisement the most prominent line is 
 one which would suggest hard coal just as easily as 
 chocolates. In the resetting. No. 4, the proper line has 
 been given the most prominent display and one can not 
 even glance at the advertisement without receiving an 
 impression of " Queen Chocolates." 
 
 DECIDING ON THE ARRANGEMENT. 
 
 Having selected the portions of the copy which we 
 wish to display, the next step is to decide upon the 
 general arrangement of the advertisement. This must 
 be done at this time for two reasons — first, that we 
 may have a definite plan from which to work; and 
 second, that time may be saved in the setting of the 
 advertisement. 
 
 Speed is an essential feature in the composition of 
 advertisements, both on account of keeping down the 
 cost of production and of getting out publications on 
 time. No matter how much the compositor may desire 
 to embellish the advertisement, he must consider the 
 time-ticket. Some classes of typography may allow 
 unlimited time for the printer — but not so the com- 
 position of advertisements. 
 
 How is one to best conserve the interest of the time- 
 ticket ? 
 
 126] 
 
 - 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Mainly, by having a definite plan of action. 
 
 As a builder goes about the construction of a house, 
 so should the compositor go about the construction of 
 an advertisement. He should know at the beginning 
 just what he intends the results to be. 
 
 We are all familiar with the printer who, when he 
 gets an advertisement to set, grabs a stick, sets it to 
 the proper measure and, blindly trusting in Providence, 
 throws the thing together, only to find, perhaps, that 
 he lacks space for the last four or five lines and must 
 reset half of it in order to make it go in the allotted 
 space. 
 
 That man works without a definite plan. 
 
 The other man — the man who accomplishes results 
 — goes about it in a different manner. He first pro- 
 vides himself with a plan. 
 
 Unless he can form a mental picture of what his 
 advertisement is to be when completed, he makes a 
 rough sketch of it. He may make three or four 
 sketches, and then choose the most pleasing. This is 
 the logical way in which to achieve the most satisfac- 
 tory results. The making of one or more sketches is 
 but the matter of a few minutes — which time is made 
 up many times over in the actual composition. 
 
 One must admit, however, that the ability which 
 comes only from long experience is an important factor 
 in ad.-composition. To deny this would be useless. 
 Constant practice along this line of work can not do 
 other than train the mind to grasp quickly the possi- 
 bilities of the copy. The skilled ad.-man " sizes up " 
 
 [271 
 
-^ .«K'- i m n y i w w^fMU ffi , i1«j » i i " 
 
 a i y m f fim^r ju i ^ i m ^yimi 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the copy for an advertisement and almost immediately 
 associates it with a certain form of display. There are 
 certain possible arrangements for each piece of copy, 
 and to decide which is the most suitable is the first 
 thought. 
 
 It is interesting to note, in connection with this 
 question of deciding upon the best arrangement for an 
 advertisement, that first impressions are very likely to 
 be the best. I have talked with many seasoned printers 
 on this point, and they are almost unanimous in the 
 opinion that, after a man has looked over the copy, the 
 first arrangement which suggests itself to his mind is 
 more than likely to be the best that he could adopt. 
 Minor changes may be necessary, but the essential fea- 
 tures will remain the same. Nor is this at all surpris- 
 ing. Long experience stores up in the cells of one's 
 mind many designs, and upon viewing a piece of copy 
 one unconsciously calls up a design to correspond. 
 Some will not agree with this opinion -^ their experi- 
 ence will have been that a sorting over and considera- 
 tion of various arrangements are necessary before a 
 final choice is made. Personally, I am inclined to think 
 that, with the seasoned printer, first impressions are 
 the best, largely because of the fact that he uncon- 
 sciously eliminates, because of past experiences, many 
 designs which the less practical man would consider 
 desirable. 
 
 The printers who possess this ability, born of a 
 long experience, to evolve and mature their plans with- 
 out sketches are, however, comparatively few. 
 
 [28] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 So, for the most of us, sketches are desirable. 
 
 An elaborate sketch is not necessary. All that is 
 required is an indication of the sizes and shapes of the 
 various lines and groups. No suggestion of lettering 
 is necessary. One may, however, suggest in the sketch 
 the variation in tone which will result from heavier or 
 larger type. 
 
 Let us consider a problem. We have an advertise- 
 ment to set, the copy for which is as follows : 
 
 " The Principles of Design," by Ernest A. Batchelder. 
 This book since its publication has received the unreserved 
 commendation of teachers and students. It treats with direct- 
 ness and simplicity the subject to which all those interested 
 in Art Education are giving careful thought. If any one will 
 do what Mr. Batchelder has here so clearly described and 
 illustrated, he will know what constitutes good design and 
 rejoice in a keener eye, a more skilful hand and a more dis-. 
 criminating taste (the School Arts Book). The book contains 
 over one hundred unique and valuable illustrations. We sug- 
 gest an early order for your library, as the edition is limited. 
 Price, $3. The Inland Printer Company, 624-632 Sherman 
 street, Chicago. 
 
 Upon looking over the copy, we decide that the 
 name of the book, the author, the price and the firm 
 selling it are the essential features. How' to arrange 
 the advertisement pleasingly, bringing out these points 
 in display is the next question. 
 
 We make a number of rough sketches of arrange- 
 ments. In Fig. 5 are shown four different arrange- 
 ments of .the copy. Five or ten minutes would be suf- 
 ficient time in which to make them. From these we 
 
 [291 
 
 'I 
 
 i 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 a 
 
 □r 
 
 Fio. S.— Four diflFerent suggestions for the arrangement of a given 
 piece of copy. The advertisements, as set from these sketches, are shown 
 in Fig. 6. 
 
 [30] 
 
 B l Hl'lilli- 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 THE PRINCIPLES 
 OF DESIGN :: B, 
 
 ERNEST A. BATCHELDER 
 
 THIS BOOK lincc its publication hu re- 
 ceived the unreterved commcndilioii oi 
 teachera and ttudenit. It treatt with 
 dircrtncat and in a moai ilmple manner of 
 (he tubiect 10 which alt those interested in An 
 Education ar; (ivinc careful thotifht. "U any 
 one will do what Mr. Bitchelder has here so 
 clearly described and illutiratcd. he will know 
 what constitutes |ood design and rejoice in a 
 keener eye, a more skilful hand and a more 
 discrimmatint taste," (The School Arts 
 Book.) The book contains over one hundred 
 unique and valuable illustrations. We su(- 
 (est an early order for your library, as the 
 edit ion is limited. 
 
 nucB,u.w 
 
 THE INLAND PRINTER COMPANV 
 
 im-IM ShmM* Stnn. Ckka(o. Ul 
 
 Nf« Twfc o>««. i;» TM.M. auf 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 •/ ERNEST A. BATCHELDEK 
 
 THIS BOOK since its publication has re- 
 ceived the unreserved commendation of 
 teachers and students. It treats wKh 
 directneu and in a most simple manner of 
 the subject to which alt those interested in Art 
 Education are giving careful thought. "If any 
 one wilt do what Mr. Batchelder has here so 
 clearly described and illustrated, he will know 
 what constitutes good design and reiotce m a 
 keener eye, a more skilful hand and a more 
 discriminating taste." (The School Arts 
 Book.) The book contains over one hundred 
 unique and valuable illustrations. We sug- 
 gest an early order for your library, as the 
 edition IS limited. 
 
 ntCM, U.M 
 
 THE INLAND PRINTER COMPANY 
 
 Ilt-IM Slitmaii SiKM. Ckicigo, III. 
 ■rav^soai.. imTiitoMaMa 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 Br ERNEST A. BATCHELDER 
 
 JHISBOOKmkcks^i*- 
 licatiMi hat Mctivtrf tW 
 
 lion ot (hr icschcn and 
 studtnts It tfvati witli 
 diffcrMH and in a nwn 
 Mmplc mahMr of ihr Mibfcct lo which 
 all ihow intcKnitd in Art Edticaiion 
 •nr firinf cairful ihot^hl "If any 
 one will do what Mf. Batchtldcr ha- 
 hcf« cicatijr dncribtd and illuMntad. 
 h» will kaow what comtiittM (ood 
 df»if«i and rrioioe in a kctaar ty, a 
 MOfr skilful hand and a mow dik- 
 CMfninaiinf iau» ' ( The Srhoot An* 
 Aouk ) Tht book trontaim ovm out 
 liundrad uniqua and valuable illurtra- 
 ttom. Wt Miictai an aaHy oidar lor 
 >out library, a» ihandiiian ■• linriMd. 
 
 nUCB.ftl.M 
 
 THE INLAND PRINTER COMrANY 
 
 I1B-1M Shcrntan Stnrt, Chicane. IH. 
 )■«• r*«« OAcf i7n r>t»«M awi 
 
 The 
 
 PRINCIPLES OF 
 
 DESIGN 
 
 *.rEKNESTA BATCHELDKK 
 
 THIS B<X)K since Its publication has 
 received the unreserved commenda- 
 tion of teachers and students. It 
 treats with directness and simplicity 
 the subject to which all those mter«ted in Art 
 Education arc giving careful thought. "If any 
 one will do what Mr. Ratcheldcr has here so 
 clearly described and illustrated, he wiH know 
 what constitutes good design and rejoice in a 
 keener eye. a more skilful hand and a more 
 discrimmaiing taste." (The School Arts 
 Book.) The book contains over one hundred 
 unique and valuable illustrations. We sug- 
 gest an earty order for your library, as the 
 edition is limited. 
 
 MICB. «a.M 
 
 THE INLAND PRINTER COMPANY 
 1J»-1J» Shcnua Sum, Ohc^o, ni 
 
 ■iwVwt OAn. IT!S r>tft«M aMt 
 
 Fig. 6. — Four different arrangements of the same advertisement, set 
 from the sketches shown in Fig. 5. 
 
 [31] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Fig. s.— Four diflFerent suggestions for the arrangement of a given 
 piece of copy. The advertisements, as set from these sketches, are shown 
 in Fig. 6. 
 
 [30] 
 
 THE PRINCIPLES 
 OF DESIGN :: By 
 
 ERNEST A. BATCHELDER 
 
 THIS BOOK lince itt puUicition hu rr- 
 ccived the unretcrved contmendition oi 
 tcichcn and tiudentt. It treui with 
 directness tnd in a most simple manner of 
 the subject to which all those interested in An 
 Education ar; (ivint careful thought. "If any 
 one will do what Mr. Batchelder has here so 
 clearly described and illusiraied, he will know 
 what constitutes (ood design and retoice in a 
 keener tyt, a more skilful hand and a more 
 discriminating taste," (The School Arts 
 Book.) The book contains over one hundred 
 unique and valuable illustrations. We sug- 
 gest an early order for your library, as the 
 edition is limited. 
 
 mCB.U.M 
 
 THE INLAND PRINTER COMPANY 
 
 120-130 Sherman SiraM. CKicago. HI 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 If ERNEST A BATCHELDER 
 
 THIS BOOK since its publication has re- 
 ceived the unreserved commendation of 
 teachers and students. It treats with 
 directness and in a most simple manner of 
 the subject to which all those interested in An 
 Education are giving careful thought. "If any 
 one will do what Mr. Batchelder has here so 
 clearly described and illusirited, he will know 
 what constitutes good design and rejoKC m a 
 keener eye, a more skilful hand and a more 
 discriminating taste." (The School Arts 
 Book.) The book contains over one hundred 
 unique and valuable illustrations. We sug- 
 gest an early order for your library, as the 
 edition IS limited. 
 
 nilCB. SJ.M 
 
 THE INLAND PRINTER COMPANY 
 IM-tM Skfnua Sum. Ckicifo, III. 
 
 Mm Vwk 0«ct. ITi9 TiitaM aM« 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 t/ ERNEST A. BATCHELBEK 
 
 ^ HIS BOOK since mp«b- 
 licaiioA kM ftctivcd tW 
 unrcifrvcd commcfMb- 
 tion ot the tcachm mmI 
 Mudeni* It ttnt% with 
 diMctncM and in a nioM 
 Mni|»l« matinrr of ihr Mibfici lo which 
 all fhoac inicmtcd in An EducatMn 
 ar* (ivtng careful thotighi "If any 
 oae will 60 what Mr Batchclilcr hao 
 htre ctcaiijr dncribed and illuMnflarf. 
 he will know what conMitui** food 
 dcvffi and rriokY in a kctatr ly*, ft 
 more skilful hand aiKl a more 4ift- 
 ciiminaitnc lauf ' ( The School Art« 
 Rot.k.) Tht book contain* tnr*r «•» 
 luindnd uniqvt and valuable illuMni* 
 lioM, Wc M^ntu an ciHir ttidcr far 
 >our library, a> ihcodttion h timiMJ. 
 
 PMCK.SS.M 
 
 THE INLAND PRINTER COMPANY 
 
 13D-IM Sherman Simh. Chicle. IH. 
 
 The 
 
 PRINCIPLES OF 
 
 DESIGN 
 
 4/ ERNEST A BAICHELDER 
 
 THIS BOOK since its publication has 
 received rhe unreserved comriKnda- 
 tion of teachers and students. It 
 treats with directness and simplicity 
 the subject to which all those mtrrestcd in An 
 Education are giving careful thought. "If any 
 one will do what Mr. Ratchelder has here so 
 clearly described and illustrated, he wiH know 
 what constitutes good design and rejoice in i 
 keener eye. a more skilful hand and a more 
 discriininatmg taste ' (The School Am 
 Book.) The book contains over on« hundred 
 unique and valuable illustrations. We sug- 
 
 •*?'. •" "^ *"*" 'o' yo"' library, as the 
 edition is limited. 
 
 niiCE, sa.M 
 
 THE INLAND PRINTER COMPANY 
 I]*-I3t Shttmaii Strnt, Chicks, HI 
 
 ■towV«l out,. ITS T..>..» au. 
 
 i 
 
 Fig. 6. — Four different arrangements of the same advertisement, set 
 from the sketches shown in Fig. 5. 
 
 [31] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 choose the one which appears to be the most desirable 
 and set our advertisement accordingly. In this par- 
 ticular instance, for the sake of illustration, the adver- 
 tisement has been set in the four different arrange- 
 ments suggested in the sketches, and the result is 
 shown in Fig. 6. One could, with very little effort, 
 sketch a dozen different designs, differing even more 
 radically from those here shown. 
 
 Above all things, keep your advertisements simple 
 in arrangement. By this, I mean that there should be 
 but a few display lines and but fev^ groups of type. 
 Gather the matter, as far as possible, into three or four 
 groups instead of breaking it up into a number of spots. 
 
 My plea for simplicity in advertising design is based 
 on the fact, or, at least, the assumption, that the proc- 
 cesses of the mind in assimilating an advertisement are 
 involuntary. The advertisement should be of such 
 nature that it will attract and hold the reader's atten- 
 tion without effort on his part. For instance, you wish 
 to advertise a new article. The reader has never heard 
 of it. He is perhaps idly glancing over the advertising 
 section of his favorite magazine. Never having heard 
 of your article, he can not possibly be looking for an 
 advertisement of it, and hence any impression that he 
 may receive from your advertisement must be invol- 
 untary on his part. It naturally follows, then, that 
 your most successful advertising will be of such a 
 nature that he may comprehend its vital points at a 
 glance and with the least possible mental effort. Ordi- 
 narily, this can be brought about only through a simple 
 treatment. r , 
 
 CHAPTER III. 
 
 Good taste in printing does not consist altogether of a knowledge of 
 what to use and where to use it; more often does it consist of a knowl- 
 edge of what not to use. 
 
 T costs no more to set a good adver- 
 tisement than it does to set a poor 
 one — in fact, it usually costs less. 
 This is because the men who set the 
 good advertisements have learned 
 the value of a simple type-design. 
 As a usual thing, the appreciation 
 of simplicity comes only with expe- 
 rience and careful observation. 
 
 To quote a remark recently made by a job-printer, 
 " It takes a lot of study to get where you can do the 
 simple things." 
 
 The compositor is more than likely to be carried 
 away by his appreciation of the mechanical effects 
 accompanying certain kinds of typography. He revels 
 in panelwork, in the late decorative effects, etc. — all 
 complicated, and therefore expensive, forms of type- 
 design. 
 
 In laying out an advertisement one should see that 
 the strongest display is at or near the top. The eye 
 naturally seeks the top of the page first ; we read from 
 
 [331 
 
 0\ 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the top down ; and the point to which the eye is first 
 attracted is the logical point at which to place the 
 strongest display. Structurally, the advertisement with 
 
 The Smith -Wallace 
 Evening Clothes 
 
 While the question of improvement 
 in the quality of our product may be a 
 debatable one, there is always a possi* 
 bility of improving factory facilities. 
 
 Our new building, to be erected dur- 
 ing the coming year, with its complete 
 modern equipment, will enable us to 
 increase enormously our annual output 
 and still confine every stage of manu- 
 facture within our own walls. In its 
 mechanical and sanitary features it will 
 be on a scale of excellence not sur- 
 passed by that of any other establish- 
 ment in the country. 
 
 Smithy Wallace & Co. 
 
 Chicago 
 
 Fig. 7. — The small heading and large signa- 
 ture line give this advertisement the appearance 
 of being upside down in design. 
 
 a good strong caption is pleasing, while the advertise- 
 ment with a weak heading and a strong display in the 
 lower part has the appearance of being " top heavy at 
 
 [34I 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the bottom." An illustration of this is found in the 
 advertisements shown in Figs. 7 and 8. In Fig. 7 the 
 small heading and large signature line at the bottom 
 
 The Smith-Wallace 
 Evening Clothes 
 
 While the question of improvement 
 in the quality of our product may be a 
 debatable one, there is always a possi- 
 bility of improving factory facilities. 
 
 Our new building, to be erected dur- 
 ing the coming year, with its complete 
 modern equipment, will enable us to 
 increase enormously our annual output 
 and still confine every stage of manu- 
 facture within our own walls. In its 
 mechanical and sanitary features it will 
 be on a scale of excellence not sur- 
 passed by that of any other establish- 
 ment in the country. 
 
 Smith, Wallace & Co. 
 
 Chicago 
 
 Fig. 8. — The design should be heaviest at, 
 or near, the top. A good strong caption in- 
 sures this. 
 
 give the advertisement the appearance of being upside 
 down in design. In Fig. 8 the order of strength of 
 display is reversed, and one can not but feel that as a 
 
 3 
 
 [35] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the top down ; and the point to which the eye is first 
 attracted is the logical point at which to place the 
 strongest display. Structurally, the advertisement with 
 
 The Smith -Wallace 
 Evening Clothes 
 
 While the question of improvement 
 in the quality of our product may be a 
 debatable one, there is always a possi- 
 bility of improving factory facilities. 
 
 Our new building, to be erected dur* 
 ing the coming year, with its complete 
 modern equipment, will enable us to 
 increase enormously our annual output 
 and still confine every stage of manu- 
 facture within our own walls. In its 
 mechanical and sanitary features it will 
 be on a scale of excellence not sur- 
 passed by that of any other establish- 
 ment in the country. 
 
 Smithy Wallace & Co. 
 
 Chicat^o 
 
 Fig. 7. — The small heading and large signa- 
 ture line give this advertisement the appearance 
 of being upside down in design. 
 
 a good strong caption is pleasing, while the advertise- 
 ment with a weak heading and a strong display in the 
 lower part has the appearance of being '' top heavy at 
 
 [341 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the bottom." An illustration of this is found in the 
 advertisements shown in Figs. 7 and 8. In Fig. 7 the 
 small heading and large signature line at the bottom 
 
 The Smith-Wallace 
 Evening Clothes 
 
 While the question of improvement 
 in the quality of our product may be a 
 debatable one, there is always a possi- 
 bility of improving factory facilities. 
 
 Our new building, to be erected dur- 
 ing the coming year, with its complete 
 modern equipment, will enable us to 
 increase enormously our annual output 
 and still confine every stage of manu- 
 facture within our own walls. In its 
 mechanical and sanitary features it will 
 be on a scale of excellence not sur- 
 passed by that of any other establish- 
 ment in the country. 
 
 Smith, Wallace & Co. 
 
 Chicago 
 
 Fig. 8. — The design should be heaviest at, 
 or near, the top. A good strong caption in- 
 sures this. 
 
 give the advertisement the appearance of being upside 
 down in design. In Fig. 8 the order of strength of 
 display is reversed, and one can not but feel that as a 
 
 [35] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 pleasing distribution of color and form it is much 
 superior to the other. 
 
 Another point which the compositor shbuld keep 
 in mind is : Avoid, as much as possible, the use of 
 pyramid forms of type. The inverted pyramid form 
 
 Fig. 9. — The pyramid form shown in A is rarely pleasing in 
 typography, while the inverted pyramid (B) lends itself readily to 
 design for printing. 
 
 will be found much more satisfactory in almost every 
 instance. 
 
 Just why the inverted pyramid form is more pleas- 
 ing than the pyramid form in typography is a matter 
 of some conjecture, and one finds it rather difficult to 
 lay down any direct, convincing principle on this point. 
 My own theory is that the point made by designers, 
 and jewelry designers in particular, that a form which 
 hangs pendant should be smaller at the bottom, may 
 bear on the shape of the group of type. Structurally, 
 a form which hangs pendant should be suspended from 
 
 [36] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 its strongest point, and it naturally follows that when 
 a triangular form hangs pendant it should be the small- 
 est at the bottom. One may liken the group of type 
 to this, and assume that the type on the page is in 
 effect hanging from the top. All our arrangements 
 of the printed page bear out this assumption. We 
 have our widest margin, where the margins are varied, 
 at the bottom, our short run-over pages are at the top, 
 and we put our heaviest display at the top. The 
 designers of our typographical decorations evidently 
 have recognized this principle and in a large measure 
 conformed to it, and we find comparatively few tri- 
 angular decorations that are not the widest at the top. 
 Note the difference between the two ornaments shown 
 in Fig. 9. 
 
 Then, too, the fact that the composition of an 
 advertisement, like the composition of a painting, 
 should be of such nature that it will lead the eye easily 
 from one point to the other, may have a bearing on 
 this question of pyramid and inverted pyramid forms. 
 The natural course of the eye in following an adver- 
 tisement is from the top toward the bottom, while the 
 natural course of the eye in following a pyramid form 
 is from the base to the apex. It therefore follows that 
 where the two are thrown together the result is one of 
 conflict or complication — in effect the eye is trying to 
 read upward and downward at the same time. If the 
 pyramid form is placed at the top, as shown in Fig. 10, 
 the natural tendency of its shape is to carry the eye 
 to its apex, and thus entirely out of the advertisement. 
 
 [37] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 pleasing distribution of color and form it is much 
 superior to the other. 
 
 Another point which the compositor should keep 
 in mind is : Avoid, as much as possible, the use of 
 pyramid forms of type. The inverted pyramid form 
 
 Fig. 9. — The pyramid form shown in A is rarely pleasing in 
 typography, while the inverted pyramid (B) lends itself readily to 
 design for printing. 
 
 will be found much more satisfactory in almost every 
 instance. 
 
 Just why the inverted pyramid form is more pleas- 
 ing than the pyramid form in typography is a matter 
 of some conjecture, and one finds it rather difficult to 
 lay down any direct, convincing principle on this point. 
 My own theory is that the point made by designers, 
 and jewelry designers in particular, that a form which 
 hangs pendant should be smaller at the bottom, may 
 bear on the shape of the group of type. Structurally, 
 a form which hangs pendant should be suspended from 
 
 [36] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 its strongest point, and it naturally follows that when 
 a triangular form hangs pendant it should be the small- 
 est at the bottom. One may liken the group of type 
 to this, and assume that the type on the page is in 
 effect hanging from the top. All our arrangements 
 of the printed page bear out this assumption. We 
 have our widest margin, where the margins are varied, 
 at the bottom, our short run-over pages are at the top, 
 and we put our heaviest display at the top. The 
 designers of our typographical decorations evidently 
 have recognized this principle and in a large measure 
 conformed to it, and we find comparatively few tri- 
 angular decorations that are not the widest at the top. 
 Note the difference between the two ornaments shown 
 in Fig. 9. 
 
 Then, too, the fact that the composition of an 
 advertisement, like the composition of a painting, 
 should be of such nature that it will lead the eye easily 
 from one point to the other, may have a bearing on 
 this question of pyramid and inverted pyramid forms. 
 The natural course of the eye in following an adver- 
 tisement is from the top toward the bottom, while the 
 natural course of the eye in following a pyramid form 
 is from the base to the apex. It therefore follows that 
 where the two are thrown together the result is one of 
 conflict or complication — in effect the eye is trying to 
 read upward and downward at the same time. If the 
 pyramid form is placed at the top, as shown in Fig. 10, 
 the natural tendency of its shape is to carry the eye 
 to its apex, and thus entirely out of the advertisement. 
 
 [37] 
 
^M5^|**2 
 
 «MttW'iw wfl t * i"*ii*-<ii»r' 
 
 iiillPWH— iHitWUPl 
 
 SSBS 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 The reading-matter itself suggests a movement of the 
 eye from top to bottom, while the shape of the group 
 
 The 
 
 Harrington Press 
 
 Improves Your Work 
 
 Harrington Presses are now in 
 evidence from one coast to the 
 other and from Canada to the 
 Gulf of Mexico. If they had 
 not made good the purchasers 
 would not have kept them and 
 .would not be making second and 
 third orders now. 
 It it not merely the fact that our 
 output is so greatly oversold — it 
 is the fact that there are hun- 
 dreds of Harrington Presses now 
 in use and paid for that speaks 
 so convincingly of the surpassing 
 merits of these machines. 
 
 ff^rite fir Prices 
 
 Harrington Press Company 
 
 Cbie«|o and New York 
 
 Fig. 10. — The natural course of the eye in 
 following a pyramid form is from the base to 
 the apex, and when a pyramid form is placed 
 at the top of a design it has a tendency to 
 carry the eye out of the advertisement. 
 
 suggests a movement from the bottom upward. In 
 Fig. II, the arranging of the same heading in an 
 inverted pyramid form results in a more pleasing 
 
 [38] 
 
 !k1 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 appearance, due to the fact that both the reading-matter 
 and the shape of the group have a tendency to carry 
 
 The Harrington Press 
 
 Improves Your 
 
 Work 
 
 Harrington Presses are now in 
 evidence from one coast to the 
 other and from Capada to the 
 Gulf of Mexico. If they had 
 not made good the purchasers 
 would not have kept them and 
 would not be making second and 
 third orders now. 
 It it not merely the fact that our 
 output is so greatly oversold — it 
 is the fact that there are hun- 
 dreds of Harrington Presses now 
 in use and paid for that speaks 
 so convincingly of the surpassing 
 merits of these machines. 
 
 fVrite for Prices 
 
 Harrington Press Company 
 
 Cbiccgo and New York 
 
 Fig. II. — Here the shape of the upper 
 group tends to carry the eye directly into the 
 advertisement. 
 
 the eye in the same direction — into the center of the 
 advertisement. 
 
 The same principle appHes to the composition of 
 a group of Hnes which are squared up at one end — an 
 
 [39] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 The reading-matter itself suggests a movement of the 
 eye from top to bottom, while the shape of the group 
 
 The 
 
 Harrington Press 
 
 Improves Your Work 
 
 Harrington Presses are now in 
 evidence from one coast to the 
 other and from Canada to the 
 Gulf of Mexico. If they had 
 not made good the purchasers 
 would not have kept them and 
 .would not be making second and 
 third orders now. 
 It it not merely the fact that our 
 output is so greatly oversold — it 
 is the fact that there are hun- 
 dreds of Harrington Presses now 
 in use and paid for that speaks 
 soconvincingly of the surpassing 
 merits of these machines. 
 
 IVrite ftr Prices 
 
 Harrington Press Company 
 
 Cbiea^o «nd New York 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 appearance, due to the fact that both the reading-matter 
 and the shape of the group have a tendency to carry 
 
 Fig. 10. — The natural course of the eye in 
 following a pyramid form is from the base to 
 the apex, and when a pyramid form is placed 
 at the top of a design it has a tendency to 
 carry the eye out of the advertisement. 
 
 suggests a movement from the bottom upward. In 
 Fig. II, the arranging of the same heading in an 
 inverted pyramid form results in a more pleasing 
 
 [38] 
 
 The Harrington Press 
 
 Improves Your 
 
 Work 
 
 Harrington Presses arc now in 
 evidence from one coast to the 
 other and from Capada to the 
 Gulf of Mexico. If they had 
 not made good the purchasers 
 would not have kept them and 
 would not be making second and 
 third orders now. 
 It it not merely the fact that our 
 output is so greatly oversold — it 
 is the fact that there are hun- 
 dreds of Harrington Presses now 
 in use and paid for that speaks 
 soconvincinglyof the surpassing 
 merits of these machines. 
 
 fVrite for Prices 
 
 Harrington Press Company 
 
 Chicago and New York 
 
 Fig. II. — Here the shape of the upper 
 group tends to carry the eye directly into the 
 advertisement. 
 
 the eye in the same direction — into the center of the 
 advertisement. 
 
 The same principle applies to the composition of 
 a group of lines which are squared up at one end — an 
 
 [391 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 arrangement which is at times considered desirable. 
 This is illustrated in the two arrangements shown in 
 Fig. 12. 
 
 It is not always possible to arrange the type in a 
 
 Fig. 12. — In A the arrangement of the heavy lines is not 
 pleasing, due to the fact that their shape as a group tends to 
 carry the eye toward the top of the page, instead of toward the 
 text. The arrangement shown in B is much more satisfactory. 
 
 heading of this kind in such manner that the longest 
 line will be at the top, but care should be taken that 
 it is considerably above the center and not below it. 
 Note the difference between the two examples shown 
 in Fig. 13. 
 
 These side arrangements should, as a rule, be 
 avoided, as the balancing of the various groups on a 
 
 [40] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 central axis is in nearly every instance productive of 
 
 ,the best results. This is particularly noticeable in the 
 
 illustration shown in Fig. 14. Here the endeavor to 
 
 obtain originality of treatment has led to a placing of 
 
 B 
 
 Fig. 13. — The widest line of a heading of this kind should be at, 
 or near, the top, as in B, and not near the bottom, as in A. 
 
 the display lines, both at the top and bottom of the 
 advertisement, in positions which break up the sym- 
 metrical arrangement of the design. Except in very 
 rare instances, the word " symmetrical," as applied to 
 typographical design, means having both sides of the 
 design equal, and, therefore, when we speak of a 
 printed page being symmetrical we usually mean that 
 it is balanced on a central axis — that all lines are cen- 
 
 [41] 
 
 II 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 arrangement which is at times considered desirable. 
 This is illustrated in the two arrangements shown in 
 Fig. 12. 
 
 It is not always possible to arrange the type in a 
 
 Fig. 12. — In A the arrangement of the heavy lines is not 
 pleasing, due to the fact that their shape as a group tends to 
 carry the eye toward the top of the page, instead of toward the 
 text. The arrangement shown in B is much more satisfactory. 
 
 heading of this kind in such manner that the longest 
 line will be at the top, but care should be taken that 
 it is considerably above the center and not below it. 
 Note the difference between the two examples shown 
 in Fig. 13. 
 
 These side arrangements should, as a rule, be 
 avoided, as the balancing of the various groups on a 
 
 [40] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 central axis is in nearly every instance productive of 
 
 ,the best results. This is particularly noticeable in the 
 
 illustration shown in Fig. 14. Here the endeavor to 
 
 obtain originality of treatment has led to a placing of 
 
 Fig. 13. — The widest line of a heading of this kind should be at, 
 or near, the top, as in B, and not near the bottom, as in A. 
 
 the display lines, both at the top and bottom of the 
 advertisement, in positions which break up the sym- 
 metrical arrangement of the design. Except in very 
 rare instances, the word " symmetrical," as applied to 
 typographical design, means having both sides of the 
 design equal, and, therefore, when we speak of a 
 printed page being symmetrical we usually mean that 
 it is balanced on a central axis — that all lines are cen- 
 
 [41] 
 
 i| 
 
 M 
 
 I 
 
HJti," mi .t^tl Fi^ui 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 tered. While there are, of course, no laws or rules of 
 good composition which may not at times be violate<^ 
 with good results, still as a general proposition the 
 
 I 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 
 ADOPT T HE SPIRIT 
 
 OF THE JAP 
 
 When the Lidit Brown Jipi decided to become modtrntzcd, 
 ih*y went iboui it •btolurcly wiihom pfTiwdxe. TKe y 
 tttfdted the modcfn wiy of doiwt thiny. They pklu« 
 •id choM and adopted the bct( nneihodt- Nothiiif was 
 uoftd at. everything w» judged on itt own menit. 
 The retuli i« ihit in U%% ih«n fcfiy ye»n Japan ha» become 
 one of the World'* po.*ef« and iKe «orld i« tlill gasping 
 •n aiionifhmeni over the feat. 
 
 Now. the business mm who carries (he spirit of our iittW 
 bfown oriental frtcnd tnio his bustQesa methods, it bound 
 lo outgrow Kis competitors, just as the OfKC incomcquential 
 Jap outgrew the haughty Russian. 
 
 Don'ukt your progress be hampered by tradition or pre- 
 |udwe. Let merit be iht prinnple of your busmest 
 conduct— the merit of the merchandise >ou offer to the 
 people. Give your customer a garment which will make 
 him come the neRt season for o^e of the same make 
 THc "EFFEFF ' clothmg «.ll do this and mere It 
 will enaMe you to outgrow your compctadrs, becauae 
 *' EFF-EFF' garments for Spnngjnd Summer arc bryond 
 eompeiittofi— be>ond k ai an> givfn price m fabrKS, ift 
 tailoring ind fl<tlc 
 
 On TtcMtiaer TisM e«. 
 
 n«*yirii 
 
 centered, and one can hardly fail to note how much 
 easier it is for the eye to grasp and take in the design 
 as a whole. The rearrangement is orderly and pleas- 
 
 
 m 
 
 Fig. 14. — A symmetrical appearance has 
 been sacrificed in an attempt to secure orig- 
 inality. Compare with Fig. 15. 
 
 violation of this principle of symmetry is usually 
 attended by effects that are not pleasing. In the rear- 
 rangement, Fig. 15, the display lines have all been 
 
 [42] 
 
 
 ADOPT THE SPIRIT 
 OF THE JAP 
 
 When the Utttc Brown Japs decided co become moderaized, 
 they w^nt about it absolutely without prgudtce. They 
 studied the modem way of doing things. They picked 
 and chose and adopted the best methods- Nothing waa 
 scoffed at, everything was judged on itt own menta. 
 The result is that in lesa than fifty years Japan has become 
 one of the World's powers an<i the world is atiU gasping 
 in asconiahment over the feat. 
 
 New, the business man who carries the spirit of our little 
 brown orienul friend into his business methods, is bound 
 to outgrow his competiron, just as the once inconsequential 
 Jap oucgrfl|i the haughty Russian. 
 
 Don't lee your progress be hampered by tradition or prc- 
 judice. Let merit be the principle of your business 
 conduct — the merit of the merchandise you offer to the 
 people. Give your customer a garment which will make 
 him come the next season for one of the tame make. 
 The **EFF-EFF" clothing will do this and more. It 
 will enable you to outgrow your competitors, because 
 "EFF'EFF" garments for Springand Summer are beyond 
 competition — beyond it at any given price in fitbrics, in 
 tailoring and style. 
 
 CM TtcMciacr mhtl Co. 
 
 ;M-74*-7M I 
 
 Bwnrt 
 
 Fig. 15. — Balancing the display lines on a 
 central axis gives symmetry and a better dis- 
 tribution of white space. 
 
 ing; the original is disorderly and, therefore, con- 
 fusing. 
 
 A most necessary requisite in the composition of 
 
 [43] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 tered. While there are, of course, no laws or rules of 
 good composition which may not at times be violatec^ 
 with good results, still as a general proposition the 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 
 ADOPT THE SPIRIT 
 
 OF THE JAP 
 
 When the Littif Brown Japs decided (O become modcrntzed, 
 tKey went tbovi it ibsolutely without prejudtce. TKr y 
 Mudied the modern w>y of domg ihmti. They picket 
 t'vd choM And Mtopird the best methods- Nothing was 
 Koffrd at. evrrythmg wis judged on its own mentt. 
 The result is thn \\\ lets th«n hfiy years Jspin his become 
 one of the World's po*fr« tnd the »orld ts still g»p<^C 
 •n utontshment o^rr the feit. 
 
 No*, the business msn who (srnes the spirit of our little 
 brown orirnul frtend into his business methods, is bound 
 to outgrow his competttort.just %% the o«kc inconsequential 
 Jap outgrew the haughty Russian. 
 
 Don'ulet your progress be hampered by traction or pre- 
 l^ice. Let merit be the principle of your business 
 coAduct—thc mem of the merchandise >ou oftcr to the 
 people. Civf your cuMomer a garment which will make 
 Ktm come the ne Bt season for o>ie of the tame make 
 The "EFF-EFF ' clothmg «ili do ihii and more It 
 will enaMc you to outgrow your rompctitda. because 
 "EFF-EFF' gvmenrt for Sptmgsnd Summer are beyond 
 competition— be) ond it at any gtvtn price in fabnct. ui 
 (ailofing and sttle 
 
 CN Tecbbtimr Tisbtl eo. 
 
 ;u;u-7M Bro«Mf 
 mv y«rii 
 
 centered, and one can hardly fail to note how much 
 easier it is for the eye to grasp and take in the design 
 as a whole. The rearrangement is orderly and pleas- 
 
 
 Fig. 14. — A symmetrical appearance has 
 been sacrificed in an attempt to secure orig- 
 inality. Compare with Fig. 15. 
 
 violation of this principle of symmetry is usually 
 attended by effects that are not pleasing. In the rear- 
 rangement, Fig. 15, the display lines have all been 
 
 [42] 
 
 "wSn 
 
 
 ADOPT THE SPIRIT 
 OF THE JAP 
 
 When the Little Brown japs decided to becotne modeniized, 
 they went about it absolutely without preiudice. They 
 ttudied the modern way of doing things. They picked 
 and chose and adopted the best methods- Nothing wu 
 scoffed at, everything was judged on ita own merit*. 
 The mult is that in less than fifty years Japan has become 
 one of the World's powers and-tf.e world is ttill gasping 
 in astonishment over the feat. 
 
 Now, the butinets man who carries the spirit of our little 
 brown oriental friend into his business methods, is bound 
 to^ outgrow his competitors, just is the once inconsequential 
 Jap outgrep the haughty Russian. 
 
 Don't let your prtigress be hampered by tradition or pre- 
 judtcc. Let merit be the principle of your business 
 conduct — the merit of the merchandise you offer to the 
 people. Give your customer a garment which will make 
 him come the next season for one ot* the same make. 
 The "EFF'EFF" clothing will do this and more. It 
 will enable you to outgrow your competitors, because 
 "EFF-EFF" garments for Springand Summer are beyond 
 competition— beyond it at any given prkc in fiUmcs, in 
 tailoring and style. 
 
 DC f tcMeiotr WM Co. 
 Dmtirt 
 
 II 
 
 Fig. 15. — Balancing the display lines on a 
 central axis gives symmetry and a better dis- 
 tribution of white space. 
 
 ing; the original is disorderly and, therefore, con- 
 fusing. 
 
 A most necessary requisite in the composition of 
 
 [43I 
 
 
piw*«iu. '^"nmmp^i.jMJiT^ 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 an advertisement is proportion. We must consider 
 proportion in the relation of border to text, in the 
 margins of white space around the advertisement, in 
 
 Natures Purest POME ROY. . 
 
 ^^^"^y ^^'"^ • • SKIN FOOD 
 
 A moM viAmM* TfMlci PWfMirjnoii SoA«m the Skm, esprh 
 •II impuriticii, and cn«urr> i hcahhy, ntiural completion. ^ 
 A boon 10 thovc cngagrJ m outJuor <bponi or mJdor dulicv 
 For mother and hab> nothmic can lalic »•> place li rcnc<i^%ihc 
 tiin khcn chafed »t ihe tea^idf . tn the cuumry it proHrcn your 
 contplck<on trnm ^unbyrn. pncily hrai. and Mm 
 
 POMEROY.. ^^r"". .= 
 
 ^.,.^, .r^.^.-^i,-^ woman s race 
 SKIN FOOD herCharn, 
 
 THE TOILET BALM FOR.. 
 SUMMER DAYS AND NIGHTS 
 
 J^.» •'„'" Is. 6d., 2s. 6d.. 3s. 6d., .Ss.. 
 
 o* rosT tni rxm 
 
 Mrs. Pomeroy , L,d 29. oib^nb street 
 
 I 
 
 THE TYPOGR APHY OF ADVERTISEMENTS 
 
 the definition of the word. Proportion is defined as 
 the pleasing inequality in the* parts of an object. 
 Mark you, pleasing inequality. The different panels, 
 
 
 Fig. 16. — The groups of type in this adver- 
 tisement are too nearly equal in size. There is 
 not enough variety. They divide the page into 
 spaces nearly equal in size, as shown in the 
 diagram in Fig. 17. 
 
 the distribution of the white space in the advertise- 
 ment, and in the arrangement of the various groups 
 and panels. To consider this question of proportion 
 in an intelligent manner we must properly understand 
 
 [44] 
 
 Fig. 17. — A diagram of the groups of type 
 in the advertisement shown in Fig. 16. The 
 division of the advertisement into spaces of the 
 same size is not pleasing. There is not enough 
 variety. 
 
 borders, groups of text, or whatever else goes to make 
 up the advertisement, must vary in size. Not only 
 that, but the variation must be pleasing. Then the 
 question is, "What constitutes a pleasing variation?" 
 
 [45] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 an advertisement is proportion. We must consider 
 proportion in the relation of border to text, in the 
 margins of white space around the advertisement, in 
 
 4 
 
 Natures Purest POME ROY. . 
 Beauty Balm.. c;K IN FOOD 
 
 A moM vilusble Toifcr PrtpjriDon Softens ihe Skin. cvpcH 
 StI tmpunticrt, and enturr^ • hctlthy. niiurjl compivvtun. j0 
 A boon lo rho^c cnga)j;ej in omduor ^pun^ or inJ<KM- duticv 
 For miMher and t>ab> n»ih(n( can lakt m place It rrnc^s ihc 
 tkm ifehcB chafed ai the uaMdc . tn the country if pnitect^ your 
 cowplvxtoii frttm lyMhttfH. prtdtly lir«. and hittk 
 
 POMEROY. . ^r' '. . 
 
 ______ _-,,~.^^-^ woman s Face 
 
 SKIN FOOD her Charm 
 
 .THE TOILET BALM FOR .. 
 SUMMER DAYS AND NIGHTS 
 
 *~»»,''n " Is- 6d., 2s. 6d.. 3s. 6d.. .Ss., 
 
 01 HMT tni raoa 
 
 Mrs. Pomeroy , L,d 29. Old »oii6 Street 
 
 "Xondon 
 
 Fig. i6. — The groups of type in this adver- 
 tisement are too nearly equal in size. There is 
 not enough variety. They divide the page into 
 spaces nearly equal in size, as shown in the 
 diagram in Fig. 17. 
 
 the distribution of the white space in the advertise- 
 ment, and in the arrangement of the various groups 
 and panels. To consider this question of proportion 
 in an intelligent manner we must properly understand 
 
 [44] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the definition of the word. Proportion is defined as 
 the pleasing inequality in the parts of an object. 
 Mark you, pleasing inequality. The different panels, 
 
 Fig. 17. — A diagram of the groups of type 
 in the advertisement shown in Fig. 16. The 
 division of the advertisement into spaces of the 
 same size is not pleasing. There is not enough 
 variety. 
 
 borders, groups of text, or whatever else goes to make 
 up the advertisement, must vary in size. Not only 
 that, but the variation must be pleasing. Then the 
 question is, "What constitutes a pleasing variation?" 
 
 [451 
 
 ( 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 While varying conditions may and do demand dif- 
 ferent treatments, there is one ratio of proportion, 
 universally recognized, that applies particularly to the 
 
 Nature 's Purest Beauty Bairn 
 
 Pomeroy Skin Food 
 
 A most valuable Toilet Preparation. 
 Softens the Skin, expels all impuri- 
 ties, and ensures a healthy, natural 
 complexion. A boon to those en- 
 gaged in outdoor sports or indotr 
 duties. For mother and baby nothing 
 can take its place. It renews the skin 
 when chafed at the seaside; in the 
 country it protects your complexion 
 from sunburn, prickly heat and bites. 
 
 Pomeroy Skin Food 
 
 Keeps a Woman's Face Her Charm 
 
 THE TOILET BALM FOR 
 SUMMER DAYS AND NIGHTS 
 
 Scid by All Chemists: Is. M., 2s. 6d., 3>. 
 6d., 5s., or post free from 
 
 MRS. POMEROY, Ltd., London 
 
 29 Old Bond Street 
 
 Fig. 1 8. — A rearrangement of the advertise- 
 ment shown in Fig. i6. A pleasing variety has 
 been gained by making one group larger than 
 the others. See diagram shown in Fig. 19. 
 
 work of the compositor. This is the ratio of three to 
 five, and putting it into its simplest form — the divi- 
 sion of a space into two parts — it means that we 
 
 [46] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 would arrange the division so as to give three parts 
 
 of the space to one panel and five parts to the other. 
 
 But why is this a pleasing division ? Why not some 
 
 ^1 
 
 1 
 
 Fig. 19. — A comparison of this diagram 
 with Fig. 17 will illustrate the value of variety 
 in the sizes of groups of type. 
 
 Other distribution of the space? The answer is found 
 in the fact that where a space is divided into two parts 
 in this manner, the small part is to the large part as 
 
 [47] 
 
 *■ 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 While varying conditions may and do demand dif- 
 ferent treatments, there is one ratio of proportion, 
 universally recognized, that applies particularly to the 
 
 Nature's Purest Beauty Balm 
 
 Pomeroy Skin Food 
 
 A most valuable Toilet Preparation. 
 Softens the Skin, expels all impuri< 
 ties, and ensures a healthy, natural 
 complexion. A boon to those en- 
 gaged in outdoor sports or indoo- 
 duties. For mother and baby nothing 
 can take its place. It renews the skin 
 when chafed at the seaside; in the 
 country it protects your complexion 
 from sunburn, prickly heat and bites. 
 
 Pomeroy Skin Food 
 
 Keeps a Woman's Face Her Charm 
 
 THE TOILET BALM FOR 
 SUMMER DAYS AND NIGHTS 
 
 Sold by All Chemist*: Is. 6d., 2». 6d., 3*. 
 6d., St., or post free from 
 
 MRS. POMEROY, Ltd., London 
 
 29 Old Bond Street 
 
 Fig. i8. — A rearrangement of the advertise- 
 ment shown in Fig. i6. A pleasing variety has 
 been gained by making one group larger than 
 the others. See diagram shown in Fig. 19. 
 
 work of the compositor. This is the ratio of three to 
 five, and putting it into its simplest form — the divi- 
 sion of a space into two parts — it means that we 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 would arrange the division so as to give three parts 
 
 of the space to one panel and five parts to the other. 
 
 But why is this a pleasing division ? Why not some 
 
 1 
 
 [46] 
 
 Fig. 19. — A comparison of this diagram 
 with Fig. 17 will illustrate the value of variety 
 in the sizes of groups of type. 
 
 Other distribution of the space? The answer is found 
 in the fact that where a space is divided into two parts 
 in this manner, the small part is to the large part as 
 
 [47] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the large part is to the whole. Thus an exact ratio is 
 established. 
 
 And so we would have variety in our divisions of 
 an advertisement, for without variety we have not 
 proportion, but monotony. The advertisement shown 
 in Fig. 1 6, together with the diagram of it shown in 
 Fig. 17, forms a good illustration of this point. As 
 will be seen, an imaginary line drawn between the vari- 
 ous groups in this advertisement reveals the fact that 
 the space has been broken up into smaller spaces that 
 are nearly equal in size; there is no variety. In the 
 resetting, shown in Fig. 18, together with a sketch of 
 it, Fig. 19, it will be noted that the bringing into the 
 smaller measure of but one group of type has changed 
 the whole appearance of the advertisement, and that 
 instead of a succession of panels of equal size we now 
 have panels that are pleasingly related to each other. 
 
 The question of proportion may also be applied to 
 the advertisement shown in Figs. 14 and 16. When 
 we speak of proportion as the pleasing inequality in 
 the parts of an object, and state that equal divisions of 
 space should be avoided, it not only refers to the 
 breaking up of the spaces of the page as a whole, but 
 to the distribution of white space throughout the 
 design. In this particular advertisement the lack of 
 proportion is shown in the space between the rules and 
 the type. The space between the type and inner rules 
 is the same as that between the inner rules and the 
 outer one. A feeling for proportion — for variety — 
 would suggest that one of these spaces be larger than 
 the other. r g. 
 
 CHAPTER IV. 
 
 " Love not too many faces. Even Solomon failed when he set his 
 mind upon a plurality of favorites." 
 
 ON CHOOSING THE TYPE. 
 
 ^HAT the advertisement depends 
 largely for its effectiveness upon the 
 type in which it is set none will 
 question. The general design and 
 the readability of the type are the 
 things which attract the attention. 
 Carefully prepared copy is, of 
 course, necessary to good advertis- 
 ing, but before one reads even the most alluring adver- 
 tisement his attention must be attracted to it in some 
 way. This is accomplished by good design and pleasing 
 type-faces. The printer who can, taking into consid- 
 eration the effect of design and type upon the optic 
 nerve, set advertisements in such manner that they 
 are not only pleasing to read, but even seem to invite a 
 reading, is enabled to produce the kind of advertising 
 typography that really counts, for, after all is said and 
 done, it is the form, or typographical appearance, of 
 the advertisement, that first attracts the eye. 
 
 We are all aware of the fact that some types are 
 easier to read than others — that some book-pages, 
 
 [49] 
 
mvj' I I.J.I"" I mill , "^'"•r "# wii ■ nv HPJ^'flRWP! 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 because of the type in which they are set, invite a 
 reading, while others are more or less displeasing — 
 even repulsive in appearance. The eye takes to the 
 former readily and easily, while it must be forced to 
 read the latter — and the desirable thing in advertis- 
 ing-typography is that in form and type the advertise- 
 ment shall be attractive to the eye, and read without 
 effort. 
 
 We must, then, use the type that is the most easily 
 read. This, of course, is the roman letter. Centuries 
 of its use, together with the fact that from our earliest 
 associations we are constantly confronted by the roman 
 letter, makes its reading seem natural. Then, too, the 
 fact remains that despite all attempts, no one has as 
 yet been enabled to produce a letter- form which in 
 legibility and distribution of color is superior, or even 
 equal, to the classic roman letter of the Renaissance. 
 
 To illustrate this, consider for a moment Figs. 20, 
 21 and 22. Fig. 20 is set in ten-point Caslon Old-style, 
 Fig. 21 in ten-point Caslon Bold and Fig. 22 in ten- 
 point Hearst. Of the three, the first one is the most 
 easily read by the normal eye. Fig. 21, because of its 
 general resemblance in design to the ordinary roman 
 letter, perhaps comes next in legibility, while Fig. 22, 
 departing as it does from the standard roman forms, 
 is the least legible of them all. 
 
 An interesting point in this connection, and one 
 which proves conclusively the greater legibility of the 
 plain roman type-faces, is the fact that proofreaders, 
 while able to grasp words, and even groups of words, 
 
 [50] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 in reading proof on matter set in ordinary roman type, 
 will, in reading matter set in display type, spell out the 
 words letter by letter, their unfamiliarity with the 
 forms making them less sure of correctness in their 
 reading. 
 
 " But," some one says, *' the heavier and bolder 
 type- faces furnish a greater contrast to the white of 
 the paper, and therefore should be the easier to read." 
 
 It is true that a greater contrast of color is fur- 
 nished in the use of the bolder type-faces, but to force 
 these greater contrasts on the eye is to literally club 
 it into reading the text, whether or no. Are the sales- 
 man's statements of better selling value because they 
 are shouted loudly in direct contrast to the quiet of 
 the office? There may be, and undoubtedly are, some 
 on whom this force is necessary, but to those who are 
 sufficiently educated and intelligent to be reached 
 through the appeal of the advertisement, the quiet 
 dignity of the salesman's statements made in well- 
 modulated tones will be more attractive. 
 
 The strong contrasts are not desirable as a regular 
 thing. Red and green form, as do the other combina- 
 tions of complementary colors, violent contrasts; but 
 a very little of these color combinations is sufficient to 
 the average person. 
 
 As we become educated and civilized and grow in 
 refinement our appreciation of the more subdued and 
 broken colors increases, and we prefer these hues to 
 the strong raw primary colors so pleasing to the sav- 
 age. And as our appreciation of colors grows more 
 
 4 [SI] 
 
THE TY POGRAPHY OF ADVERTISEMENTS 
 
 refined, so also does our regard for the lighter, more 
 delicate type- faces, and we no longer care to be 
 
 It'* 
 If » 
 III 
 
 hi 
 
 We are all aware of the fact that 
 some types are easier to read than 
 others — that some book pages, be- 
 cause of the type in which they are 
 set, invite a reading, while others 
 are more or less displeasing — even 
 repulsive in appearance. The eye 
 takes to the one page readdy and 
 easily, while it must be forced to 
 read the other ; and the desirable 
 thing in typography is that in form 
 and type the advertisement shall be 
 attractive to the eye. We must, 
 then, use the type that is the most 
 easily read, and it naturally follows 
 that the Roman types, either old- 
 style or modern, are, because of 
 their constant use, the most easily 
 read by the average person. Even 
 though the bold-face types be of the 
 same general design as the Roman 
 
 Fig. 20. — The ordinary roman letter is the 
 most easily read by the normal eye. Compare 
 with Figs. 21 and 22. 
 
 clubbed into reading a thing through the use of bru- 
 tally large and black letters. 
 
 [52] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Our big advertisers appreciate this. One of the 
 most extensively advertised industries of to-day is the 
 
 We are all aware ol the fact 
 that some types are eafiier to 
 read than others — that some 
 book pages, because ol the 
 type in which they are set, 
 invite a reading, while others 
 are more or less displeasing 
 — even repulsive in appear- 
 ance. The eye takes to the 
 one page readily and easily, 
 while it must be forced to 
 read the other ; and the de- 
 sirable thing in typography 
 is that in form and type the 
 advertisement shall be at- 
 tractive to the eye. We must, 
 then, use the type that is the 
 most easily read, and it natu- 
 rally follows that the Roman 
 types, either the old-style or 
 modern, are, because of their 
 
 Fig. 21. — Even though this type is bold and 
 strong in tone it is not as easily read as the 
 type shown in Fig. 20. 
 
 automobile industry. All of the ability and skill that 
 can be produced is brought to bear upon the construc- 
 
 [53] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 refined, so also does our regard for the lighter, more 
 delicate type- faces, and we no longer care to be 
 
 We are all aware of the fact that 
 some types are easier to read than 
 others — that some book pages, be- 
 cause of the type in which they are 
 set, invite a reading, while others 
 are more or less displeasing — even 
 repulsive in appearance. The eye 
 takes to the one page readily and 
 easily, while it must be forced to 
 read the other; and the desirable 
 thing in typography is that in form 
 and type the advertisement shall be 
 attractive to the eye. We must, 
 then, use the type that is the most 
 easily read, and it naturally follows 
 that the Roman types, either old- 
 style or modern, are, because of 
 their constant use, the most easily 
 read by the average person. Even 
 though the bold-face types be of the 
 same general design as the Roman 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Our big advertisers appreciate this. One of the 
 most extensively advertised industries of to-day is the 
 
 Fig. 20. — The ordinary reman letter is the 
 most easily read by the normal eye. Compare 
 with Figs. 21 and 22. 
 
 clubbed into reading a thing through the use of bru- 
 tally large and black letters. 
 
 [52] 
 
 We are all aware of the fact 
 that some types are ea'iier to 
 read than others — that some 
 book pages, because of the 
 type in which they are set, 
 invite a reading, while others 
 are more or less displeasing 
 — even repulsive in appear- 
 ance. The eye takes to the 
 one page readily and easily, 
 while it must be forced to 
 read the other ; and the de- 
 sirable thing in typography 
 is that in form and type the 
 advertisement shall be at- 
 tractive to the eye. We must, 
 then, use the type that is the 
 most easily read, and it natu- 
 rally follows that the Roman 
 types, either the old-style or 
 modern, are, because of their 
 
 Fig. 21. — Even though this type is bold and 
 strong in tone it is not as easily read as the 
 type shown in Fig. 20. 
 
 automobile industry. All of the ability and skill that 
 can be produced is brought to bear upon the construc- 
 
 [53] 
 
THE TYPOGRAPHY OF ADVERTISEMEiNTS 
 
 tiotl of automobile advertisements, and it is a noticeable 
 fact that in their typography, and especially of late. 
 
 We are all aw^are of the 
 fact that some types are 
 easier to read than others 
 — that some book pages, 
 because of the type in 
 ^A^hich they are set, invite 
 a reading, ^while others are 
 more or less displeasing — 
 even repulsive in appear- 
 ance. The eye takes to 
 the one page readily and 
 easily, while it must be 
 forced to read the other; 
 and the desirable thing 
 in typography is that in 
 form and type the ad- 
 vertisement shall be at- 
 tractive to the eye. We 
 must, then, use the type 
 that is the most easily 
 read, and it naturally 
 
 Fig. 22. — Another form of heavy display 
 type which is less legible than the ordinary 
 roman shown in Fig. 20. 
 
 the old-style types play the leading part, the heavy 
 job-faces being conspicuous by their absence. This is 
 
 [54I 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shown in Fig. 2^, a page advertisement from one of 
 the popular magazines. One can not but note the ease 
 
 7^? Owen 
 
 Devoted to comfort and family touring 
 
 ihe Owen u built on the ume general lines at other can of high 
 
 class, with, however, these special features which afford a kind 
 
 and degree of comfort hitherto unknown. 
 Light weight permitting the use of smooth easy springs which 
 
 convert what would otherwree be a disagreeable jolt into a 
 
 gentle and altogether pleasing undulation. 
 Large wheels" (4: inches diameter) which pass over ruts and 
 
 depressions as if the road were entirely smooth 
 Long-Stroke motor (6 inches). This works slowly and witk 
 
 the mininnum of vibration 
 
 Left-hand drive (with smgle-lever control at nght in the middle) 
 
 which gives the driver easy control of the car. 
 The Owen » very economical to operate The Urge wheels 
 
 rtduce tire-expense ; and the avenge gasoline consumption 
 
 is less than one gallon to fifteen miles. 
 
 $3iOO Send for catalogue 
 
 R M Owen & Co Lansiikg Mich "I^jS-Sr' Reo Motor Car Co 
 
 t"iG. 23. — A page that is legible and pleasing 
 to the eye, showing that " display " type is nol 
 necessary to good advertising. 
 
 with which a page of this kind is read, and the absence 
 of the " screaming " heavy-faced letters. 
 
 A comparison of Figs. 24 and 25 will still better 
 illustrate this point. In the former, we have large, 
 
 rssi 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 tiori of automobile advertisements, and it is a noticeable 
 fact that in their typography, and especially of late. 
 
 We are all aw^are of the 
 fact that some types are 
 easier to read than others 
 — that some book pages, 
 because of the type in 
 -which they are set, invite 
 a reading, -while others are 
 more or less displeasing — 
 even repulsive in appear- 
 ance. The eye takes to 
 the one page readily and 
 easily, -while it must be 
 forced to read the other ; 
 and the desirable thing 
 in typography is that in 
 form and type the ad- 
 vertisement shall be at- 
 tractive to the eye. We 
 must, then, use the type 
 that is the most easily 
 read, and it naturally 
 
 Fig. 22. — Another form of heavy display 
 type which is less legible than the ordinary 
 roman shown in Fig. 20. 
 
 the old-style types play the leading part, the heavy 
 job-faces being conspicuous by their absence. This is 
 
 [54] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shown in Fig. 22,, a page advertisement from one of 
 the popular magazines. One can not but note the ease 
 
 T^eOWEN 
 
 Devoted to comfort and family touring 
 
 The Owen is built on the same general hnei as other cars of high 
 
 class, with,. however, these special features which a/Tord a kind 
 
 and degree of comfort hitherto unknown. 
 Light weight permitting the use of smooth easy springs which 
 
 convert what would otherwise be a disagreeable jolt into a 
 
 gentle and altogether pleasing undulation. 
 Large wheels' (4; inches diameter) which pass over ruts and 
 
 depressions as if the road were entirely smooth 
 Long-Stroke motor (6 inches). This works slowly and with 
 
 the minimum of vibration 
 Left-hand drive (with single-lever control at right in the middle) 
 
 whKh gives the driver easy control of the car. 
 The Owen » very economical to operate The large wheels 
 
 reduce tire-expense ; and the average gasoline consumption 
 
 is less than one gatjon to fifteen miles. 
 
 fjlOO Send for catalogue 
 R M Owen «c Co Lansing Mich '^■™„^' Rco Motor Car Co 
 
 1 1 
 
 Fig. 22. — A page that is legible and pleasing 
 to the eye, showing that " display " type is not 
 necessary to good advertising. 
 
 with which a page of this kind is read, and the absence 
 of the " screaming " heavy-faced letters. 
 
 A comparison of Figs. 24 and 25 will still better 
 illustrate this point. In the former, we have large, 
 
 [55] 
 
 s 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 black letters of various designs, even the text matter 
 being set in a display letter. The whole advertisement 
 is confusing and forbidding, and offers nothing pleas- 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shown in Fig. 24 is handicapped by an illustration of 
 unusual shape, but that this is not responsible for the 
 objectionable features noted is shown in the fact that 
 
 Hi 
 
 Start Your Motoring Season Right!! 
 
 Enjoy your cat to the utmoat lhi» iprtng mad •ummer. Protect 
 youTMlf *i aJuance aguiut the dangers of •kidding, and dl* 
 annoyances of tire-changing by the old Uborioui way 
 Don't ttop thoit of tht ttal for your own car— equip it ngfcl 
 BOW with the prefened equipment o* Amerk»'» be»t can: 
 
 Tirestono 
 
 NON-SKID = Quick-Detachable 
 
 TIRES ^ DEMOUNTABLE ROMS 
 
 FRESTONE NON-SKIDS ENSURE 
 SAFETY on tlippery Kreeta. 
 The maaa of anglea, edge*, hol- 
 lows and sidea hold your car 
 safe at no other tire can. 
 
 Tougher rubber sikI mora o{ 
 ■1 than on the (read of any otho 
 0«— more mile* o( vrear— no 
 mMal •»<]• to deXTinr the 
 rubber —abtolute •■rely 
 from ibd accKlenL All for 
 only about 67c hicbac 
 prica than tb' ;|atular 
 Firaalona bie. 
 
 After the non-aUd 
 lattannt i» wora 
 down you have a 
 anootb tread Mt 
 for fummar uaa. 
 
 Can you •^"J the 
 nak of not uana 
 f iraatona Non-SkUW 
 
 Qiiiek DetachiUa 
 
 RiBI CMIT 
 
 )ra« apdc sni inblad, 
 naAr la aibaiMf id and 
 ■I far mimti Imtt wahou 
 hm al IJBai bud waA ot 
 par ■ HV. ^ 
 
 rii ^ ^ m, Ihm k ml »m. 
 
 Tba ritauaa Ria ii d» 
 ■(Md aad auda by aa 
 mtam—it hta aa ipil baia 
 la a^at ■iiiiaai and nai 
 
 la«« aa wd aa yosr lina 
 
 and cf oit is duB^tf tKm. 
 
 Ctato naX mm aaS W mum 
 MMkwM*. 
 
 IHE FIRESTONE TBE A 
 RUBBER CO, AkrM, 
 
 Fig. 24.— Here the use of "display" let- 
 ters results in a page that is confusing to the 
 eye and hard to read. Compare with Fig. 25- 
 
 ing to attract the eye. In Fig. 25, the use of the plain 
 roman types gives a page that is easily read, and does 
 not offend by its heavy color. True, the advertisement 
 
 [56I 
 
 AMERICAN BANK NOTE 
 
 PLAYING CARDS 
 
 When you call for playing cards, just ask them to bnng you 
 the lund with the Bank Note backs* It is a sure way to 
 get the full measure of satisfaction from your play. 
 
 It mam you will have American Bank 
 Nmc ptayinc cardi, the ncwnt, prettiest, 
 moat perfect card* yet produced. 
 
 Your pleasure in their uac comes from their 
 Jijtpi and ^Muk at well as their wonderful 
 durability. Your confidence in them retu 
 on the reputation of the American Bank Note 
 Company, whose erfravinf and priatinp it tke 
 standard of eaccUenca aJl over the world. 
 
 The hacks of these cards are made from 
 steel enf^raved detif^nt, similar to those which 
 the American Bank Note Compiny uses in 
 printing issues of bonds, Btock ccrtificatn and 
 other aecuritica. 
 
 Tbey arc the heti playing; cards yet pro- 
 duced to sell at tS cents a pack. Made in 
 regular and fabric finish} standard and narrow 
 siics; also many new designs in fncture hacks 
 with gold edges, which cell al M ctms a pack. 
 
 Let your dealer show you these pUying 
 cards and you wiU sec why they are superior 
 to any other pUying cards yet made. Buy a 
 pack today while you are thinking of it. If 
 be has not yet placed them in stock, send us 
 25 cenu in stamps for ample pack, or 59 
 cents if you want one with picture back. 
 Say which kind you want, and write ymu 
 name and address (dainly. Address 
 
 AMERICAN BANK NOTE COMPANY 
 70 BROAD STREET, NEW YORK 
 
 Fig. 25. — A pleasing advertisement that is 
 easily read. One does not feel the need for 
 other type-faces in order to get a proper dis- 
 play. Compare with Fig. 24. 
 
 they are most apparent at the top of the advertisement 
 where the shape of the cut is of no influence. 
 
 [57] 
 
 \ 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPH Y OF ADVERTISEMENTS 
 
 black letters of various designs, even the text matter 
 being set in a display letter. The whole advertisement 
 is confusing and forbidding, and offers nothing pleas- 
 
 Start Your Motoring Season Right!! 
 
 Enjoy your cu to the ubnoat thi» tphng omI iummer. Protect 
 ymndl in aJaance aguiut the danger* of tkiiUing, uul th* 
 ■nnoyuices ol tire-cKanging by the old Uboriou* way 
 Dont top »hott of dte kal for your own car— emiip it (i^ 
 now with the preferred equipment of America'* best cmn: 
 
 Tircstonc 
 
 NON-SKID = Quick-Detachable 
 
 TIRES ^ IffiMOUNTABLE RMS 
 
 FRESTONE NON-SKIDS ENSURE 
 SAFETY on •lippery Kreeta, 
 The ma** of angte*. edge*, hol- 
 low* and udes hold your 
 •afe at no other tire can. 
 
 Tougher rubber and more of 
 it than on the tread ot any other 
 lire— more mile* oi wear — no 
 metal Muds to deatroy the 
 rvbbar— abtolute iafety 
 from ikid accident All ior 
 only about 6% higher 
 
 foce than tl>» ^ul»r 
 irestona bie. 
 After the run-aUd 
 lettering ia worn 
 down you have a 
 •mooth tread left 
 for tummet uae. 
 
 Fig 24._ Here the use of " display " let- 
 ters results in a page that is confusing to the 
 eye and hard to read. Compare with Fig. 25. 
 
 ing to attract the eye. In Fig. 25, the use of the plain 
 roman types gives a page that is easily read, and does 
 not offend by its heavy color. True, the advertisement 
 
 [56] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shown in Fig. 24 is handicapped by an illustration of 
 unusual shape, but that this is not responsible for the 
 objectionable features noted is shown in the fact that 
 
 AMERICAN BANK NOTE 
 
 PLAYING CARDS 
 
 When you call for playing cards, just ask them to bnng you 
 the kind with the Bank Note backs. It is a sure way to 
 get the full ineasure of satisfaction from your play. 
 
 It mcutt ywi will ttive Americut Bank 
 Note pUyiog ordi, the orweit, prettiest, 
 moM perfect cvdi yet produced. 
 
 Vour pleuurc tn their use cornea from their 
 dfirgv tnij /tnu* M well aa their wonderful 
 durabtliiy. Your confidence in them rctu 
 on the reputation of the American Bank Note 
 Company, whoM crgnrinc and printing it the 
 ttandard (rf exceUencc all over the world. 
 
 The back.1 of iScu otrdi are made from 
 tteel cngMvcd deiifirni, limilar to those which 
 the American Bank Note Company u>ei in 
 pHminf ieniei of bondt| nock cenificuei and 
 other tecuniics. 
 
 They arc the heat playinc carda yet ffo- 
 duced to aell at SI ceati a pack. Made in 
 regular and fabric finish ; ttandard and narrow 
 fiirt; also many new deugni in picture back* 
 with giM edgei, which sell at M cenu a pack. 
 
 Let your dealer thow you tbeac pUyiN( 
 cards and you will sec why they arc auperior 
 to any other playing cards yet made Buy a 
 pack today while you are thinking of it. If 
 he has not yet placed them in stock, aeod us 
 25 cents in stamps for mmple pack, or SO 
 cents if yo-j want one with picture back. 
 Say which kind you want, and write your 
 same and addrcn plainty. Addrtu 
 
 AMERICAN BANK NOTE COMPANY 
 
 70 BROAD STREET, NEW YORK 
 
 Fig. 25. — A pleasing advertisement that is 
 easily read. One does not feel the need for 
 other type-faces in order to get a proper dis- 
 play. Compare with Fig. 24. 
 
 they are most apparent at the top of the advertisement 
 where the shape of the cut is of no influence. 
 
 [57] 
 
 k 
 
THE TYPOGR APHY OF ADVERTISEMENTS 
 
 Another point of interest to the compositor is the 
 manner in which the small type in Fig. 25 has been set 
 in two columns, rather than in long lines across the 
 page. This is desirable where ordinary body-type is 
 
 TAILOR-MADE 
 CLOTHING 
 
 EQUAL TO THE VERY 
 
 BEST IN STYLE 
 
 FIT AND 
 
 FINISH 
 
 SURE TRADE MAKERS 
 
 SNAPPY STYLES IN SUITS AND OVERCOATS 
 FOR FALL AND WINTER, 1909 
 
 READY FOR YOUR INSPECTION 
 
 A. DINKELSPEIL CO. 
 
 COR. N. ST. PAUL AND ANDREWS STS 
 
 ROCHESTER, N. Y. 
 
 MBV TORK SALEStOOM 
 
 •2 1 -Ma ••OAOVAT 
 
 Fig. 26. — The use of all capitals has resulted in an advertisement 
 which must be studied out rather than read at a glance. 
 
 used, as scientists tell us that the eye does not readily 
 take in a line that is more than approximately three 
 and one-half inches in length. 
 
 We come, then, to the position that the roman types, 
 because of their admitted excellence of design, as well 
 as their constant use in other fields, are the easiest read 
 by the normal eye. 
 
 Of the roman type- faces, we have the old-style and 
 the modern. As to the relative legibility of the two 
 
 [58] 
 
 ,H 
 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 there is something to be said on both sides, but, gen- 
 erally speaking, they are equally good. The old-style 
 letter, especially the Caslon, is at its best on antique 
 
 TPHE way you look, 
 
 -■- and, still more, the way 
 
 you feel, depends on the shoes you 
 
 wear. 
 
 In our Selz Royal Blue shoes you get 
 looks and comfort; and more of both for 
 the money than in any other shoes sold. 
 
 Selz shoes $3 to $6. 
 
 Leon's 
 
 Selz Royal Blue Stores 
 
 Northwest corner Clark aad Madis(»i 
 51 W. Madison 106 S. Clark 4 S. Dteirbom 
 southeast comer Dearborn uid Van Buren 
 
 Fig. 27. — An advertisement set in all lower-case is read without effort. 
 
 papers, the coated papers lending themselves better to 
 the use of the modern type-faces. The fact, however, 
 that some modern type-faces contain characteristics 
 peculiar to the old-style, and vice versa, to such a 
 degree that even some printers are confused as to their 
 classification, indicates that the choice between them 
 is largely a matter of personal opinion. 
 
 In the interest of good printing we must sincerely 
 hope for the speedy coming of the day when most of 
 
 [59] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE T YPOGRAPHY OF ADVERTISEMENTS 
 
 Another point of interest to the compositor is the 
 manner in which the small type in Fig. 25 has been set 
 in two columns, rather than in long lines across the 
 page. This is desirable where ordinary body-type is 
 
 TAILOR-MADE 
 CLOTHING 
 
 EQUAL TO THE VERY 
 
 BEST IN STYLE 
 
 FIT AND 
 
 FINISH 
 
 SURE TRADE MAKERS 
 
 SNAPPY STYLES IN SUITS AND OVERCOATS 
 FOR FALL AND WINTER, 1909 
 
 READY FOR YOUR INSPECTION 
 
 A. DINKELSPEIL CO. 
 
 COR. N. ST. PAUL AND ANDREWS STS 
 
 ROCHESTER, N. Y. 
 
 NEV TORK SALESROOM 
 
 a2l-<2J BROADVAT 
 
 Fig. 26. — The use of all capitals has resulted in an advertisement 
 which must be studied out rather than read at a glance. 
 
 used, as scientists tell us that the eye does not readily 
 take in a line that is more than approximately three 
 and one-half inches in length. 
 
 We come, then, to the position that the roman types, 
 because of their admitted excellence of design, as well 
 as their constant use in other fields, are the easiest read 
 by the normal eye. 
 
 Of the roman type- faces, we have the old-style and 
 the modern. As to the relative legibility of the two 
 
 [58] 
 
 y 
 
 \ 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 there is something to be said on both sides, but, gen- 
 erally speaking, they are equally good. The old-style 
 letter, especially the Caslon, is at its best on antique 
 
 TTHE way you look, 
 
 -*- and, still more, the way 
 
 you feel, depends on the shoes you 
 
 wear. 
 
 In our Selz Royal Blue shoes you get 
 looks and comfort; and more of both for 
 the money than in any other shoes sold. 
 
 Selz shoes $3 to $6. 
 
 Leon's 
 
 Selz Royal Blue Stores 
 
 Northwest corner Clark and Madison 
 51 W. Madison 106 S. Clark 4 S. Dearborn 
 Southeast comer Dearborn md Van Buren 
 
 Fig. 27. — An advertisement set in all lower-case is read without eflfort. 
 
 papers, the coated papers lending themselves better to 
 the use of the modern type-faces. The fact, however, 
 that some modern type-faces contain characteristics 
 peculiar to the old-style, and vice versa, to such a 
 degree that even some printers are confused as to their 
 classification, indicates that the choice between them 
 is largely a matter of personal opinion. 
 
 In the interest of good printing we must sincerely 
 hope for the speedy coming of the day when most of 
 
 [59] 
 
 J 
 
 \ 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the bold-faced roman types will be eliminated from our 
 magazine pages. We have no particular fault to find 
 with heavy job-faces. They are essential to posters, 
 window-cards, etc. — which are to be read at a distance 
 — but in the pages of a magazine, to be read at close 
 range, they are, to say the least, offensive. 
 
 This, of course, does not apply to the heavy-faced 
 types in the smaller sizes. In small advertisements 
 which contain a large amount of matter, and in which 
 the largest type-face that can be used is in the neigh- 
 borhood of twelve or fourteen point, it is, of course, 
 necessary to resort to the bold-faced letters in order to 
 gain the desired prominence. 
 
 *' But," asks some one, " how are we to secure a 
 proper display for some lines if we don't use heavy 
 type-faces ? " In nearly every case this can be accom- 
 plished by a variety in the sizes used for the different 
 parts of the advertisements, although slightly heavier 
 faces are sometimes desirable. Display is a relative 
 proposition, and of course if the text matter of an 
 advertisement is set in bold-faced type, the bringing 
 out or emphasizing of certain lines will necessitate the 
 use of still bolder and larger faces. In a consideration 
 of Fig. 25, though, one does not feel the need of a 
 heavier type-face for the display — the larger sizes of 
 the roman capitals being sufficient for all the necessary 
 prominence. 
 
 Generally speaking, lower-case should be used in 
 advertisement composition, rather than capitals. A 
 dignified formal announcement may be effectively 
 
 [60] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 typed in roman capitals — but the advertisement, which 
 should be set in a letter that will easily lead the eye 
 from one line to the other without effort, is at its best 
 in the lower-case. Compare, for illustration, the adver- 
 tisements shown in Figs. 26 and t.'j. In the former 
 the use of all capitals has resulted in an advertisement 
 which must be studied out rather than read at a glance, 
 while in the latter the lower-case is read without 
 effort. Even this legibility would be a trifle enhanced 
 by a slight spacing between lines. 
 
 Display lines set in lower-case are to be preferred 
 to those set in capitals for the same reason that plain 
 roman type is preferable to other faces — they are 
 more easily read by the average person. And an 
 advertisement set all in lower-case preserves a har- 
 mony of shape not found in the advertisement in 
 which lines of capitals are used. In the consideration 
 of this point, however, one must not overlook the 
 design as a whole, and where the general appearance 
 of the advertisement can be improved by the addition 
 of a line of capitals, it would be useless to argue for 
 its omission in order to procure a complete harmony 
 
 of shape. 
 
 Shall the gothic letter (called in the printing-office 
 text) be used in the composition of advertisements? 
 This is a question which is frequently asked, and one 
 which has brought out much difference of opinion. 
 While of course the gothic letter is not nearly as read- 
 able as is the roman form, and its use in quantities 
 such as a full page or even a large group of lines 
 
 [61] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 would result in an illegibility detrimental to the best 
 advertising results, the setting of a line or two in this 
 form of letter is at times not only permissible, but 
 even desirable, the decorative effect gained by its use 
 being a pleasing variation from the plainer roman. 
 
 We note with much satisfaction the passing of the 
 lining gothics from our advertising pages. While these 
 letter-forms are, without question, easily read and 
 desirable at times in the smaller sizes, we can not but 
 feel that in the larger sizes they are crude and without 
 beauty. 
 
 A summing up of the foregoing, then, brings us to 
 these conclusions : 
 
 That the roman type, either modern or old-style, 
 is the easiest for the normal eye to read, because this 
 is the letter- form with which the eye is the most 
 familiar. 
 
 That the heavier roman faces, although not more 
 readable than the lighter types, are offensive to the 
 eye because of their strong color. 
 
 That proper display ordinarily can be gained by 
 variation in the sizes of the same series. 
 
 That an advertisement set in all lower-case is more 
 easily read than one set in all capitals. 
 
 That display lines which are set in lower-case are 
 more easily read than those which are set in capitals. 
 
 That a complete harmony of shapes is attained 
 where an advertisement is set in all lower-case of one 
 series. 
 
 [62] 
 
 CHAPTER V. 
 
 In framing a picture we do not select a frame which is so flashy or 
 attractive that on looking at it one exclaims: " What a handsome 
 frame! " and forgets all about the picture itself. Neither should the 
 printer, in setting an advertisement, use a border which will attract 
 attention to itself rather than to the text. 
 
 ON THE USE OF BORDERS. 
 
 T is hardly necessary in these days 
 to advance arguments in favor of 
 the use of borders in advertisement 
 composition. Nearly every person 
 concedes that their use is advisable 
 — almost necessary. This being the 
 case, our consideration is how we 
 can use the borders to the best 
 advantage and with the best results. 
 
 Primarily, the border serves to " hold the adver- 
 tisement together" — to define its limits. It also 
 serves to set it apart from the other advertisements 
 on the same page. 
 
 This problem of holding the advertisement together 
 is an important one. No one questions the fact that a 
 frame around a picture, setting it apart from the back- 
 ground against which it is hung, improves its appear- 
 ance. Neither does any one question the fact that the 
 compositor, in setting an advertisement, is, in a meas- 
 
 [63] 
 
 h 
 
 % 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ure at least, composing a picture. He is grouping 
 certain masses within a definite space, and the laws of 
 composition which govern the painting of the picture 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 THIS BOOK since its publication has received 
 the unreserved commendation of teachers and 
 students. It treats with directness and in a 
 most simple manner of the subject to which all those 
 interested in Art Education are giving most careful 
 thought. The book contains over one hundred 
 unique and valuable illustrations. We suggest an 
 early order for your library, as the edition is limited. 
 
 PRICE $3.00 
 
 THE INLAND PRINTER CO. 
 
 Chicago and •New York. 
 
 7%^ HUMAN FIGURE 
 
 By JOHN H. VANDERPOEL 
 
 ILMr. Vanderpoel's new book is a full and 
 concise exposition of his system. The text 
 is a thorough analysis of the hunuin figure 
 from the artist's standpoint, feature by feature 
 and as a "whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half- 
 tone, metzograph and tint — all of them 
 masterly drawings of the greatest value to the 
 student. In addition to these it contains 330 
 marginal sketches. Price $2.00 
 
 THE INLAND PRINTER CO. 
 
 CHICAGO :: NEW YORK 
 
 Fig. 28. — Owing to the large, various-sized 
 areas of white space in these advertisements, 
 they do not seem to " hold together " properly 
 without borders. 
 
 [64] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 also govern the placing of these masses in what might 
 well be termed a typographical picture. It readily fol- 
 lows, then, that to have the space within which he is 
 working clearly defined by a border is advantageous to 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 THIS BOOK since its publication has received 
 the unreserved commendation of teachers and 
 students. It treats with directness and in a 
 most simple manner of the subject to which all those 
 interested in Art Education are giving most careful 
 thought. The book contains over one hundred 
 unique and valuable illustrations. We suggest an 
 early order for your library, as the edition is limited. 
 PRICE $3.00 
 THE INLAND PRINTER CO. 
 
 Chicago and New York 
 
 r^e HUMAN FIGURE 
 
 By JOHN H. VANDERPOEL 
 
 CLMr. Vanderpoel's new book is a full and 
 concise exposition of his system. The text 
 is a thoroufrh analysis of the human figure 
 from the artist's standpoint, feature by feature 
 and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half- 
 tone, metzograph and tint — all of them 
 masterly drawings of the greatest value to the 
 student. In addition to these it contains 330 
 marginal sketches. Prict Si.oo 
 
 THE INLAND PRINTER CO. 
 
 CHICAGO 
 
 NEW YORK 
 
 Fig. 29. — The defining of the size and shape 
 of the advertisements by borders is desirable. 
 Compare with Fig. 28. 
 
 [65] 
 
 1 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ure at least, composing a picture. He is grouping 
 certain masses within a definite space, and the laws of 
 composition which govern the painting of the picture 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 THIS BOOK since its publication has received 
 the unreserved commendation of teachers and 
 students. It treats with directness and in a 
 most simple manner of the subject to which all those 
 interested in Art Education are giving most careful 
 thought. The book contains over one hundred 
 unique and valuable illustrations. We suggest an 
 early order for your library, as the edition is limited. 
 
 PRICE $3.00 
 THE INLAND PRINTER CO. 
 
 Chicago and •New York. 
 
 21^^ HUMAN FIGURE 
 
 By JOHN H. VANDERPOEL 
 
 CMr. Vanderpoel's new book is a full and 
 concise exposition of his system. The text 
 is a thorough analysis of the hun\an figure 
 from the artist's standpoint, feature by feature 
 and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half- 
 tone, mctzograph and tint — alf of them 
 masterly drawings of the greatest value to the 
 student. In addition to these it contains 330 
 marginal sketches. Prite $2.00 
 
 THE INLAND PRINTER CO. 
 
 CHICAGO :: NEW YORK 
 
 Fig. 28. — Owing to the large, various-sized 
 areas of white space in these advertisements, 
 they do not seem to " hold together " properly 
 without borders. 
 
 [64] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 also govern the placing of these masses in what might 
 well be termed a typographical picture. It readily fol- 
 lows, then, that to have the space within which he is 
 working clearly defined by a border is advantageous to 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 THIS BOOK since its publication has received 
 the unreserved commendation of teachers and 
 students. It treats with directness and in a 
 most simple manner of the subject to which all those 
 interested in Art Education are giving most careful 
 thought. The book contains over one hundred 
 unique and valuable illustrations. We suggest an 
 early order for your library, as the edition is limited. 
 PRICE $3.00 
 
 THE INLAND PRINTER CO. 
 
 Chicago and New York 
 
 ne HUMAN FIGURE 
 
 By JOHN H. VANDERPOEL 
 
 Q.Mr. Vanderpoel's new book is a full and 
 concise exposition of his system. The text 
 is a thorough analysis of the human figure 
 from the artist's standpoint, feature by feature 
 and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half- 
 tone, metzograph and tint — all of them 
 masterly drawings of the greatest value to the 
 student. In addition to these it contains 330 
 marginal sketches. Price $2.oo 
 
 THE INLAND PRINTER CO. 
 
 CHICAGO :: NEW YORK 
 
 Fig. 29. — The defining of the size and shape 
 of the advertisements by borders is desirable. 
 Compare with Fig. 28. 
 
 [65] 
 
THE TYl'OGRAPHV OF .ADVERTISEMENTS 
 
 the compositor. One might contend that the edges of 
 the paper constituted the border, but when we con- 
 
 Latest Fashions 
 
 Every new fashion of Paris, every new 
 model the New York modistes create, 
 is immediately duplicated by our artists 
 and exactly reproduced at great saving. 
 
 Many Classy Spring Suits 
 and Beautiful Coats 
 
 in the loveliest styles, are here for your 
 choosing, the like of which no other 
 store in this city can show, and at prices 
 remarkably low. 
 
 The woman of keen artistic sense 
 can revel in exclusive, distinctive models 
 and select that which \vill best suit her 
 individual need. 
 
 If Unable It Attend TAu, Sale Write $r 
 telephone 
 
 WALTON ^ STEVENSON 
 
 39; William Tell Street, Chicago 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 another space. This, of course, applies particularly to 
 those advertisements which contain a considerable 
 
 Fig. 30. — In this advertisement the border 
 harmonizes in tone with the type — it is neither 
 too heavy nor too light. 
 
 sider that the margins of white space around the adver- 
 tisement are nearly always unequal we readily see that 
 this does not suffice — it is arranging a composition 
 for a space one size and shape and then using it in 
 
 [66] 
 
 Every new fashion of Paris, every new 
 model the New York modistes create, 
 is immediately duplicated by our artists 
 and exactly reproduced at great saving. 
 
 Many Classy Spring Suits 
 and Beautiful Coats 
 
 in the loveliest styles, are here for your 
 choosing, the like of which no other 
 store in this city can show, and at prices 
 remarkably low. 
 
 The woman of keen artistic sense 
 can revel in exclusive, distinctive models 
 and select that which will best suit her 
 individual need. 
 
 // UnabU to Atitnd Tfiii Sale Write »r 
 Telephone 
 
 WALTON ^ STEVENSON 
 
 397 William Tell Street, Chicago 
 
 Fig. 31. — The heavy black border detracts from 
 the readability of the text. 
 
 amount of white space ; the solid advertisements indi- 
 cate their size and shape more plainly. 
 
 As an illustration of this point consider Figs. 28 
 and 29. In the former, the fairly large areas of white 
 
 5 [67] 
 
 ' 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF .VDVERTISEMENTS 
 
 the compositor. One might contend that the edges of 
 the paper constituted the border, but when we con- 
 
 Latest Fashions 
 
 Every new fashion of Paris, every new 
 model the New York modistes create, 
 is immediately duplicated by our artists 
 and exactly reproduced at great saving. 
 
 Many Classy Spring Suits 
 and Beautiful Coats 
 
 in the loveliest styles, are here for your 
 choosing, the like of which no other 
 store in this city can show, and at prices 
 remarkably low. 
 
 The woman of keen artistic sense 
 can revel in exclusive, distinctive models 
 and select that which ivtll best suit her 
 individual need. 
 
 // Unabtt It Attend Tfih, Sale Write tr 
 Yelephtne 
 
 WALTON ©• STEVENSON 
 
 397 William Tell Street, Chicago 
 
 19 
 
 Fig. 30. — In this advertisement the border 
 harmonizes in tone with the type — it is neither 
 too heavy nor too light. 
 
 sider that the margins of white space around the adver- 
 tisement are nearly always unequal we readily see that 
 this does not suffice — it is arranging a composition 
 for a space one size and shape and then using it in 
 
 [66] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 another space. This, of course, applies particularly to 
 those advertisements which contain a considerable 
 
 Every new fashion of Paris, every new 
 model the New York modistes create, 
 is immediately duplicated by our artists 
 and exactly reproduced at great saving. 
 
 Many Classy Spring Suits 
 and Beautiful Coats 
 
 in the loveliest styles, are here for your 
 choosing, the like of which no other 
 store in this city can show, and at prices 
 remarkably low. 
 
 The woman of keen artistic sense 
 can revel in exclusive, distinctive models 
 and select that which will best suit her 
 individual need. 
 
 If Unable to Attend This Salt Write $r 
 Telephone 
 
 WALTON ^ STEVENSON 
 
 397 William Tell Street, Chicaf>o 
 
 Fig. 31. — The heavy black border detracts from 
 the readability of the text. 
 
 amount of white space ; the solid advertisements indi- 
 cate their size and shape more plainly. 
 
 As an illustration of this point consider Figs. 28 
 and 29. In the former, the fairly large areas of white 
 
 5 \(>i^ 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 space in each of the two advertisements, together with 
 the unequal margins around the page, serve to give 
 them the appearance of being unbalanced in composi- 
 
 I Latest Fashions I 
 
 Every new fashion of Paris, every new 
 model the New York modistes create, 
 is immediately duplicated by our artists 
 and exactly reproduced at great Sitving. 
 
 Many Classy Spring Suits 
 and Beautiful Coats 
 
 in the loveliest styles, are here for your 
 choosing, the like of which no other 
 store in this city can show, and at prices 
 remarkably low. 
 
 The woman of keen artistic sense 
 can revel in exclusive, distinctive models 
 and select that which will best suit her 
 individual need. 
 
 I 
 
 // Uuablt It Attend This Sale Write »r 
 Telephone 
 
 WALTON a? STEVENSON 
 
 397 William Tell Street, Chicago 
 
 I 
 
 Fig. 32. — The individual spots of this 
 border are too large and tend to make the 
 whole advertisement " spotty." 
 
 tion. In Fig. 29, however, the effect is different. The 
 actual size and shape of the advertisements are defined 
 
 [681 
 
 J 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 by the borders, and the arrangement within is well 
 balanced and pleasing. 
 
 Then, too, with a border around an advertisement 
 the compositor has a little more leeway in his oppor- 
 tunity for arrangement. Groups of type and decora- 
 tion, which are out of all balance, and which seemingly 
 have little relation one to the other, may, by the placing 
 of a border around them, be brought together into a 
 unit. 
 
 So we decide that borders are desirable. The next 
 consideration is as to what borders shall be used. 
 
 One great essential demands our attention when we 
 consider the use of borders — and that is, they must 
 harmonise with the type. 
 
 Now, let us "get together" on this question of 
 harmony. With all due regard for that dislike of 
 many printers for what may be called " art terms," we 
 find that in no other way than by their use can we 
 arrive at a definite understanding of this point, and 
 after one has overcome his prejudice toward the use 
 of these phrases in connection with typography he 
 finds that they are simple, easily understood and wholly 
 practicable. 
 
 Harmony, in this connection — the use of borders 
 around advertisements — is of two kinds : shape har- 
 mony and tone harmony. Of the two, perhaps, tone 
 harmony is the more important, as it more frequently 
 offers to the compositor opportunity for getting away 
 from what constitutes good design. 
 
 The border must harmonize in tone with the type 
 
 [69] 
 
INTENTIONAL SECOND EXF^OSURE 
 
 THE TYPOG RAPHY OF ADVERTISEMENTS 
 
 space in each of the two advertisements, together with 
 the unequal margins around the page, serve to give 
 them the appearance of being unbalanced in composi- 
 
 I Latest Fashions ! 
 
 Every new fashion of Paris, every new 
 model the New York modistes create, 
 is immediately duplicated by our artists 
 and exactly reproduced at great s;tving. 
 
 Many Classy Spring Suits 
 and Beautiful Coats 
 
 in the loveliest styles, are here for your 
 choosing, the like of which no other 
 store in this city can show, and at prices 
 remarkably low. 
 
 The woman of keen artistic sense 
 can revel in exclusive, distinctive models 
 and select that which will best suit her 
 individual need. 
 
 I 
 
 If Uual^U t» Attend Thu Sale Write or 
 Telephone 
 
 WALTON ^ STEVENSON 
 
 397 William Tell Street, Chica^io 
 
 I 
 
 Fig. Z2. — The individual spots of this 
 border are too large and tend to make the 
 whole advertisement *' spotty." 
 
 tion. In Fig. 29, however, the effect is different. The 
 actual size and shape of the advertisements are defined 
 
 [68] 
 
 J 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 by the borders, and the arrangement within is well 
 balanced and pleasing. 
 
 Then, too, with a border around an advertisement 
 the compositor has a little more leeway in his oppor- 
 tunity for arrangement. Groups of type and decora- 
 tion, which are out of all balance, and which seemingly 
 have little relation one to the other, may, by the placing 
 of a border around them, be brought together into a 
 unit. 
 
 So we decide that borders are desirable. The next 
 consideration is as to what borders shall be used. 
 
 One great essential demands our attention when we 
 consider the use of borders — and that is, they must 
 harmonise zvith the type. 
 
 Now, let us ''get together" on this question of 
 harmony. With all due regard for that dislike of 
 many printers for what may be called " art terms," we 
 find that in no other way than by their use can we 
 arrive at a definite understanding of this point, and 
 after one has overcome his prejudice toward the use 
 of these phrases in connection with typography he 
 finds that they are simple, easily understood and wholly 
 practicable. 
 
 Harmony, in this connection — the use of borders 
 around advertisements — is of two kinds : shape har- 
 mony and tone harmony. Of the two, perhaps, tone 
 harmony is the more important, as it more frequently 
 offers to the compositor opportunity for getting away 
 from what constitutes good design. 
 
 The border must harmonize in tone with the type 
 
 [69] 
 

 i 
 
 THE TYPOGR APHY OF ADVERTISEMENTS 
 
 used in the advertisement — it must be neither too dark 
 nor too light, but of approximately the same strength 
 of color. Generally speaking, we may say " light bor- 
 ders with light type and heavy borders with heavy 
 type." The border must not, unless it be of such 
 nature in its design as to suggest in some manner the 
 article advertised, attract attention to itself. In fram- 
 ing a picture we do not select a frame which is so 
 flashy or attractive that on looking at it one exclaims 
 " What a handsome frame ! " and forgets all about the 
 picture itself. Neither should the printer, in setting 
 an advertisement, use a border which will attract atten- 
 tion to itself rather than to the text. 
 
 The advertisement shown in Fig. 30 is surrounded 
 by a plain rule border which is of the proper tone to 
 harmonize with the type on the inside. The border is 
 not obtrusive, it does not attract attention from the 
 "talking " parts of the advertisement, and yet it serves 
 all its purposes and answers all the requirements in 
 that it separates the advertisement from the matter 
 surrounding it, and accentuates, by defining the outline 
 of the advertisement, the pleasing distribution of white 
 space which goes to make up good design. 
 
 In Fig. 31 is shown the same advertisement, but 
 with a heavier border. One can not but feel that with 
 these surroundings the text of the advertisement has 
 lost some of its pulling power, and although the black 
 border will undoubtedly attract a passing glance, the 
 contrast between its blackness and the light tone of the 
 
 170] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 type is not pleasing to the eye, and the advertisement is 
 harder to read. 
 
 But plain rules are not always used for borders 
 around advertisements. Frequently it is found desir- 
 able to use the more decorative ones, and it is in the 
 use of these decorative borders that one is the most 
 likely to detract from the text. Such an instance is 
 shown in Fig. 32. Here we have a border which 
 attracts attention by reason of the size of the various 
 spots of which it is composed. When we look at this 
 advertisement, the eye perceives the border as indi- 
 vidual spots, each spot exercising a certain amount of 
 attraction, and the unconscious attempt to look at all 
 of them results in a confusion from which one seeks 
 relief in the plainer borders. No matter how decorative 
 the border may be, however, if the various spots of 
 which it is composed are small enough to blend into 
 a design and lose their individuality, it is not objection- 
 able. This is illustrated in Fig. 33, a German adver- 
 tisement. Although the border is composed of 
 numerous round spots, the fact that they are small 
 causes us to see the border as a whole, rather than the 
 individual pieces of which it is composed. 
 
 The advertisements in Fig. 34, reproduced from a 
 Swiss publication, show a careful regard for this ques- 
 tion of tone harmony as applied to the use of borders. 
 We can not but admire the nicety of discrimination 
 which has actuated the compositor in his choice of 
 borders for these advertisements, each one of them 
 
 M 
 
 [71] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 showing a most pleasing relation between the type and 
 the surrounding border. 
 
 In addition to securing a harmony of tone between 
 
 IDIE PROBEl 
 
 DER 
 
 EHMCKE 
 ANTIQUA 
 
 1ST 
 
 crfchienen! Freund und Feind werden ihre 
 Freude <an der iiberzeugenden Virkung der 
 Sdirift und an der fdioncn Aus{?attung der 
 Probe hdben. Das f6feitige Heft entbalt eine 
 Fiillc neuer Anregungen fiir den modernen 
 Sdtzbdu und fiir eine vornehme Fdrbenwahl. 
 Es i(? im bepen Sinne des Vortes ein Mu(?er- 
 budi! IntercHenten wird die Ehmdce- Probe 
 auf Verlangen kopenlos zugefandt von der 
 
 Schrijtgieperei Flinfch Frankfurt^- M 
 
 •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 
 
 Fig. 33. — Although decorative in design, 
 this border is pleasing because the various spots 
 of which it is composed are small enough to 
 blend into the general design. 
 
 border and type, one should see that the same harmony 
 is preserved between type and rules where the latter 
 
 \72] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ^mitmkmmSKinWil^iStuKm^Xl^mSKmCm 
 
 mebrfarbendruck 
 
 Fiir Mnstm 
 
 $(i)neUpre55en| 
 
 IHaecbinenfabrik lobannisbcrg 
 
 RIetn, Forat £t Dobn na(t>(olg(T 
 
 GCldenbdniamRbein 
 
 man MrUntjt Prrlstlstrn 
 
 D«rtrt«r ffir dk iturtOx s^bntM: )ob. OleH & Co., Orlihon-ZQnd) 
 D«rtTti«r ffir dit ffaiufts. S4»n>fii: Rltred 5ornun9, G«n( «««i« 
 
 gac^Kiia 
 
 TIEMANN-MEDIAEVAL 
 
 MIT SCHMUCK UND INITIALEN 
 
 NACH ZEICHNUNG VON PROR WTIEMANN 
 
 Wie unfcre anderen bekannten Scfiriften 
 wird audi diefe fidi Bahn bredien da fie 
 )ederverftandnisvoIlgeretzten,gutgedrudcten 
 Arbeit ein vomehmes Ausfehen gibt. Die 
 mit vielen Anwendungen ausgeftatlete Probe 
 fenden wir an Kaufliebhaber um(bnft~--^^ 
 Ganze BudidruAerei^Einriditungen ftets 
 auf Lager. 
 
 GEBR, KLINGSPOR 
 OFFENBACH A.M. 
 
 Fig. 34. — Advertisements from a Swiss publication. Each one 
 illustrates harmony of tone between border and text. 
 
 \1Z\ 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 showing a most pleasing relation between the type and 
 the surrounding border. 
 
 In addition to securing a harmony of tone between 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 FQr feinsten 
 
 :: 
 :: 
 
 • • 
 «• 
 
 I: 
 
 t: 
 
 K 
 
 :: 
 
 :: 
 
 DIE PROBE 
 
 DER 
 
 EHMCKE 
 ANTIQUA 
 
 1ST 
 
 erfchienen! Freund und Feind werden ihre 
 
 j: Freude <an der iiberzeugenden^^rkung der 
 
 i: Sdirift und an der fdioncn Aus[?dttung der 
 
 i\ Probe hdben. Das 5-6feitige Heft enthalt einc 
 
 i: Fulle neuer Anregungen fiir den modernen 
 
 :: Sdtzbdu und fiir eine vornehme Farbenwahl. 
 
 11 Es i(? im be|?cn Sinne des fortes ein Muper- 
 
 11 budi! IntercfTenten wird die Ehmdce- Probe 
 
 i\ «auf Verlangen ko(?enlos zugefandt von der 
 
 I Schrijtgie^erei Flin[cJi Frankfurt; M 
 
 5;««»»#5«« •••••••••••••••••••••••••••••••••••»•••■•••••••••••••• ••••••••••••• 
 
 Fig. 33. — Although decorative in design, 
 this border is pleasing because the various spots 
 of which it is composed are small enough to 
 blend into the general design. 
 
 border and type, one should see that the same harmony 
 is preserved between type and rules where the latter 
 
 \72] 
 
 mebrfarbendru* 
 
 empnebit ibn 
 
 Scbncllpressen 
 
 ma5ct)inenfabrih jobannisbcrg 
 
 ftlein, Forst & Oobn nacDfolger 
 GddCnbeim am RlK>n 
 
 man Milanflt PRisllsttn 
 
 man Dtrlangr Pirl»llstrn 
 
 Dtttrtm fBr dt( drut^tx S<i)n)ftz: )ob. Gitti & Co., Orlikon^Zflrid) 
 DfTtrttM fOr die fftniis. S^mtiz: RIfrcd l^ornung, Genf «««« 
 
 I TIEMANN-MEDIAEVAL 
 
 I MIT SCHMUCK UND INITIALEN 
 
 i NACH ZEICHNUNG VON PROH W TIEMANN 
 
 Wie unfere anderen bekannten Sdiriften 
 wird audi diefe fidi Bahn bredien da fie 
 jederverftandnisvoIlgefetzten,gutgedrudcten 
 Arbeit ein vomehmes Ausfehen gibt. Die 
 mitvielenAnwendungenausgcftattetc Probe 
 fenden wir an Kaufliebhaber umfonft--^^^^ 
 Gainze Budidrudterci=^Einriditungen ftets 
 auf Lager 
 
 GEBR.KLINGSPOR 
 OFFENBACH AM. 
 
 ijjiiiii iiiiiiijmijiiiijiijmjjjjjmmjiijiijjjimjim 
 
 Fig. 
 
 34. — Advertisements from a Swiss publication. Each one 
 illustrates harmony of tone between border and text. 
 
 [73] 
 
 k» 
 
 . 
 
THE TYPOGRAPHY OF ADVERTISEMENTS- 
 
 are used in the advertisement, either for underscoring 
 lines or dividing lines or groups of type. The rules 
 and type must be of such weight or color that neither 
 
 THE TYPOGRAPHY OF ADVE RTISEMENTS 
 
 illustrations of type and rules which harmonize with 
 each other, while the examples in Fig. 36 illustrate the 
 lack of a proper harmony. In the former group the 
 
 11 
 
 THE HENRY O. SHEPARD COMPANY 
 
 PRINTERS AND ENGRAVERS 
 
 Cfte ^ftelDon Ptfntfng Companp 
 
 HIGH - CLASS PRINTING 
 
 FlC. 35. — Here the rules harmonize in tone with the type underneath 
 
 which they are placed. 
 
 will overshadow or " kill " the other. This is a most 
 important feature. Where a complete tone harmony 
 is preserved, rules used in connection with type are 
 very effective, and much is added to the general appear- 
 ance. Where this tone harmony is lacking, however, 
 the rules would better be omitted. In Fig. 35 are shown 
 
 l74] 
 
 V 
 
 Booklet Printing a Specialty 
 
 We Make a Specialty of the Finest Catalogue Printing 
 
 Commercial Stationery and Booklets 
 
 Printer0 : ©ngratierg : De$ignet0 
 
 Fig. 36. — This illustration shows the lack of unity between type and 
 rules when tone harmony is not considered. 
 
 various rules are of such weight or color that they 
 seem a part of the lines underneath which they are 
 used, while in the latter group there is no unity what- 
 ever between type and rules. The rules used in Fig. 
 35 are of weights known as half-point face, one-point 
 face, two-point face and three-point face. The light, 
 
 [75] 
 
 II 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 are used in the advertisement, either for underscoring 
 lines or dividing lines or groups of type. The rules 
 and type must be of such weight or color that neither 
 
 THE TYPOGRAPHY OF ADVE RTISEMENTS 
 
 illustrations of type and rules which harmonize with 
 each other, while the examples in Fig. 36 illustrate the 
 lack of a proper harmony. In the former group the 
 
 J 
 
 It 
 
 f 
 
 THE HENRY O. SHEPARD COMPANY 
 
 PRINTERS AND ENGRAVERS 
 
 Cfte %6elDon Pttnttng Company 
 
 HIGH - CLASS PRINTING 
 
 Fig. 35.— Here the rules harmonize in tone with the type underneath 
 
 which they are placed. 
 
 will overshadow or " kill " the other. This is a most 
 important feature. Where a complete tone harmony 
 is i)reserved, rules used in connection with type are 
 very effective, and much is added to the general appear- 
 ance. Where this tone harmony is lacking, however, 
 the rules would better be omitted. In Fig. 35 are shown 
 
 [74] 
 
 'i 
 
 '^ 
 
 ill 
 
 Booklet Printing a Specialty 
 
 We Make a Specialty of the Finest Catalogue Printing 
 
 Commercial Stationery and Booklets 
 
 Printet0 : aBnffratJet0 : De0igner0 
 
 Fig. 36. — This illustration shows the lack of unity between type and 
 rules when tone harmony is not considered. 
 
 various rules are of such weight or color that they 
 seem a part of the lines underneath which they are 
 used, while in the latter group there is no unity what- 
 ever between type and rules. The rules used in Fig. 
 35 are of weights known as half-point face, one-point 
 face, two-point face and three-point face. The light, 
 
 [75] 
 
 II 
 
THE T YPOGRAPHY OF ADVERTISEMEN TS 
 
 or hair-line rule, such as that shown underneath the 
 top line in Fig. 36, should be avoided in work of this 
 kind. One rarely if ever finds type which is too light 
 
 The H ousewi ves Who Do 
 Their Own Buying . 
 
 IN the swanning B«-hive« th»l wc c»ll Big Citiet. llw 
 liend by custom and cumple u toward luxuiy and 
 case. With out City L.adic>, the "itMidi" not only per- 
 (omi the household dulin, but are usually enttustcd with 
 ihc household buying, at well. 
 
 Bui iti dideretit in the Small-Townt, the VillagM, ami 
 Hunlelt. There. mo«l ai the Housewives do their own 
 %<roili, or actively auitt in having it done, and they 
 mvafiably do all of the family buying themselves. 
 
 They note with an im[>artial eye whcthef U's Pa who 
 needs a new suit of clothes, or Daughter a nine-gored 
 skirt and a long coat. They determine in their own minds 
 whether the lanuly shall eat Quaker Oats or com flakes- 
 use Fairy Soap or castilr. and ifiey are the family's Court 
 of Appeal in deciding whether to buy a Piano or new 
 "set" lor the "spare " room. 
 
 And ifiese are the good Women whoae distinction it is 
 to preside over families which aggregate 67' ,", of ourflO 
 mi llions o f po p ulation. They are the salt of the earth, 
 tlieir good will is a power — and their confidence is a 
 business asset. 
 
 Home Life is edited for and to them and so much do 
 they appreciate it. that 900.0(50 of their Homes^tubKribc 
 lot it arid pay their subscnplions in advance. 
 
 This in itself it evidence that their confidence it a buti- 
 nett asset. Do 900,000 of their Hornet subtuiGe to your 
 goods > Home Life will bring you their custom — your 
 goods must earn their confidence. 
 
 Home Life 
 
 D. W. Gayloid. Ad««tiaa| M<m|« 
 
 Chicago 
 
 L. ft Hum. Em«> M|> . Mr. Y«k 
 
 Fio. 37. — The use of rules of a proper 
 weight for underscoring the lines of the head- 
 ing would be an improvement. 
 
 to harmonize with the half-point face rule, and the 
 lighter rule is more likely to give trouble to both elec- 
 trotyper and pressman. An instance of the lack of tone 
 
 [76] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 harmony caused by the use of hair-line rules for under- 
 scoring is shown in Fig. 37. Assuming that the com- 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 THIS BOOK since its publication has received 
 the unreserved commendation of teachers and 
 students. It treats with directness and in a 
 most simple manner of the subject to which all those 
 interested in Art Education are giving most careful 
 thought. The book contains over one hundred 
 unique and valuable illustrations. We suggest an 
 early order for your library, as the edition is limited. 
 PRICE $3.00 
 THE INLAND PRINTER CO. 
 
 Chicago and New York 
 
 r^^ HUMAN FIGURE 
 
 By JOHN H. VANDERPOEL 
 
 4LMr. Vanderpoel's new book is a full and 
 concise exposition of his system. The text 
 is a thorough analysis of tlie human figure 
 from the artist'sstandpoint, feature by feature 
 and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half- 
 tone, metzograph and tint — all of them 
 masterly drawings of the greatest value to the 
 student. In addition to these it contains 330 
 nnarginal sketches. Priu Si.oo 
 
 THE INLAND PRINTER CO. 
 
 CHICAGO :: NEW YORK 
 
 Fic. 38. — Where one has poor rules, corner- 
 pieces of this kind are very acceptable, and do 
 away with the unsightly joints. 
 
 positor has used the underscoring rules to add weight 
 to the heading and accentuate it as a spot of color, it 
 
 {77] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPO GRAPHY OF ADVERTISEMEN TS 
 
 or hair-line rule, such as that shown underneath the 
 top line in Fig. 36, should be avoided in work of this 
 kind. One rarely if ever finds type which is too light 
 
 The H ousewive s Who D o 
 Their O wn Buying . 
 
 IN ikc swaiming Bec-hivo iKal we call Big Citiu. the 
 ircnd by cuilofn and example ii toward luxury and 
 eate. With our Cily L«die». the "maidj" not only per- 
 form the household duliet, but are usually entrusted with 
 the household buying, as well. 
 
 But its different in the Small-Towm, the Villages, atvd 
 FUmlels. There, most of ifie Housewives do their own 
 work, or actively aui»l in having it done, and they 
 invariably do all of the family tniying thcmsekes. 
 
 They note with an impartial eye whether it's P» who 
 needs a new suit of cloikrs. or Daughter a nine-gored 
 skirt and a long coat. ITscv deltrmine in tl»eir own minds 
 whether the family shall cat Quaker Oats or com flakes — 
 use Fairy .Sjap or casiilr. and ihey are the family's Court 
 of .appeal in deciding wbriher to buy a Piano or new 
 "set" lor the "spare " room, 
 
 And tlK-se are the good Women Mhose distinction it is 
 to preside over families which aggregate t>7' , of our 80 
 mil lions of po p ulation. They are the ult of the earth. 
 tfieir gooowiU is a power — and their confidence is a 
 business asset. 
 
 Home Life is edited for and to them and to much do 
 they appreciate it. that 900.0(JO of dieir Homes^subacribe 
 foi it aiKl pay their subtcriptions in advance. 
 
 This in itself it evidence ll>al ifseir confidence is a busi- 
 ncM asset. Do 900,000 of their |-Iomes subscribe to your 
 goods > Home Ljfe will bring you their custom— your 
 goods muat earn their confidence. 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 • — ■ — - — ■ 
 
 harmony caused by the use of hair-line rules for under- 
 scoring is shown in Fig. 37. Assuming that the com- 
 
 THE PRINCIPLES 
 OF DESIGN 
 
 THIS BOOK since its publication has received 
 the unreserved commendation of teachers and 
 students. It treats with directness and in a 
 most simple manner of the subject to which all those 
 interested in Art Education are giving most careful 
 thought. The book contains over one hundred 
 unique and valuable illustrations. We suggest an 
 early order for your library, as the edition is limited. 
 
 PRICE $3.00 
 THE INLAND PRINTER CO. 
 
 Chicago and New York 
 
 Home Life 
 
 D. W. Gaylaid, Adv«itMi| MaMfer 
 
 Chicago 
 
 J 
 
 Fig. 37. — The use of rules of a proper 
 weight for underscoring the lines of the head- 
 ing would be an improvement. 
 
 to harmonize with the half-point face rule, and the 
 lighter rule is more likely to give trouble to both elec- 
 trotyper and pressman. An instance of the lack of tone 
 
 [76] 
 
 rA^ HUM AN FIGURE 
 
 By JOHN H. VANDERPOEL 
 
 4LMr. Vartderpoel's new book is a full and 
 concise exposition of his system. The text 
 is a thorough analysis of the human figure 
 from the artist's standpoint, feature by feature 
 and as a whole. It is illustrated with 54 full- 
 page plates, variotisly reproduced in half- 
 tone, metzograph and tint — all of them 
 masterly drawings of the greatest value to the 
 student. In addition to these it contains 330 
 marginal sketches. Price Si-OO 
 
 THE INLAND PRINTER CO. 
 
 CHICAGO :: NEW YORK 
 
 Fig. 38. — Where one has poor rules, corner- 
 pieces of this kind are very acceptable, and do 
 away with the unsightly joints. 
 
 positor has used the underscoring rules to add weight 
 to the heading and accentuate it as a spot of color, it 
 
 [77] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 „ . ■ *■ 
 
 is readily seen that he has not taken advantage of his 
 opportunity to strengthen the hnes. The Hght rules 
 add but little color to the group, and by their contrast 
 in tone with the type-face render the whole thing the 
 more confusing. A heavier rule, harmonizing in tone 
 with the type, would seem more an actual part of the 
 lines than an added decoration. 
 
 The compositor is frequently at a disadvantage in 
 the use of borders around advertisements, owing to 
 the fact that the rules at his disposal are not in the 
 best condition. This results in poor joints at the cor- 
 ners and a most unsatisfactory appearance. Where 
 the advertisement is to be electrotyped, the joining of 
 the corners is, of course, taken care of by the electro- 
 typer, but where the advertisement is run from type 
 other means must be resorted to in order to get pleas- 
 ing results. In this case it is frequently desirable to 
 use, as corner-pieces for the rule border, one of the 
 many simple little spots or sections of border which 
 are to be found in almost every composing-room. An 
 illustration of their use is shown in Fig. 38. It is not 
 necessary, nor even desirable, that the rules should 
 join closely to the corner-pieces, and the break between 
 the two is not in the least objectionable, the effect as a 
 whole being just as pleasing as the border of solid rule. 
 
 [78I 
 
 CHAPTER VI. 
 
 THE DEPARTMENT-STORE ADVERTISEMENT. 
 
 HE distinctive feature of newspaper 
 advertising — that which marks the 
 great difference between the adver- 
 tisement composition handled in 
 the book and job offices and that 
 handled in the offices of the daily 
 papers of the great cities — is the 
 department-store advertising. This 
 form of advertising is, in a large measure, in a class by 
 itself ; it does not invite, nor lend itself so readily to, 
 the technical discussion which may be applied profit- 
 ably to the typographical features of the smaller 
 advertisements. The very nature and method of con- 
 struction of the page or two-page advertisement tend 
 toward a condition which leaves the printer little choice 
 for the technical consideration of typographical design. 
 In the first place, these advertisements are not arranged 
 in the composing-room, but in the office of the adver- 
 tising manager of the store ; in the second place, they 
 are usually filled closely with reading-matter and illus- 
 trations, largely doing away with the niceties of dis- 
 tribution of white space which go so far toward making 
 the smaller advertisement attractive. But the method 
 
 [791 
 
 : 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 of handling department-store advertisements, the con- 
 ditions which must be met in their production against 
 time in order that the paper may not be late — these 
 things are of interest to all who have to do with typog- 
 raphy. 
 
 To get an adequate conception of the large depart- 
 ment-store advertisement we must go back to the prep- 
 aration of the copy. The department store is in reality 
 a collection of small stores, and each of these small 
 stores bears its proportionate share of the cost of the 
 page advertisement. The first requisite, then, is to 
 apportion the page into spaces of various sizes, depend- 
 ing upon the amounts which the heads of the various 
 departments wish to use. This space, of course, varies 
 with the seasons, and for numerous other reasons. 
 And this apportioning of the space to the various 
 departments is not a matter to be treated lightly by the 
 advertising manager. He has troubles of his own in 
 even attempting to keep the various department heads 
 satisfied, each one of them being, of course, vitally 
 interested in furthering the interests of his own depart- 
 ment. 
 
 When the advertising manager has, after consulta- 
 tion with the various heads of departments, ascertained 
 just what space is required by each department, he 
 makes a diagram or layout similar to that shown in 
 Fig- 39- This layout is usually made the exact size 
 that the advertisement is to be, and the various spaces 
 are numbered. The copy which is to go in each space 
 
 [80] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 is numbered to correspond with the number in the 
 space which it is to fill. 
 
 To the foreman of the composing-room, then, 
 comes the layout for the advertisement, together with 
 the copy for the various spaces. And such a bunch of 
 copy as it is. To the uninitiated it seems an almost 
 impossible task to straighten it out and make it capable 
 of being whipped into a sane, orderly advertisement. 
 Written on pieces of wrapping-paper, note-paper, let- 
 ter-heads—seemingly on any old scraps of paper at 
 hand — the task of putting it in shape is far from an 
 inviting one. Occasionally it is typewritten, but for 
 the most part it is in pencil and frequently (when the 
 advertising manager sends in the copy just as it comes/ 
 from the various departments) in as many different! 
 kinds of handwriting as there are heads of departments' 
 in the store. And with all due respect to these heads 
 of departments it must be admitted that some of them 
 are exceedingly shy on writing — to say nothing of 
 grammar, spelling, punctuation, etc. They have a 
 supreme contempt for even the ordinary rules of gram- 
 mar, and this, together with their unrestricted use of 
 strictly trade terms, makes their copy at times unintel- 
 ligible to all except those printers who are constantly 
 handling it. To the newspaper printer, however, the 
 editing of copy becomes a second nature, and no matter 
 what shape the copy is in when it leaves the store, the 
 advertising manager feels satisfied that "the printer 
 will straighten it out " and put it in readable form. 
 Checking up the different packages of copy to see 
 
 [81] 
 

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 J3 
 
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 C8 
 
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 M 
 
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 6 
 
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 3 
 
 O 
 
 Q. 
 
 V 
 
 06 
 
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 fa 
 
INTENTIONAL SECOND EXPOSURE 
 
 Ok 
 r» 
 
 M 
 
 G 
 
 c 
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 J3 
 
 J3 
 
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 O 
 
 CO 
 
 <i 
 
 ti 
 ««-■ 
 
 ce 
 
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 Is 
 
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 V 
 
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 4-» 
 
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 (S 
 
 Oi 
 
 Si) 
 
 a 
 6 
 
 c 
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 O 
 
THE TYP OGRAPHY OF ADVERTISEMENTS 
 
 that they correspond with the numbers on his layout 
 sheet, the foreman turns the whole thing over to the 
 man in charge of the advertisements for that particu- 
 lar store, or gives out the copy to the printer himself, 
 just as he sees fit. With subordinates specializing in 
 the work of each store, his work is much simplified, as 
 these men know all of the peculiarities of the advertis- 
 ing which they are handling — know what kind of rules 
 to use for panels, whether or not Mr. So-and-so, the 
 advertising man of that store, will stand for a border 
 around the entire page, and what kind, and the thou- 
 sand and one things which would ordinarily come up 
 regarding the advertisement. They make a study of 
 this particular style, and when the foreman has passed 
 the copy for a page advertisement over to one of these 
 men his troubles regarding that particular page are — 
 or should be — over. 
 
 The advertising manager usually designates on the 
 drawings the instructions for making the illustrations. 
 Sometimes these drawings come to the composing- 
 room foreman, and at other times they go direct to the 
 etching-room. In the former event the foreman checks 
 them over to see that the sizes marked on them cor- 
 respond to the spaces left for them in the layout ; in 
 case the drawings go direct to the etching-room he 
 verifies them before the work on the page has proceeded 
 too far, in order that no mistake may be made. 
 
 What impresses one most favorably is the efficient 
 manner in which the foreman in charge of the adver- 
 tising handles the work. Amid the rush and excite- 
 
 [84I 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ment of the assigning to their respective places of 
 scores of men, the telephone calls, the copy-boys rush- 
 ing in, leaving copy, cuts and drawings on the desk, 
 he appears cool and undisturbed. 
 
 It is a few minutes before seven o'clock in the 
 evening — the time when the largest number of men 
 " go on " in the ad.-room. Others come later, some at 
 eight o'clock, some at nine and some at ten. It is a 
 hot night — hot outside but infinitely more so in the 
 composing-room — and convention, in the matter of 
 attire, has been cast to the winds. Not only have hats 
 and coats been discarded, but vests, collars, ties and 
 even shirts, have been taken oflf in the desire to get the 
 work done with as much comfort as possible. 
 
 As the men gather around tHe foreman, he assigns 
 them to their positions under the men who are in 
 charge of the various advertisements. This is done 
 quietly and quickly, sometimes nothing more than a 
 nod of the head being necessary to indicate to a man 
 just where he is to go. Everything is especially well 
 systematized, and the room immediately breaks into 
 the full swing of busy activity. 
 
 " Yes," says the foreman, " the styles of typography 
 vary greatly with the different stores. Page advertise- 
 ments for Jones' store must be set in type not smaller 
 than ten-point, and with plenty of white space between 
 lines and between rules and type. On the other hand, 
 the advertisements for Conway's store must be set 
 largely in eight-point type, with few' leads and with 
 the type jammed up close to the rules. 
 
 [85I 
 
 V 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 "Then the question of arrangement — the placing 
 of the cuts, panels, etc., on the page — varies mate- 
 rially with dififerent advertising men. One advertiser 
 is careful about the balance of his page. If he uses a 
 panel on one side he balances it by a corresponding 
 panel on the other side. If he uses a cut on one side 
 he balances it by a cut on the other side, and so on. 
 Other advertisers, however, pay little attention to this 
 question of balance, and their pages show a lack of 
 orderly arrangement." 
 
 In the two-page advertisement shown in Fig. 40 
 this question of the balancing of panels has been care- 
 fully considered, and although the advertisement con- 
 tains a large number of panels of varying sizes and 
 shapes the whole forms an orderly arrangement. 
 
 As regards the type for display, each department 
 store usually has its own style. The display portions of 
 the advertisements of one store will be set in Pabst 
 type, another store will use Caslon Bold type, and so 
 on. This practice results in an individuality of style 
 which is a part of good advertising. It also simplifies 
 matters immensely for the composing-room. Nor is 
 any advertiser allowed to use the display type which 
 ** belongs " to another. This point is mutually under- 
 stood and rigidly adhered to. 
 
 Ordinarily the matter for the advertisement is 
 grouped on galleys and proofs are taken, this grouping 
 of the various departments being done in such manner 
 as will best facilitate assembling them into the full page 
 later on. These proofs are then sent to the advertising 
 
 [86] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 manager, who pastes them up into a dummy, following 
 his original layout, but making any changes which he 
 finds necessary. And these changes are sometimes 
 numerous. Occasionally, because of the arrival of a 
 new shipment of seasonable goods, or for some other 
 good and sufficient reason, the advertisement will be 
 torn apart and the greater portion of it reset. In fact, 
 on some pages the time for alterations will equal, if 
 not exceed, the amount of time spent in the original 
 composition. Usually, no extra charge is made by the 
 paper for these alterations. 
 
 The time consumed for setting a full-page depart- 
 ment-store advertisement will average approximately 
 fifty hours. The time which elapses between the giv- 
 ing out of the copy and the turning in of the proof will, 
 of course, vary according to the necessity for rush and 
 the number of men among whom these fifty hours are 
 divided. In emergency, proofs of a full-page adver- 
 tisement will be placed on the foreman's desk within 
 two or three hours after the copy leaves his hands. 
 Men will swarm around a page advertisement so thick 
 that they are literally falling over one another, and 
 the " takes " will be short — sometimes but two or 
 three lines. Your newspaper man thinks nothing of 
 wasting time to save it. In the last moments, when the 
 page is being closed up, and the hands of the clock 
 draw dangerously near the limit of time allowed, no 
 account is taken of how much time a man may waste 
 in his efforts to advance by a few seconds the comple- 
 tion of the advertisement. 
 
 [87] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 And amid all the rush and excitement incident to 
 the getting out of the page advertisement, the question 
 of accuracy must be carefully considered. Although 
 the page contains a multiplicity of prices, they must all 
 be right, else there are serious results. To illustrate: 
 
 A certain department store recently had a sale on 
 soap, the intention being to sell 66 bars of a well-known 
 five-cent brand for $2.79. Through an error the adver- 
 tisement read " 66 bars of soap for 89 cents." This 
 naturally drew a large crowd, and as each shopper 
 asked for the order of soap he was directed to the 
 superintendent. The latter explained ihe mistake, and 
 insured the shopper that if he insisted the store would, 
 of course, stand by the price given in the advertise- 
 ment. 
 
 And did he insist? 
 
 Later in the day a driver for the store remarked as 
 he delivered an order of the soap to a customer: 
 " Well, this thing will cost somebody some coin, for 
 over one thousand orders of this soap have already 
 been sent out." 
 
 One thousand orders — and each order represented 
 a loss of $1.90, the difference between the intended 
 price and the figures given in the advertisement. 
 
 Whether the store or the newspaper stood this loss 
 would, of course, depend upon which was responsible 
 for the error. It sometimes happens that after the 
 final proof has been revised a letter or figure may drop 
 out of the form or become transposed before the form 
 is stereotyped, and in this case the paper is at fault. 
 
 [88] 
 
 i 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 The composing-room of a metropolitan daily 
 impresses one as a place where they " do things " — 
 and do them in a big way. Plenty of men to do the 
 work, to be sure, and a certain freedom and good fel- 
 lowship not usually to be found in job-offices, where 
 the time-ticket receives the greatest consideration. One 
 almost feels that compositors here have things *' pretty 
 soft " and that it is more or less of a snap. 
 
 But; late in the evening, a boy rushes in with a page 
 advertisement which must be gotten in the morning 
 paper, and the comparatively easy-going routine of the 
 department is at once changed into a scene of bustling 
 activity. All the men that can possibly be used are 
 detailed on the rush advertisement and they " pull out " 
 with a right good will, for no matter what may happen 
 or what they may be called upon to do, the paper must 
 be gotten out on time. And they get it out. The 
 thought that they have a snap is forgotten in the greater 
 fact that what they are there to do, they do. Their 
 special function lies in their ability to cope with emer- 
 gencies — to do special '' stunts " which ordinarily 
 would seem well-nigh impossible. And it is perhaps 
 this very thing that makes the work of the advertise- 
 ment compositor on the metropolitan daily fascinating. 
 He feels that the getting out of the paper on time is the 
 one thing greatly to be desired, and with the ever- 
 changing problems and emergencies this becomes a 
 game in the playing of which he takes the most acute 
 interest. 
 
 [89] 
 
i 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 advertisements, and let the examples themselves tell 
 the story. In Figs. 41 — 41-b are shown a number of 
 advertisements of this character taken from various 
 
 CHAFI'ER VII. 
 
 HAND-LETTERED ADVERTISEMENTS. 
 
 ,ORE and more is the hand-drawn 
 letter attaining to a prominent place 
 in our advertising pages — both 
 magazine and newspaper. With a 
 natural desire to a'^hieve distinction 
 in their particular fields of pub- 
 licity, and with the possibilities of 
 type seemingly exhausted, many of 
 the large advertisers have turned to the designers for 
 aid in effectively furthering the interests of their 
 wares. Without at all conceding that the limitations 
 of type display have been reached, we can not but 
 recognize the fact that interest and beauty have been 
 added to our advertising pages by the freedom and 
 the absence of rigidity and stiffness which character- 
 ize the hand-drawn letters ; and while this series of 
 articles deals more particularly with type arrange- 
 ments, it is felt that the advantage which the printer 
 will gain by a study of these specially designed adver- 
 tisements is not to be overlooked. 
 
 On the principle that one example is worth a 
 thousand arguments, we will pass over any lengthy 
 discussion of the merits of hand-drawn letters in 
 
 [90] 
 
 1 
 
 4^k the I 
 
 MOTOR TRUCKS 
 
 sgiofflk^agsi: 
 
 ^ FhciutrJ truck javef monep in suburhoft JeliveifaiiJ j 
 other lon^hauUt^domg^ work of jrvtndlximteamr 
 
 2, use two RK^ard tmcks in piano 
 
 OMivery and other naming wint- 
 
 ■^j^^v in a radius of twenty-five miles. 
 
 Each truck refJaoes three horse trucks and 
 
 crews, thereby saving $a5'a day 
 
 Rdunl mick* aie used in Il8 linef 
 
 of business. TKcy m told exduawl^ throu^ 
 
 PickinJ dealers, who m^tain Inxk ttrrvx 
 
 ot the stmt standard a< tKat extended 
 
 to cnmm t^ F^duid aa. 
 
 '/- 
 
 f :^^M 
 
 "PackarJ \totor Car Company Detroit 
 
 Fig. 41. — Example of hand-lettered 
 magazine advertisement. 
 
 magazines, and one can not fail to note their distinc- 
 tion in comparison with the advertisements which are 
 set in type. Look through the advertising sections of 
 any of the popular magazines, and you will be surprised 
 at the .number of pages in which the hand-drawn letter 
 
 [91] 
 
 \ 
 
INTENTIONAL SECOND EXPOSURE 
 
 CHAPTER VII. 
 
 HAND-LETTERED ADVERTISEMENTS. 
 
 ,ORE and more is the hand-drawn 
 letter attaining to a prominent place 
 in our advertising pages — both 
 magazine and newspaper. With a 
 natural desire to achieve distinction 
 in their particular fields of pub- 
 licity, and with the possibilities of 
 type seemingly exhausted, many of 
 the large advertisers have turned to the designers for 
 aid in effectively furthering the interests of their 
 wares. Without at all conceding that the limitations 
 of type display have been reached, we can not but 
 recognize the fact that interest and beauty have been 
 added to our advertising pages by the freedom and 
 the absence of rigidity and stiffness which character- 
 ize the hand-drawn letters ; and while this series of 
 articles deals more particularly with type arrange- 
 ments, it is felt that the advantage which the printer 
 will gain by a study of these specially designed adver- 
 tisements is not to be overlooked. 
 
 On the principle that one example is worth a 
 thousand arguments, we will pass over any lengthy 
 discussion of the merits of hand-drawn letters in 
 
 [90] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 advertisements, and let the examples themselves tell 
 the story. In Figs. 41 — 41-b are shown a number of 
 advertisements of this character taken from various 
 
 i 
 
 ^ thdarJ truck jxa/er monep in ruburhan JebtitiftmJ 
 oikerlonghaulf bp Jotng dx worA c/^jwerulhom teamr 
 
 Wf. 
 
 use two nckara tnic^ in piano 
 'ivery anc] olKer Hauling with- 
 I radius of twentv-nve miles. 
 
 Each truck replaces three horse trucks and 
 crews, therety saving $ij^a clay 
 
 (Uunl trucks are us<d in Il8 linex 
 
 d buaneu. TK«/ are uU enJuavci/ throu^ 
 
 RicluiJ dealen.wKo maintain Irud^ srrvioe 
 
 0^ the um* ttanJani as that exfenied 
 
 to owTwrsof F^ckaid can. 
 
 Fic. 41. — Example of hand-lettered 
 magazine advertisement. 
 
 magazines, and one can not fail to note their distinc- 
 tion in comparison with the advertisements which are 
 set in type. Look through the advertising sections of 
 any of the popular magazines, and you will be surprised 
 at the .number of pages in which the hand-drawn letter 
 
 [91] 
 
 \ 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 plays an important part — in most cases to the great 
 improvement of the advertising. 
 
 Nor is the use of hand-lettering in advertisements 
 confined to the magazines. The daily papers are grad- 
 
 ctffdb <X<X)d9eodio 
 
 ''Sed ITtPCbamasioi^ 
 
 m 
 
 Fig. 41 -a. — Example of hand-lettered 
 magazine advertisement. 
 
 ually showing a greater use of work of this character, 
 the advertisers who may be said to make their appeal 
 to the more cultured classes being the leaders. In Figs. 
 42 — 42-a are shown reproductions of hand-lettered 
 advertisements taken from daily papers, all of them 
 possessing a distinction unattainable by the use of 
 type alone. 
 
 [02] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 One of the most important points to be considered 
 by the printer in the designing of an advertisement is 
 that of the balance of the various groups of which it is 
 composed, and in this consideration of balance the fol- 
 lowing statement plays a most important part : 
 
 TKe Weaver's word o( honor 
 
 ALL-WOOL 
 
 MOORE 
 
 PABRICS FORMEN'S CLOTHING 
 
 MacU without Wearing qiiality 
 
 cotton or shoddy guaranteed 
 
 Makers cfreliahU ready-made cloth 
 ing are permitted to place the allAVDol 
 Moore button only m garments 
 made of all-wool M0OB.E cloths. 
 
 Look for the MoORE button when 
 buying suits or overcoats— it is a 
 mark of ^uality^ 
 
 Sutton, Button, yvho't got tkt Button? 
 
 Fig. 41-b. — Example of hand-lettered 
 magazine advertisement- 
 
 The heavier the group, the nearer it should be to 
 the center of balance. 
 
 While this rule or principle of design is of great 
 value in advertisement composition, yet the printer fre- 
 quently fails to take it into account. Not so the accom- 
 plished designer. The latter lays out his advertise- 
 ment with a full appreciation of balance and harmony, 
 
 [93I 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 plays an important part — in most cases to the great 
 improvement of the advertising. 
 
 Nor is the use of hand-lettering in advertisements 
 confined to the magazines. The daily papers are grad- 
 
 
 
 l«iartii«f«M«at» 
 
 'Sfien^Ci3a:itt?is:>iap 
 
 Flo. 4 1 -a. — Example of hand-lettered 
 magazine advertisement. 
 
 ually showing a greater use of work of this character, 
 the advertisers who may be said to make their appeal 
 to the more cultured classes being the leaders. In Figs. 
 42 — 42-a are shown reproductions of hand-lettered 
 advertisements taken from daily papers, all of them 
 possessing a distinction unattainable by the use of 
 type alone. 
 
 [02] 
 
 m^yv^ '*■ « ^W"^ 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 One of the most important points to be considered 
 by the printer in the designing of an advertisement is 
 that of the balance of the various groups of which it is 
 composed, and in this consideration of balance the fol- 
 lowing statement plays a most important part : 
 
 TKcWeaveiCs word of Aonor 
 
 ALL-WOOL 
 
 MOORE 
 
 FABRICS FORMEN'S CLOTHING 
 
 Made without Wearing quality 
 
 guaranteed 
 
 chout 
 shoddv 
 
 cotton or 
 
 Makers of reliable reacly-macU dotli 
 ing are permitted to place the all-wool 
 Moore button only in garments 
 made of all-wool MoORE clotKs. 
 
 Look for the MoORE button when 
 buying suits or overcoats— it- is a 
 mark of Quality. 
 
 Outt(m,Sutton,'who'j got the Button? 
 
 Fig. 41-b. — Example of hand-lettered 
 magazine advertisement. 
 
 The heavier the group, the nearer it should be to 
 the center of balance. 
 
 While this rule or principle of design is of great 
 value in advertisement composition, yet the printer fre- 
 quently fails to take it into account. Not so the accom- 
 plished designer. The latter lays out his advertise- 
 ment with a full appreciation of balance and harmony, 
 
 [93] 
 
THE TYPO GRAPHY OF ADVERTISEMENTS 
 
 and not the least of the various points involved under 
 these two heads is the question of measure balance. 
 
 
 
 D 
 
 MARSHALL FIELD 
 (^COMPANY 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 metal weighing one pound will, when placed out on the 
 arm of the scale, balance a piece of metal of much 
 greater weight, so will the small group of type or the 
 
 Fig. 42. — Example of hand-lettered newspaper 
 advertisement. 
 
 In this consideration of the arrangement of type 
 and cuts in an advertisement, the word balance is to be 
 taken in a literal sense. Just as the small piece of 
 
 [94] 
 
 Fig. 42-a. — Example of hand-lettered newspaper advertisement. 
 
 [951 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 and not the least of the various points involved under 
 these two heads is the question of measure balance. 
 
 D 
 
 D 
 
 MAUSHAIL FIELD 
 
 6-COMPANY 
 
 Fig. 42. — Example of hand-lettered newspaper 
 advertisement. 
 
 In this consideration of the arrangement of type 
 and cuts in an advertisement, the word balance is to be 
 taken in a literal sense. Just as the small piece of 
 
 [94] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 metal weighing one pound will, when placed out on the 
 arm of the scale, balance a piece of metal of much 
 greater weight, so will the small group of type or the 
 
 Fic. 42-a. — Example of hand-lettered newspaper advertisement. 
 
 [95] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 small illustration or decorative spot balance a larger 
 group if it is placed at a point distant from the center 
 
 \ 
 
 ft 
 
 t 
 
 
 
 III T ill l ^-r*^! ■ • ' ■ - ■ • ■ T i ' 
 
 II J I 1 ^^v^ry^^^v^m 
 
 ■•••*-' -1 -I ^ 
 
 Fig. 43. — A study in the balancing of measures. Compare D with 
 
 Fig. 44. 
 
 f96] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 of balance in inverse ratio to its size as compared with 
 the larger group. 
 
 The diagram shown in Fig. 43 will make this more 
 clear. In a we have two groups of equal size balanced 
 
 itii»iiit»ini«iniBnii«nti»»ni»iiii«iiii«»'"»'' ' J,"] 
 
 li-lrenton 
 
 $59? to 11990 I 
 
 7 and i^Jewrn 
 
 TO GET A WATCH tli«t wffl l«ep li"« •» 
 well u the IngcnoU-Troiton. you miut hny 
 >n Ingenoll-Trenton — or pay more. 
 
 Th«« it no other w»tch »* the price of 
 the IngenoU-Trenton — tS.OO to tl 9.00— 
 which will keep u good time. There is no 
 wmtch at any price that will keep more than 
 a very maU fraction better time. 
 
 To get that infinitely amaU fractioa of 
 accuracy makes your watch cost ten time* 
 as much as the Ingersoll-Trenton — and that 
 ■nail fractioa ii not really of 'alue in the 
 day's work. In other words, an Ingenoll- 
 Trenton at, my tS.OO, is a good enough 
 >atch for anybody. Sold only by reapontibi* 
 jewelers. 
 
 ROBT. R. INGERSOLL & BRO. 
 AtHuim Btntsma, Ntw Yau 
 
 tiiii«mt«iiii«iiitHnii»i"i«iiii»iiii«nil»iiii»iiiti 
 
 Fig. 44. — Compare this advertisement with the 
 diagram shown in D, Fig, 43. 
 
 on a spot which indicates the center of the enclosing 
 rectangle or page. These groups being of equal size, 
 
 [97] 
 
INTENTIONAL SECOND EXPOSURE 
 
 i 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 small illustration or decorative spot balance a larger 
 group if it is placed at a point distant from the center 
 
 \ 
 
 t 
 
 
 .... .' ■. -• ^. •■.--. .•■^' .. .; 
 
 E1ZI3 
 
 j; II II 11. 1 ■■!■ 
 
 ....T- » .-. . 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 of balance in inverse ratio to its size as compared with 
 the larger group. 
 
 The diagram shown in Fig. 43 will make this more 
 clear. In a we have two groups of equal size balanced 
 
 Fig. 43. — A study in the balancing of measures. Compare D with 
 
 Fig. 44. 
 
 [96] 
 
 
 : 
 
 
 ■ • 1 ' 
 
 * 1 la 
 
 : 1 >- II 
 
 1 In^ersoU - 1 renton 
 
 I ^jS^ $599 to $1999 
 
 ^^IS^^^ 
 
 Pv«7^ 
 
 ; m» "-y/r^ 
 
 w^^—-* 5>1 
 
 
 WM 
 
 7 *"«• 15 J***^ 
 
 31 ^^^1 
 
 TO GET A WATCH that wffl keep Ume aa 
 
 •1 ^^^^^1 
 
 «ell as the IngeraoU-Trenton, you must bay 
 
 ■n ^^^^^H 
 
 an Ingersoll-Trenton — or pay more. 
 
 ^^^^^H 
 
 Ther» is no other watch at the price of 
 
 ^^^^^1 
 
 the Ingersoll-Trenton— 85.00 tot19.00— 
 
 ^^^^^H 
 
 • hich will keep as good tiine. There is no 
 
 ^^^^^H 
 
 watch at any price that will keep more than 
 
 ^^^^^^^^1 
 
 a very small fraction better time. 
 
 ^^r^H 
 
 To get that infinitely small fraction of 
 
 ^r ^ 
 
 accuracy makes your watch cost ten times 
 
 ^ u much u the Inf^noU-Tmitan — and that 
 
 ■Ij soull fraction is not nMj of value in the 
 
 ^ daj's work. In other words, an Ingenoll- 
 
 ^ Trenton at, My t9.00, it » good enough 
 
 ■H watch for anybody. Sold only by retpomibl* 
 
 — jewelers. 
 
 ■ ROBT. H. INGERSOLL At BRO. 
 
 i ta AuuMtm BciLSim, N«w Yau 
 
 ! 
 
 = 
 
 ■'i 1 1 1 1 ■ 1 1 1 1 ■ 1 • 1 1 ■ i iiiiritii«iiii»iiii»iiii«iiii«iMi«iii< 
 
 Fig. 44. — Compare this advertisement with the 
 diagram shown in D, Fig. 43. 
 
 on a spot which indicates the center of the enclosing 
 rectangle or page. These groups being of equal size, 
 
 [971 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the point of balance between them will naturally be 
 midway on a line drawn from the center of one of 
 them to the center of the other. 
 
 In b the problem is changed. Here we are to bal- 
 ance two groups of unequal sizes, one of them being 
 four times as large as the other. The' larger group, 
 being four times the size of the smaller one, must be 
 placed, in order to attain balance, four times as close 
 to the point of balance as is the smaller one. We 
 therefore divide the line drawn from center to center 
 of the two groups into five parts (the large group rep- 
 resenting 4 as compared to the small group represent- 
 ing i), and then give four parts of the length of the 
 line to the small group and one part to the large one — 
 thus giving each a part of the line in inverse ratio to 
 its size. In this example we have also moved the cen- 
 ter of balance from the center of the page to a point 
 on a line which divides the page into the proportions 
 of three to five, which were discussed in a previous 
 article. 
 
 The tone of the group or spot must also be taken 
 into consideration. It is obvious that where one of 
 the groups is of solid black and the other is of half- 
 tone, the latter must be twice as large as the former 
 in order that they may be equal in their balance or 
 attraction. This is illustrated in c, and its practical 
 application is shown in d, taken in connection with the 
 advertisement reproduced in Fig. 44. In this adver- 
 tisemeht, taken from a late magazine, the designer was 
 confronted with the problem of balancing the heavy 
 
 [98] 
 
 THE TYPOGRAPHY OF ADVER TISEMENTS 
 
 spot made by the illustration with the much lighter — 
 but larger — group of type This he did by following 
 the principle above referred to, and placing the heavier 
 group nearer the center of balance. One will readily 
 note that the margin between the cut and the border 
 is considerably greater than that between the type and 
 border on the opposite side of the advertisement. 
 
 [991 
 
 
CHAPTER VIII. 
 
 AGENCY ADVERTISEMENTS." 
 
 JTH the rapid increase in the cost 
 of space in our magazines and 
 journals has come a form of adver- 
 tising variously known as *' agency 
 ads/' and " mail-order ads." When 
 the advertiser pays $8 and $io an 
 agate line for space he feels that 
 he can not afford the generous 
 white margins that are considered so much a part of 
 good display. He feels — and rightly, too — that he 
 must make every particle of space count in the efforts 
 to " pull " enough business to make his advertisement 
 pay. 
 
 An inch of space affords but little room for the 
 presentation of one's proposition, and when one pays 
 approximately $150 for that inch he must bend every 
 energy to the task in his effort to bring returns com- 
 mensurate with the cost. 
 
 And so we have the " agency ads." — advertise- 
 ments which frequently are set solid in five and six 
 point type, and in the setting of which the compositor 
 is compelled to cast aside all his preconceived ideas of 
 artistic display and arrange his advertisement in a 
 
 fiool 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 manner calculated to use every particle of space. It 
 is not given to him to exercise his knowledge of typo- 
 graphical design — the writer who prepares the copy 
 does that, and with the copy comes a sketch or layout 
 which the printer is expected to follow. The printers' 
 part in the preparation of these advertisements is to 
 ascertain just what size of type will the most nearly 
 fill the space, without waste, and then set it up. 
 
 In Fig. 45 is shown an advertisement of this nature 
 — an advertisement in which the complete story is 
 told, necessitating the use of exceptionally small type. 
 The first problem for the printer, then, is to find 
 out what size of type he shall use in order to get in 
 all the matter. Compositors have different methods 
 of ascertaining just how much space a given piece of 
 copy will occupy when put into type. The great 
 majority of them depend largely upon a judgment 
 based on a wide experience. Perhaps the most com- 
 mon method of arriving at the desired end is to set up 
 three or four lines in the type which one thinks will 
 answer, and then, by comparing the average number of 
 words in a line with the amount of copy, determine 
 whether or not the type will properly fill the space. 
 This, however, is a rule which can hardly be followed 
 in the agency ads., inasmuch as the different shapes 
 and measures which are made necessary by the run- 
 ning of the matter around the cuts allow of no stand- 
 ard length of line. For this reason many compositors, 
 in casting up agency ads., base their calculation upon 
 the number of words in a square inch of any given 
 
 [loi] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 This Book FREE 
 
 128 Pages of Vital Pointers on 
 How to Write LettersThat Win 
 —Sell Good8--G>llect Accounts 
 
 "How to Write Letters That Win*' is simply 
 128 pages torn from the every-day experience 
 of practical men who have sold millions of dol- 
 
 I.irV worth of good.*, collected hopelessly over-due 
 acLOuntsand paci^cd sore, belligerent customers by 
 ihc veiy methods ihcy &o clearly outline here for you. 
 
 FirM of all thr book rfproduces I«ttflT> thai are faulty tad dearly 
 an4 tprciftcally points out *hrre the faulia mn, then tl reprodttcr* ' 
 ih;'M- Mme lelien rrwritim as ihey abould be, aad expliiiu (uUy the 
 (■lacm (or t\try chaoge that hu been made. 
 
 Ant the book foea even farther than this for It biLrea all the little tHrkt ^ 
 .ind Fwiiis that ajaure ywi Emding the point of cootad with yoor oorrrt- 
 I)nndrn)-~all ihe ckM^y guarded aecm% and amhodi of putting into \ 
 yuur letters the perMoaliiy and the "you" Flfl tkH has auaca )t>u ' 
 lo rrgard the succeatful leucr-witler u a bwBflOriafc 
 
 «Aiea frnm tht itipt't ttsMlvotat. How to 
 UM ftiircrviicii <n (te«^npit«n. EspUlniag 
 Y'lut (>.oJ» ia <h«ir trUtlaa 1« Ih* c«a* 
 loner. The Inpuituncc al i»\mt ttuCL 
 
 VII. How fo Crvote Dndro. Ar- 
 ffumC'Ul una Proof. Tbc dillMMrl 
 
 wkyi ul pro«riii( * pf pt.hiiien In » lortor. 
 OOcrtea tUe tMi.ra priwl«(c. S^nwtitfl ttM 
 prawmt how k« «>iil lan. Tclliaf tha 
 nscict how lo i«tl vouv proiltl How lo 
 m* rrlrrencn In a latMv. Tlw lapefUnct 
 of itKcftiir. KepradMiiaB •! a* aottal t«t- 
 tar «hL>»i«f good Mt «l atgu^iai aad 
 
 V 1 1, re I aw— I a«. TW glStraxc b«. 
 
 Ckaptar 
 
 I. Tb«> Pwrt (h« I^tt«r Ptajm 
 In BiMlnrM. u hr ih€< tnttf u ibc 
 
 mo<>t I'nportM'it bet r la th« tvafiMCtloa ol 
 
 modern b)itiB«>w. What the tMt.i«««i nua 
 
 cui do ihrouffb <:otreipof«defte«. The d«- 
 
 V«> 'ptii*nt olthc t>uiinr%« l«*ler. Ttiiiigs a 
 
 letT'f •lortrhai «ptT«<>n«lreproseiiuriv« <,«■>- 
 
 ao ilo P<'M>MUi«« luf ntakiaf • lrn«t talh. 
 
 II. Wbat th« I^(l4^r Muat D«-lC* 
 
 FloittCBto and Conirou. >h«w« ih>i 
 
 t>i- t>ti«t»eM ktleff If k'lSjfit to»ftj>t]tis. The 
 
 ftiv flesKitta •! « r'OJ mI'I l«t'»(- Tht part 
 
 e-uh elemtnt ptoyt Reprodudioa ol a par- 
 
 i«tl» h.tiaced uIm letter SpetlAc ezaNi- _ 
 
 pin .ho la« a pooc tale* knw aad tb* MOia ^weea M^jmcnt Mid p«raM«ioo r«r«iud 
 (ntei ip-wtiiwa. laa lhio>igli i ng i ail i M. HidlNff panua- 
 alaa ia otMr emaeaia al the tattet. The 
 
 111. Tho Mak*-rp of tbo BwteOM 
 
 I^ltvr. Tl>« Imp >runce o( j<vi«t a laMr 
 proper macbaakal makeup. Tl 
 ihat • tett«v iiMket. Si«« aI 
 vlop- s thtf ihauM ha aaad. 
 crly kpaca aod attow nwcgi 
 
 TV. Row «• •tatt a I<ottar-At. 
 
 tovtton. Hew to gal away Ihm Iha loe- 
 
 mal op»t>4aff. How la ga alfBlghl M yaur 
 •ubtact (• tta ftf« Uaa. Whaa •• •■• iK« 
 "•Ir^^ar" lr«t ^ragtagh. WlaaJog *t. 
 teaitoa with the word "yoa". Ropeoduc- 
 Uon ol a good lattaff ihM wlaa aticatioa. 
 V. Row to Aranao IntoreoC 
 The huBwa lirtetfat aleaMai la letter 
 Ht'fir Appaaltag la Hia Nader** pat* 
 waal laiateaia aad arflMMihy. How to c,„milaff tha lam al a Wnm l» tfia < 
 
 .hers ^el.^f». Zmt O ttmB la Mga. Makhig H dew what 
 
 VT. Hoir <o HolJ la l ai ga t «h« praaptct H to do. awl what he win t*- 
 
 l':inlan«tlan. How m tie* iha cclvc tM M» aiaaey. How tn «m acoopoa. 
 
 r«*drr • aieatal pKiata ol your flew to oac aa abaohrtt giia» a wtoa hl«ah. 
 
 product. I.oeklac at yaat gfapa> RcpfodacSiea al a gooe MMW-ag laitar aad 
 
 iJrKSl^^t^ appea'law ic 
 vma as a Mnav. ,^ g.,^ |„ 
 
 toedt will faetaf. fen«adia« by 
 
 lo acU-iatercau Actual tepro- 
 
 ;K«r replr to aa laqulry aad 
 
 Iflfer TewHitra thowisf aa ap< 
 
 peal to penoaal laieicai. 
 
 IX. iBdnooBieat. C'viag the proa- 
 petrt a reatoa lor answcikag yooe iMter. 
 Oppottii^r tor fa:a. Uaiiltai the pertod 
 el aa 99tt or tha auaaliiv w4 g aada ahlala* 
 able, lovortsac* al aiifciag todacaaaaal 
 gcitulae. Maklnf the ladocaOMat aaar la 
 taka held of. Rrptedaettao a< aa acival 
 kttar ahawtag gaod aaa al ladacaaiaat. 
 
 X. ■■MaMiT tm^ CBmai. Cea- 
 
 tha lafct al a Mut l» Hia Ikaal 
 
 tha I 
 
 ftapeai ■ctlaa 9l a aaad"la<iar ■■!■■«■« haw _ 
 a pewpfd «ay ha If4 t^m m lo—lagil 
 ■la i iwii whh arfilch ha agMa* w MM tag- 1 
 lag palal at the claaa al a MMV. ' 
 
 XI. Nowa V»h>«. How to fl«« a leiae* 1 
 a«w« value. C<«iaf a pwblie topk a ulea ap- I 
 
 tl'cattoa. Putliav trade wewt laio Icnan. 1 
 naaiac trade hr irmiifg tta puipart'a la* \ 
 leraM la year work. 
 XU. ragooBaHty. a law e 
 petaaoaliiv— aa gaittnc oa cetaiw 
 Willi your raadff. Talhin* la tba i 
 h(a awa worda. Samat r*'*' lettae M tha cUaa \ 
 yea. writ* le. 
 
 XII. Tha **To«** EInaoat. a c— iplen 
 
 aad viiallr hagartat ehaptat aa uiklac to a 
 pr.<»pc<.l ahaaa hiitU »ad hk eeed.. t'se 
 ol the weed "yaa". Shawlof the peaarea 
 thatyeiitiaka aa l o iaiiw U bit agaira. Ito* 
 gcadbcaao al tww laHffvt. 
 
 XIV. OaOoctloa Cor i ea » oo4— ««o. 
 
 Ceilacdag caauaefdal acceaata by let'te. | 
 CoilecU a c laaiaUawM accawaai hy letter. 
 firtUag tela vahta tela a caUacHoa bnef. 
 Whaa larai laaar BMy ha aaad. Reuia- 
 lot a dahMr*a goed-wnt. Claiaflriai la- 
 aMhaaad aahlaet. Whc« letal procedure' ' 
 a taatlhad. Gletag a <a«h up tn'4u(en»eac. 
 Repredactlao al a food colieciiou letier. 
 
 XV. Baw to Acawer Coaa* , 
 
 ealnta. CaWag tb* rght attitude (• 
 ndl Bf eeaiglalniL Ttklsff coa»pUiat> j 
 lerlotMly. laiportaaca el aaaweriag 
 oMapUhrta peoMpOv- Tahlag tha " 
 cwat*n>er'a vlewpnlaC. Coacadliti 
 tha hi«t)c* el comptalata- Ka^ 
 production «l •• actual ceaa* . 
 pl*iiil leftrr Witt' a 9 
 
 f It and a r'^od reply lo tt.^ 
 
 How you can secure a copy FREE 
 
 The wiy to r*f a ropy ot il ii book, "Hew to WHtc Lctteri That Win.*" a'-»o4iit»ly I 
 i;>four<i SYSTEM, which «l>ad* tr'-fWa^t the Moathlv Mayac m ol fcit.'.e^v. 
 gM to 354 pare* ia every ia-ue ol SYSTHM. aad yaa caaaot aford lo tntw a 
 iii*^le page ol It Fue SYSTEM oill th»> y<m hew le accoaM>li>^ aaorr-bo* 
 to naakc more la yuw pretenl dttly work. 
 
 Aa an latradactoty oSer w* have decided to gtv* away tfe ^r^i spccUl 
 ediiK>n otiMa aplaadM hook. t» pa«aa, tim SitH ">chra. 
 pnaied op sMooth haU hoah pap»e. he«nd m handtoma 
 vtikai wHh ceeer la lew celan, ahaahrtrly liec. «i-hU 
 arw or rtMwal tubactipHaa ta SYSTEM. SiaM>ty 
 ««ad U wMh A* cMip«« 'or |».9a il the auga- 
 stae K tota aant !• Caaadiao addreatj. 
 The booK wUI CO lorwerd iMaiedtatcly 
 ~ 'Kartly packed— all traaspor- 
 lOae ch*rvpf prepil>l. aad 
 IM will enter y^iir nam* ^^^^^^ 
 
 iMaiill vratka U ^^!^F' "*■** 
 tcrlrlion t 
 SYSTEM. 
 
 Co 
 
 ^eaae aawd 
 SVSTKM..o« 
 
 htli yean •**• 
 lerward, allcharflea 
 
 H • to WriM 
 ten That Wla". It la 
 di<tincilv otMaeMoad thel 
 not MMra ihaa ■atta- 
 Ifii w<th f h* ho<vk aad the ar«i 
 copy ol the au^J^nc. 1 have 
 niii.piy to eettl> you wlth>a A*e 
 dayfc 4flcr their leccipt aad yen w-|i 
 caacel the tabecripdea aad takad 
 every pean> 0I ny aiaaer. ^1 
 
 Umi to SYSTEM. ISMU Watack A**.. Cliica*i 
 
 Fig. 45. — A typical *' agency ad.," in which the whole story is 
 told, necessitating small type. 
 
 [102] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 type. This, of course, has its drawbacks because of 
 the difference in the lengths of words and the variation 
 m the type — some faces being fat and some lean. 
 One may, however, by taking a table showing the num- 
 
 '^"^^"^•^^- NO. OF WORDS. 
 
 i8-point solid 
 
 14-point solid J J 
 
 i2-point solid 
 
 i2-point leaded j j 
 
 I i-point solid 
 
 I i-point leaded j 
 
 lo-point solid 
 
 lo-point leaded j^ 
 
 9-point solid ,o 
 
 20 
 
 9-point leaded ^, 
 
 _ , ^1 
 
 8-point solid ,_ 
 
 _ , j^ 
 
 «-point leaded __ 
 
 7-point solid ,o 
 
 jO 
 
 7-point leaded -^ 
 
 6-point solid ^ 
 
 4/ 
 
 6-point leaded , . 
 
 34 
 
 5-point solid ^ 
 
 5-point leaded -_ 
 
 I'iG. 46.— Table showing approximately the number of words 
 in a square inch of various sizes of type. 
 
 a 
 
 ber of words in a square inch of type of standard 
 measure, and then allowing for whether his own type 
 is condensed or extended, judge fairly accurately as to 
 how it will come out. Or, better still, one may ascer- 
 tain with but little trouble the average number of words 
 in a square inch of the various type-faces and sizes in 
 
 U03] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 This Book FREE 
 
 128 Pages of Vital Pointers on 
 How to Write LettersThat Win 
 —Sell Goods— Collect Accounts 
 
 "How to Write Letters That Win" is simply 
 128 pages torn from the e very-day experience 
 of practical men who have sold millions of dol- 
 lars' ttorlh of good?, collcilcd hopelessly over-due 
 aonunlsand pacified sore, belligerent cuMomers by 
 the veiy methods they so clearly outline here for you. 
 
 Fir« of all Ihr book rrproducM l«tm Ihal »rc Uu\tj ud drmHy ' , 
 an.) Ji^-cilicilly lx>ml» oul .hrrc Iht Uulli .«. IJ«B M reprodiKfJ , 
 ih>-* «mf l«im rr»rilirn » ihryihould b», uri opUus (uUy tht 
 , ca»oii lor every chuf e lh«t hai btro rnvu. 
 
 And Ihe book loei ««o hrthtr Uun IhU for it b«rM ill tSt lillle mtk. ^ 
 and twists ihsl wure you tndiiM the polm ot contsct wiHi yoor corrn- 
 pondnii— all the ck»«5y iu.rd«l ltcr«« and iMlhods of P""_'»«,'»;»J 
 your iclim the pcTSOoallly and Ihe "you' rtrmal that bu c»Ui*l you 
 10 rrjard the succtiiful leiierwiitei u a bora icmuv 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Otepur 
 1. Th« P«rt th« 1a»tt*r Play* 
 
 In BuitDrM. Why lh<f Mtrr It Ih« 
 
 modem bMi*--^. What ihc bwa.H*«t m»B 
 can «to ihfwufli cwr»%eof»d«ic«. Th« ••• 
 *ei [>m-ni ol )h« tutinnt Iviter Thii>SK * 
 lr»t-f viof »th»i ip«f» 'r>alfron>..»Bl4'i''««»l>- 
 n^j i.. P %tt»»li.« l"f tu»k.iif * ktt»f t»lk- 
 
 II. WhM th# I^ttfT Mutt Do-lto 
 |-:i«ni»nl« and fonlrnU. >.h«w«t*t»t 
 111- Uiitne*! l*\\ti i%ui'c<^^i »«>»ii»'»> Th« 
 »it Plewfit* el « r-*! •*'»' l«*ti»r. TM vwt 
 •.Kh ♦kment i>l»Y« l»*pte«iu<iioii o* i pur- 
 l*cilv ^ll«TK«d MlM Irttrt. Sp^ilAi '■»«• 
 ^W sho Inif « pout uie* tanu ftwl tb« Max 
 iMirf IF wTitI«n. 
 
 III. Th« Mak^rp of tiM BttilnMa 
 
 l^ftrr. Tl'« lmp.ft*B« ol J'^mf • lencf 
 propcimtctwakalit^^keup. Th« tiii»rrtMO« 
 ilut ft li^tT Biak*^ Siw n| pBpn uid »■- 
 «'lop< • thkt •hoiit'1 bt ti«c<l. How 1« p«i)p- 
 crfy HMt« "nd •Uow BMrsiM on • *-"— 
 
 •AioB Irom lh* u^r.'l •TKHdpoial. Ho* to 
 ui€ si:rgr\ii.>ii in rtfkvrfkHi. KipUtnmf 
 y.ut i^cta !■ thff rrtoiio* to th« cuV 
 loRwr. Th« Unpy :t*in* e4 brlB« *««». 
 
 VII. Hnw to rr*«t« l>r«lr». Ajr; 
 Vumvut fiD«l Pro<»f 1b« *»«?•■« 
 
 (tavA -I r'ovlaf I [in [»i.mio« In ■ lottt*. 
 C»«»riDt ""■'«"»• P"*''*!*' S»"'"'"t»|« 
 pt(4(t«Hi how b* »ill f*»«. Telltof »l»« 
 rtkdrt how lo \tU irotr piortuct. How to 
 VM .»l*TencM tn « t«'t«. Th* iBiportanct 
 oltlw.«'ritr. ll#p.o<tuct*o«olw»c<>*»li»«; 
 Mr »ha»t(k« good uM ol wtuaMnt ud 
 
 ^n.' P»r— rtaw TktdifefMi.ebt- 
 
 ^wpck MfjinMl omI pOf««o<to« P*rvu*v 
 iBt thro-.Mfc W«|M*i«*- HKlt«t !>«*"•• 
 •ion iu «Ti« •(«»»«<• •! tb# *•'!•' T»»« 
 Ri.Ai4kc «l awBinliiv M lti|i*r«l •«itud». 
 Sugaei-tint t»Mi Mt.".!*!!!©* ih»t po«»eM*».« 
 ol vaur coodi win Wmg, Prrwadiat by 
 appos'lag to Wl-iatpw*. Ai:tu«l i»pro_ 
 du.:t!oB c4 ■ (wtat tffi»'» » »a inqxitr »na 
 tlM awke !««« rt wrltua tbowtag •• ap- 
 
 IV. How to Otart a I-atUT-At- pcalto »moaal iatc*c*t. 
 
 t«l»t|nn. Hww to frt away bom Ito lor- 
 
 mal ■ pr»«nt- How lo fo nraiglrt M youf 
 
 »ubi*rt ta tb« ftnt tiac. Whta M aM th* 
 
 * MiiBTty- ftnt lUraarvfc- Wi«a*ai»t. 
 
 i»«t.oa with tlw word "y«l". Rwfe*K- 
 
 lion el a good MtM that vtaa attcaTiaa. 
 
 V. How to ArouM Intarrat. 
 
 Th« h'lmaa inteiMi «><BMt tn l«t«f 
 
 writnf. Apf>e«l>nfl to th« raader*! p*?- 
 
 tOMl iai«f»«t aad »> lopatky. How (» 
 
 .■,r* ceafWlaac* AfoWMg tach* 
 
 IX. Indnconent 
 
 prcl a Kisoa lof atk 
 OapofMatfy lor gaia. 
 aTaa ••« w itia omh 
 
 the tanw Wnm rr-wilttaa ttMvWf wga- , 
 mrnta tua)ai«>md aad aa argvat claar. 
 RrpKMa ritenol • foo«* Uttet ahovlag how L 
 a fVA^pKi awv h« ted Ikm *« OMaiagl ^ 
 •Miofaaar wkk wbtBll ha agiOM w »• b« 
 lag »«lai at tkt ctaat «t a IMW*. 
 XI. NMWValM. Hao ta tlyt a !••" I 
 aowa vakM. GtvMC a gHbUo wok^ ■ u>m ap- ^ 
 al.caiiao. fal ag Mda a««t lata Ittir- 
 W.naiaff Mda to ■■miiHg tba ptosaact • 
 tnaM ta mar wan. 
 
 XU. rMnOBAlHr. A loag ckapwr 
 prtMn«l><> — on gciii"C oa cotamea gr« 
 w.ih »o«» feartef. Talktna to <ha p»i*pai 
 hu ow« .ofte. Su.tiug ri-ar Wttvt M tfct cUm ^ 
 yow writ* lo. ] 
 
 XU. Tlfco "Yon" Eli^Monf. Acoaneirta ■! 
 
 ■«d vtully Importaal rhapter an Ulking <• a ^- 
 pr.<apc(l about bliBMil and tift >i«ad<. V«« 
 oltttrworri "you"'. Mia ■ t a g ifca »wi»tt 
 lltal y<*u IMO ko lnt«(V« la MB •taiN> >•* 
 pioducUoa ol two trtim. 
 
 XIV. Collacllogi Cu i l li»»«ii W>» . 
 
 Coilactiag caaMMffdal accaaaM fev Ivtw. 
 
 iMtncoment. C»la» ifct^r»t. Coi»»ctteg laggww ya^to Wt.*^. 
 
 ■) al loMrtn. "Hllttag tte nadar prwct to ordrr 
 where htli"**." BMaMhIag *• Mga. 
 
 , Ua>Mag Uta ptriad 
 
 auaaUty <l gaada ati iafci 
 awa. loyBrrapct •! Makiaf la*irtB«l 
 genaiaa. HakUg tha ladMcti<a« aMy ta 
 
 lahc bo:d ol PlrptadacctM at aa »<t«uJ 
 k t«r ihoaing good a*! •« la«hK»ro«Bt. 
 
 Bammary antf CHaux. Cea- 
 
 le lof « ' ' ' " " 
 
 How • 
 
 lac a dob 
 
 ■iaiiaiai < 
 
 CUMiiytag *a-. 
 ikteea. Whea legal bfocadufa 
 
 _ ^ Giving a laah up twrtiK e«« faii 
 
 KcprodBCttoa ol a good coilacitoa Ivnar. 
 
 XV. Hew to Aoiwor Coat-j 
 
 Vt. How to Hokl !■>■>■■ * 
 
 l-lmlanatlon. How to givt IM 
 lea^rr a mental pictma ol foar 
 ptodu't. Looklagai roHrpr«pa> 
 
 maka 11 easy lof 
 
 Ctvlag the prevypeci 
 
 iMBMhlaff to Mga. Makiag It cltae •h»i 
 
 tta piwpicl H M da. aad «*hal ht wlU ta- 
 
 pUlDta. 
 
 How you can secure a copy FREE 
 
 Cen<a« tba r>ght tttttode I- 
 Rdl Rg coatpUlnli. Taktag coiapUial< 
 •eriouahr. Iiapotaaca el amwtrlag 
 coaaplalats proMptlv. Taking tlM 
 CMWO(i.er'» »*ewprt4n«. Coace«li. 
 tha h)»t>ca el complataU. R« 
 peadocttea 9i "a actual co»* 
 ptoMHlotmwi*^ ayoorrvpip J 
 •e II aad a good icply lo K. 
 
 The w.y 10 g*« • ropy ot tiii book. "Haw lo Wf«. teWM Tfwt w *»." •^^^^ »!* 
 i.fiHif'i SV5TEM. which M.i»d» cf'-«tBeat iKt MontiiS Ma^.r »• o* ■«».'.n.k. 
 >» to IW oace« m evrrv ii^e e( SYSTkM. aad »aa cannM aforl to i«.« 
 ain^tf i«ge ol H F^sVSThM •tll»h..w yfm how le acco»pi.*a oiote-ho- 
 to make moro In your ptew^nt rt.Uy work. 
 
 S an Introdutrtiey oiler «e ba»e rlec dcd V> gl^a awiy l^r «rM apwrUl 
 •dit.on ol tbi* apIeaflH t«»k. la P»Z**. •'«o SiTH inches. 
 pr^ot-^ oa -imooth ftaUh N>ok paper, brand In hanifcaa ' 
 vettum with corei In loar tolart. ahoolotrly fcee. •t-h^ 
 arw or rra«-a1 tubactiptioa to M STEM. S.ia«»lr 
 wnd if wMft tW coapoa <of |2.^ »' «»• wga- 
 jine t» tobt af^t to C»aa<1t»a nWr***). 
 Tb(? bfJoK Will go forward ttomad^Aiely 
 --a*>ti(*)ir pacUfd-all tr»a-.p<»« 
 loa eS*fge« prei»il>i. aaj 
 «• wiU ciiiar your nam« 
 Isf alill ye«>'» 
 • crlrtitxi ' 
 SYSTEM 
 
 SY5Tl.M.-ae 
 
 hll rnii ••» 
 
 ..jward. ailtharga* 
 
 fwepafi. aa« to^ «* 
 
 H • lo Wftia ! *» 
 
 ten That Win". It ^ 
 
 dMint^llv undantoad that 
 
 M I am net aM>« thaa tif**^ 
 
 rd wrth tk« be/»k aad tta Aef 
 
 c«tor *>* *l^* aMgaslae. I have 
 
 •..ply »o aaUfy yoa wllb*a ^-e 
 
 dayt altar their leccipl aad »•"•'' 
 
 eince' the MbatJ^fioa and •••"•^ 
 
 rery p»an> «1 "T aioaty. »> 
 
 type. This, of course, has its drawbacks because of 
 the difference in the lengths of words and the variation 
 in the type — some faces being fat and some lean. 
 One may, however, by taking a table showing the num- 
 
 SIZE OF TYPE. 
 
 NO. OF WORDS 
 
 i8-point 
 
 solid 
 
 7 
 
 14-point 
 
 solid 
 
 ■••• • / 
 
 II 
 
 i2-point 
 
 solid 
 
 14 
 
 i2-point 
 
 leaded 
 
 *t 
 
 II 
 
 1 1 -point 
 
 solid 
 
 17 
 
 1 1 -point 
 
 leaded 
 
 14 
 
 lo-point 
 
 solid 
 
 21 
 
 lo-point 
 
 leaded 
 
 16 
 
 9-point 
 
 solid 
 
 28 
 
 9-point 
 
 leaded 
 
 21 
 
 8-point 
 
 solid 
 
 32 
 
 8-point 
 
 leaded 
 
 23 
 
 7-point 
 
 solid 
 
 38 
 
 7-point 
 
 leaded 
 
 27 
 
 6-point 
 
 solid 
 
 47 
 
 6-point leaded 
 
 34 
 
 5-point 
 
 solid 
 
 69 
 
 5-point 
 
 leaded 
 
 50 
 
 Fig. 46.- 
 
 S..>d t* SYSTEM. J»MM W.W.k A~.. CIdua* 
 
 Fig. 45- — • 
 
 \ typical ** agency ad.," in which the whole story is 
 told, necessitating small type. 
 
 [102I 
 
 Table showing 
 in a square inc 
 
 approximately the number of words 
 h of various sizes of type. 
 
 ber of words in a square inch of type of standard 
 measure, and then allowing for whether his own type 
 is condensed or extended, judge fairly accurately as to 
 how it will come out. Or, better still, one may ascer- 
 tain with but little trouble the average number of words 
 in a square inch of the various type-faces and sizes in 
 
 [1031 
 
•^""g" 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 i 
 I' 
 
 Just a 
 Few Uses 
 forKeepdry 
 
 Surely, somewhere between 
 
 InIU and ten-ton turbines, your 
 
 product will be found. 
 
 l.-U..-..--. 
 
 :*ft. 
 
 For CAM buac, Ke«pdry 
 is klc»l. It is c\rn replai ing 
 zinc in many factorirs — it 
 gives e<]ual protrclion at a mere 
 fraction of tlic cost for frei;'lit- 
 uriKlit and alTords an innnite 
 saving in packing expense. 
 For wrappinf ozport •kipmoat*. 
 Kec^xlry is the most dejienilalile and 
 l<v far the most economical rovcring 
 made. It guards perfecily against the 
 fiercest weather and roughest handling 
 encountered on the many mediums ol 
 foreign transportation. 
 For covoriat flot-car alupmoBU, Keepdry 
 is belter than tarpaulin and because of its 
 small cost, saves the bother and loss of re- 
 turn shipments. 
 
 For wrappnc "^ "^ awkwardly aliapad 
 good* — ami pans you cannot put in standard 
 packages— Krepdry can be cut into strips and 
 wound ill any way without tearing, breaking or 
 lessening its protective qualities. 
 For wrappiM " eoToruif macktaary, tool.s, imple- 
 nionis, all mejal goods which rust when damp; dry 
 g(K)i|s and textiles; leather clothiiig; millinery, feathers, 
 ami (ur»;cheniicals,drugsanddclinues>ent materials; Uwks 
 anil stationer)-; cigars and lobao o; furniture; for every 
 jiioiluct, for every u c. Keepdry gives absolute protection. 
 
 KEEPDRY on Your Product 
 
 » lU nw-.m l»tur wrjpl""* l'"'li«'«"'''^*» >**" **-'^*'^'^<^ 
 vnl .wl Mor. — |>.iika|Er»alHH>luicly »alcrj-rw<(ji*J 
 (Itri iiinof. And it in«.itis rtufiotnv (*>r il iiv-arcs 
 !w(t 'Will rfK-»..!«l ihr end Ul>.s; and 'Umigvt l.»im». 
 
 SotkI for ThM« FRfX S*mpl«s 
 
 It I-. »as> to karn jusl how K("fiidry Mill >.ti.r >i»l. 
 >tni]'l> «iitr l4Hluy on >our IcItcrtH-Ml. \\r «ill ^ 
 Miu] IiImi^ iiiini4rtt c4 ail gt^Ar-i. ol krrtotiy and 
 ex. it tnlormjlmo lo show you llw v^lur ol kcri«lry 
 u> >•«! Ill >^Mir >tiiH«ng. Oruinly you «ill M Irasl 
 in\c>iijiHc— gri iHr wim[4«» Wnic lUe ktiw now. 
 
 ANGIER MILLS, 
 ISCAnciarRomd. Quincy.Maaa. 
 
 No more conclusive evi<lence of Keepdry's wrsatility 
 could possihlv 1« offered than Ihestf tv»-o remarkable 
 photoRraphs. The J. C. Aver Company wraps boxes • 
 of liny pills in Keeudry and sends them up the 
 Yukon and down tfle Nile, and they reach their 
 buyers perfectly protected an.' preserved. 
 The General Electric Company acts a giaitt 
 crated turbine engine on a flat car, covers it 
 with Keepdry and sends it across the conti- 
 nent. And though it run through floods 
 and under driving rains, it reaches its des- 
 tination with every part as bright and 
 clean and free from rust a» when it left 
 the factory. Foe 
 
 KEEPDRY 
 
 Wreppinc ud Cate Lining 
 
 b to sirong and touch ih^l il U abto- • 
 Uitrly unjflrttcd by Wiicr, dttsl. dirt 
 or any othrr outside i nH ii rn c r . Vet 
 it u K> i>lUUc tluf you am wrap 
 iny )irodu>.i ci amy iisc or ihspc 
 to il a eatity as yoK couU wrap 
 It in |Mprr — :iad il costs but lit- 
 tle mnrr. You ran fold. i«i»t 
 or wind il — sod il will not 
 trar. bfrA. trstk. or ncik 
 Il u in.idc of Moul (tu|irr 
 iin[vr\iuusly waicrproolH. 
 Il is matff mainprvtd 
 jin<lil ilayt'mAtriproat. 
 ho«ir\rr. «bcrc«cr yuu 
 we it 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 his oflfice. In this connection the table shown in Fig. 
 46, which shows approximately how many words are 
 contained in a square inch when set in body type of 
 
 AREAS OF CIRCLES IN SQUARE INCHES. 
 
 DUMETBR 
 
 IN Eighth 
 
 Diameter in Even Inches. 
 
 Inches. 
 
 1 
 
 2 
 
 3 
 
 i 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 
 
 s 
 
 H 
 H 
 H 
 
 .7854 
 .9940 
 1.227 
 1.484 
 1.767 
 2.073 
 2.405 
 2.761 
 
 3.1416 
 
 3.546 
 
 3.976 
 
 4.430 
 
 4.908 
 
 5.441 
 
 5.939 
 
 6.491 
 
 7.068 
 7.669 
 8.295 
 8.946 
 9.621 
 10.32 
 11.04 
 11.79 
 
 12.56 
 13.36 
 14.18 
 15.03 
 15.90 
 16.80 
 17.72 
 18.66 
 
 19.63 
 20.62 
 21.64 
 22.69 
 23.75 
 24.85 
 25.96 
 27.10 
 
 28.27 
 29.46 
 30.67 
 31.91 
 33.18 
 34.47 
 35.78 
 37.12 
 
 38.48 
 39.87 
 41.28 
 42.71 
 44.17 
 45.66 
 47.17 
 48.70 
 
 50.26 
 51.84 
 53.45 
 55.08 
 56.74 
 58.42 
 60.13 
 61.86 
 
 63.61 
 65.39 
 67.20 
 69.02 
 70.88 
 72.75 
 74.66 
 76.58 
 
 78.54 
 80.51 
 82.51 
 84.54 
 86.59 
 88.66 
 90.76 
 92 88 
 
 AREAS OF CIRCLES IN SQUARE PICAS. 
 
 DlAUETIR 
 
 IN Eighth 
 
 Diameter in Even Inches. 
 
 Inches. 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 
 H 
 
 H 
 
 H 
 H 
 H 
 
 28 
 36 
 44 
 53 
 64 
 75 
 87 
 99 
 
 113 
 128 
 143 
 160 
 177 
 196 
 214 
 237 
 
 255 
 276 
 299 
 324 
 346 
 .372 
 397 
 407 
 
 452 
 481 
 511 
 541 
 572 
 605 
 638 
 672 
 
 750 
 743 
 779 
 816 
 855 
 895 
 935 
 976 
 
 1,020 
 1,060 
 1,104 
 1,149 
 1,194 
 1,240 
 1,288 
 1,336 
 
 1,385 
 1,435 
 1,485 
 1,537 
 1,580 
 1,634 
 1,698 
 1,754 
 
 1,818 
 1.867 
 1,925 
 1,985 
 2,042 
 2,105 
 2,170 
 2,228 
 
 2,290 
 2.368 
 2.420 
 2,485 
 2,552 
 2,620 
 2,690 
 2.758 
 
 2.830 
 2,900 
 2,970 
 3,044 
 3.118 
 3,195 
 3,268 
 3.345 
 
 Fjg. 47. — Where the groups of type are irregular in shape it is 
 much more difficult to " cast up " the advertisement. 
 
 [104] 
 
 Fig. 48. — Tables showing the number of square inches and the number 
 of square picas in circles of given sizes. 
 
 standard measure, in sizes from five-point to eighteen- 
 point, and both solid and leaded, will be of interest. 
 
 With a table of this kind at hand, and keeping in 
 mind that in a square inch of type there are 36 square 
 
 [105] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ■!iiSS!h5mS 
 
 tsa 
 
 ni 
 IIIMM 
 
 siiila 
 
 IHMMI 
 
 Just a 
 Few Vtes 
 forKeepdry^ 
 
 NnHli 
 mil 
 
 iHii 
 
 Extremes 
 
 of 
 
 Service 
 
 Surely, somewhere between 
 pills and ten-ton turbines, your 
 product will be found. 
 
 No more conc1u>i%e rvklcnce o( Keepdr)'* wrsatilily 
 coukl pos»il)lv 1« olIrreH ihan lh»s<f two rfm»rl,»l)le 
 nholoRraplis. The J. C. Ayrr Company «r»pi boxes 
 i linv pills in Ketijlrv ani sends them up the 
 Yukon an<l clown lie Nile, and they reach their 
 liuyers perfeiily protected ano preserved. 
 The General F.lectric Company lets a giant 
 craleil turbine engine on a flat car, covers it 
 with Kcepdry and sends it across the conti- 
 nent. And though it run through flooils 
 and under driving rains, it reaches its des- 
 tination viiih every part as br^ht and 
 clean and free from rust as when it left 
 the factory. For 
 
 KEEPDRY 
 
 Wrappinc and Cile Lining 
 
 is «o ttrunf and loufh Ihjtt it is abii>- 
 
 lulrly uiuflcil«j by waler, dust. An 
 
 ur .inv olhrr tnitside inllueocf . Vrt 
 
 il i> >o iJiiUt itui )'W i-m ""■'1' 
 
 any |>ru^u^t oi j»y ixtx or shap« 
 
 io II a^ easily at you couU wrap 
 
 it in (kiper — and it C4»ta twit lii 
 
 lie mole. You ran futd, t*i>l 
 
 or wioH il — and il wtU nol 
 
 tear, break, cratk or jtr.ilr 
 
 It is made ol slout Ht"-r 
 
 inivrvtously walerprofjrtt 
 
 it i* m^tite walerprctt 
 
 anilil ir«Tf waterproof. 
 
 lM)«e«er. »bcfe«er you 
 
 wcit 
 
 For caaa Kmnc. Keepdry 
 
 i-. irlral. It is even replai iiig 
 
 /inc in many factories — it 
 
 gives e<|ual protection at a mere 
 
 fraction of the cost for frei;.'ht 
 
 weight and affords an infmite 
 
 saving in packing expense. 
 
 For wrapping export a hi p m a a ta. 
 
 Kcr;Klry is the mojt dependable and 
 
 Ijv far the most economical covering 
 
 niade. Il guards perfectly against the 
 
 firr. est weather and roughest handling 
 
 encounlereil on the many mediums of 
 
 foreign transportation. 
 
 For coToriag flat-car aUpniMita, Keepdry 
 
 is belter than tarpaulin and because of its 
 
 small cost, saves the bother and loss of re 
 
 turn shipments. 
 
 For wrapping odd and awkwardlr ahapod 
 
 geoda—and pans you cannot put in standard 
 
 pai kages — Keepdry can frf cut into strips and 
 
 wouiul ill any way without tearing, breaking or 
 
 les-ening its protective cjualities. 
 
 For wrapping or covering ina tlii n T y, tools, imple- 
 
 niciii.s, all mcjal goods which rust when damp; dry 
 
 gno Is and textiles; leather clothing, millinery, feathers, 
 
 aii'l Iuts;chemital.s,drugsanddeli<iues(entniaierial3,liooks 
 
 and siJtiorier)-; cigars and lobac o; furniture; for every 
 
 piixluii, for every u c. Kceixlry gi\es ab^u;utc protection. 
 
 KEEPDRY on Your Product 
 
 « ill itn-.m IjTlUr mrjcpc^l patkaBf* than yw h.i\fnfT 
 h HI iwl Muri — |wtkjKC3*.i|j.s.rfuUly »alrri'ru«<(.i«J 
 tjiii \>%f»t4. .\ii(l It ni«.iiis rimioinv (nr il in>urrs 
 3..il( .Miictiis ..fid (Ik end (Jl.f^^ ..ikI .Um.igv lUimi. 
 S«nd for Th««« FREE SamplM 
 
 II IN i j>j Ui liarn juM how KtTi»iry will mTm- >»>u. 
 Sii>i|'h wttte Uxluy on >our Irttcrluriul. Wr »iU ^ 
 M-fitl lilitral "MmitU-ft of all grades ol krri"liv and 
 f K. 1 1 inUKtnjtinn to ahow you ihc vjuc of K«i>dry 
 
 III MMj 1)1 your <Jii[>|«i)g. Lntainly you «ill al Sc^iA 
 in\c»tittuU — ji<*l Ihc ^mp)«. Wrilr tbc Ittlcr now. 
 
 ANGIER MltXS, 
 I eo Angior RomI. Quincr. Mm*. 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 his office. In this connection the table shown in Fig. 
 46, which shows approximately how many words are 
 contained in a square inch when set in body type of 
 
 AREAS OF CIRCLES IN SQUARE INCHES. 
 
 Diameter 
 IN Eighth 
 
 Diameter in Even Inches. 
 
 Inches. 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 
 
 H 
 
 .7854 
 .9940 
 1.227 
 1.484 
 1.767 
 2.073 
 2.405 
 2.761 
 
 3.1416 
 
 3.546 
 
 3.976 
 
 4.430 
 
 4.908 
 
 5.441 
 
 5.939 
 
 6.491 
 
 7.068 
 7.669 
 8.295 
 8.946 
 9.621 
 10.32 
 11.04 
 11.79 
 
 12.56 
 13.36 
 14.18 
 15.03 
 15.90 
 16.80 
 17.72 
 18.66 
 
 19.63 
 20.62 
 21.64 
 22.69 
 23.75 
 24.85 
 25.96 
 27.10 
 
 28.27 
 29.46 
 30.67 
 31.91 
 33.18 
 34.47 
 35.78 
 37.12 
 
 38.48 
 39.87 
 41.28 
 42.71 
 44.17 
 45.66 
 47.17 
 48.70 
 
 50.26 
 51.84 
 53.45 
 55.08 
 56.74 
 58.42 
 60.13 
 61.86 
 
 63.61 
 65.39 
 67.20 
 69.02 
 70.88 
 72.75 
 74.66 
 76.58 
 
 78.54 
 80.51 
 82.51 
 84.54 
 86.59 
 88.66 
 90.76 
 92 88 
 
 AREAS OF CIRCLES IN SQUARE PICAS. 
 
 Diameter 
 in Eiohth 
 
 Diameter in Even Inches. 
 
 Inches. 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 
 
 H 
 
 28 
 36 
 44 
 53 
 64 
 75 
 87 
 99 
 
 113 
 128 
 143 
 160 
 177 
 196 
 214 
 237 
 
 255 
 276 
 299 
 324 
 346 
 372 
 397 
 407 
 
 452 
 481 
 511 
 541 
 
 572 
 605 
 638 
 672 
 
 750 
 743 
 779 
 816 
 855 
 895 
 935 
 976 
 
 1,020 
 1,060 
 1,104 
 1.149 
 1,194 
 1.240 
 1,288 
 1,336 
 
 1,385 
 1,435 
 1,485 
 1,537 
 1,580 
 1,634 
 1,698 
 1,754 
 
 1,818 
 1,867 
 1,925 
 1,985 
 2,042 
 2,105 
 2.170 
 2,228 
 
 2,290 
 2,368 
 2,420 
 2,485 
 2,552 
 2,620 
 2.690 
 2.758 
 
 2,830 
 2,900 
 2.970 
 3.044 
 3,118 
 3,195 
 3,268 
 3.345 
 
 l88Mul88S8ISn8SlffilBiyiUIIU 
 
 Fig. 47.— Where the groups of type are irregular in shape it is 
 much more difficult to " cast up " the advertisement. 
 
 [104] 
 
 Fig. 48. — Tables showing the number of square inches and the number 
 of square picas in circles of given sizes. 
 
 standard measure, in sizes from five-point to eighteen- 
 point, and both solid and leaded, will be of interest. 
 
 With a table of this kind at hand, and keeping in 
 mind that in a square inch of type there are 36 square 
 
 [losl 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 picas, the printer should have little trouble in casting 
 up his advertisement. Ha certain space is 9 picas 
 wide and 4 picas deep it will contain 36 square picas, 
 or one square inch. H it is 18 picas wide and 4 picas 
 
 Make 
 
 Your 
 
 Letterhead 
 
 Work 
 
 For 
 
 You 
 
 Your outgfting 
 mail represents the circula- 
 tion of an advertising medium that'' 
 costs you nothing— we can show you how 
 to take advantage of this advertising potential ' 
 ' —easily and surely. 
 
 When mding your morning mail, which iettrrhead catches 
 your eye, rivets your tttentiua and creates a favorable impres- 
 sioo ? A letterhead which does these things is advenisiog— le- 
 gaidksa of what the letter is or to whom it goet. 
 
 MICHIGAN 
 LITHOGRAPHED 
 STATIONERY 
 
 A MkUgan Lithographed Letterhead has srlling value — b not i 
 only commands attention but has embodied in it ■ touch ol in- 
 dvMuUtjp— wcfcsM llw lapocluu d your propoiiiioa ud iht pcrKif oi 
 jnt tm. TtM c«t is but 1/ 16 o< * ccM UflKr ikaa thr ordlury printed 
 Itttcibad. Wc ksTC ummxl iKUidcs for produdnf lugh fnuK l>ib< 
 grspliiac work, is fttty qiuotity, si ibort sotkc. 
 
 Write m M^v IM MU tetnwlac Ml «l l am pIMb TUs li • vahuble t B i ll iS» 
 Md will ba Mat y«a bM* II r«*i *tU vrM M •■ r*M tm» lalMtSi ' 
 Wril*lad«r M 
 
 MCMCAN UTHOCRAnflNC COMPANY 
 
 Cnmi HnUi. Mkliiau. 
 t» t <t*\ ;i««l«»— Fm h» mihi iiM «< i>i»> t»»ii« <»»■ 
 
 ^ Wts dftuton, Mc , w« kaW a i i i lw srlMiag dt* 
 piMs la avaav dauil. JaM a 
 
 Fig. 49. — An advertisement set in the circular form. 
 
 deep it will contain y2 square picas, or two square 
 inches. One must, however, make a little allowance 
 where the measure is very narrow, as a larger percent- 
 age of space is taken up by justification in the narrow 
 measures. 
 
 But the spaces to be filled are not always rectangu- 
 lar in shape. One not infrequently encounters such 
 an advertisement as is shown in Fig. 47, the shapes of 
 the groups in which will almost baffle the closest figur- 
 
 [106] 
 
 'Y 
 
 THE TYPOG RAPHY OF ADVERTISEMENTS 
 
 ing. In cases of this kind one can arrive at only an 
 approximate estimate of the square inches of space 
 to be occupied by the type. It is well, however, to 
 remember that in these unusual spaces which have 
 sharp angles a little allowance must be made, because a 
 triangle, while containing half of the space of a rec- 
 tangle of the same height and width, will not hold quite 
 half as much type. 
 
 In computing the area of a circle in square inches, 
 one may follow the rule that the diameter of the circle 
 multiplied by itself and this product by .7854 will give 
 the area. If the diameter is in inches the area will be 
 in square inches, and the multiplying of the number of 
 square inches in the circle by 36 (the number of picas 
 in a square inch) will give the result in picas. In 
 order to facilitate this circular work, two tables are 
 shown in Fig. 48, one showing the areas of given cir- 
 cles in square inches and the other showing the areas 
 of circles of the same sizes in square picas. In the 
 latter table the fractions have been omitted. Fig. 49 
 shows an advertisement set in this circular form. 
 
 The advertisement shown in Fig. 50 presents, at 
 first glance, a most intricate problem in justification; 
 but when one remembers that in these agency ads. the 
 illustrations are patched into the plate by the electro- 
 typer, the problem is not such a difficult one. This 
 patching in of the illustrations not only allows the 
 printer to set his type much nearer the illustration 
 than he could if the cut itself were used in the type- 
 form, but it enables him, by quadding out the space 
 
 [107] 
 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 picas, the printer should have Httle trouble in casting 
 up his advertisement. If a certain space is 9 picas 
 wide and 4 picas deep it will contain 36 square picas, 
 or one square inch. If it is 18 picas wide and 4 picas 
 
 Make 
 
 Your 
 
 Letterhead 
 
 Work 
 
 For 
 
 YoQ 
 
 Your outgoing 
 mail represents the circula- 
 tion of an advertising medium that^ 
 costs you nothing— we can show you how " 
 to take advantage of this advertising potential 
 ' —easily and surely. 
 
 When reading your morning mail, which ktierhead catches 
 your ejre, rivets your attention and creates a favorable impres- 
 sion ? A letterhead which does these tbin^ is advertising— re- 
 ganOesa of what the letter is or to whom il goes. 
 
 MICHIGAN 
 LITHOGRAPHED 
 STATIONERY 
 
 A Mkh(gan Lithographed Letterhead has selling value — h not ; 
 only commands attention but has embodied in it a touch of in. 
 
 AvMualiljr— «lgcctls the inportaiicc erf your propcsittoo and lh« prrnlifr a4 
 your linn. TIm coat ia iHit i/ t6 ol a cent highrr than th^ ordinarv priatfd 
 Icttcrbcmd. Wc ha«« ummiol lacUilMS Coc produunf hich griuk lilbc 
 fraphinf vock, is aay quauity, al iboit aouce. 
 Wrila at wday IM 9>a lliiaa l la s aal al liaialw Tlila la a nlnabW a nH iMa 
 and wfU ta taat yaa Um, II yaa wiH «rlla wa an raar awa I m ai a aai l . t 
 Wfita today fa 
 
 MKMCAN UTHOCRAPHINC COMPANY 
 
 Craa4 RapiJa, MkIussk 
 
 taartsl !IMic*-FM dw pntfanlaa at kl(k tnMtUf 
 
 ^ lot^ ckculafi, ffic . va Iwva a wa j wa sriallat ^• 
 
 fert»#ai. t aiw t il i la la <■ ■ ■ ! dautL Jaat a 
 
 wwd will briaf yea lull aaMcutea a ' 
 
 Fig. 49. — An advertisement set in the circular form. 
 
 deep it will contain 72 square picas, or two square 
 inches. One must, however, make a little allowance 
 where the measure is very narrow, as a larger percent- 
 age of space is taken up by justification in the narrow 
 measures. 
 
 But the spaces to be filled are not always rectangu- 
 lar in shape. One not infrequently encounters such 
 an advertisement as is shown in Fig. 47, the shapes of 
 the groups in which will almost baffle the closest figur- 
 
 [106] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 7/ 
 
 ing. In cases of this kind one can arrive at only an 
 approximate estimate of the square inches of space 
 to be occupied by the type. It is well, however, to 
 remember that in these unusual spaces which have 
 sharp angles a little allowance must be made, because a 
 triangle, while containing half of the space of a rec- 
 tangle of the same height and width, will not hold quite 
 half as much type. 
 
 In computing the area of a circle in square inches, 
 one may follow the rule that the diameter of the circle 
 multiplied by itself and this product by .7854 will give 
 the area. If the diameter is in inches the area will be 
 in square inches, and the multiplying of the number of 
 square inches in the circle by 36 (the number of picas 
 in a square inch) will give the result in picas. In 
 order to facilitate this circular Avork, two tables are 
 shown in Fig. 48, one showing the areas of given cir- 
 cles in square inches and the other showing the areas 
 of circles of the same sizes in square picas. In the 
 latter table the fractions have been omitted. Fig. 49 
 shows an advertisement set in this circular form. 
 
 The advertisement shown in Fig. 50 presents, at 
 first glance, a most intricate problem in justification; 
 but when one remembers that in these agency ads. the 
 illustrations are patched into the plate by the electro- 
 typer, the problem is not such a difficult one. This 
 patching in of the illustrations not only allows the 
 printer to set his type much nearer the illustration 
 than he could if the cut itself were used in the type- 
 form, but it enables him, by quadding out the space 
 
 [107] 
 
 
 
I 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 to be occupied by tbe illustration, to set the advertise- 
 ment much as he would straight matter. 
 
 In order to determine the space to be occupied by 
 
 How to Sell Real Estate at a Profit 
 
 This 128.Pagc Book 
 Packed with Dollar- 
 getting Real^^\.4 
 Estate ldea«/^ 
 Is .^'^- 
 
 \^.s^^^ 
 
 Contains 43 complete plann and campaigns irady for your 
 
 Immediate use, t>e.i;Tibc5 ^ivitlly, ct^arly, spccititatly t\cry 
 
 newest method for selling farm and <iiy propertirs, renting vacant 
 
 u^nt. apar'TTiffit^ adA buftinn* locAiotu. Of particulir inirrest to K\fTy prof^ 
 
 criy oMDcr. Abaolutdy iovaluable to every re*l esui£ mjn — bcsioacr or pioorrr. 
 
 T>i t hoo!; takrt up. nne by onr, th» various phuei of the rral P5t.ite buMnrs^; bif rnul 
 
 praiy^W.'ins, v-iunng trn-intt (or rciJdrn<rv, Uric and tm.ill; idling down lowa real es- 
 
 idtf. di«rMMJn)[ c4 Miburban lots; exritoiiiog: new addtltons; tclliim acreage, far.^s and 
 
 ranthcs; m^klrtK roirrciton^; krrriiic records o( real euale truuacticBs; cUjikfytaC 
 
 lumrs i4 ivospcclivc cuatomcrt. 
 
 
 What this book has done (or other real es* 
 tatedealersy it will just as surely do for yott 
 
 ' canplete 
 
 ^leiled caapaifu 
 
 '^atl rtWy It fov to u$t. 
 
 How to li(t pror>di*-"~to N.ikl up 
 k (li«HWlf — to kMtJ lO'is on b< lid- 
 (b|«— to Mil Kdl cft<ii« l>ir 11^11—1 
 h«iid>« **kH>iM'-lr lni^in«tt~4»*aplo4C 
 Cfly lUl-d-viMOr.— to to ' 
 
 live c t«(onirn— 10 pm»Pt a tf'povttio* , 
 
 to a c t<-n( to pl«nt <>rf<in;eMi ih^t t.t>n<l| 
 
 ulM-io kt«p M tfcot'l ot rnl #U4t« Imm— ' 
 
 t* hMp a rriOfcl ol tl')«< jind kbHracn 
 
 triid* .:« »nd mtrcmut* i^r'-p#*ti«— toicu Ltrs' 
 
 ^,.p.nr-i. d.«»a.. .1 .«•.„. *ni» wvto r^ a co^y WifcH b«M*. "H.« to VU 
 
 R'kl Eutleat a PioAt," aUol^ttlr h^. It tlif«ich%Y!»rt- t. wiwchttMMto |M«-m>:' 'dt t!.« »<9>k 
 
 H«r>i")« tt a^sincH. 2Mto 3S« ».it*« U twcry ii«u» uf ^YSTfeM. and yaa cam 1 ilordiomts 
 
 inf t pift. SVSrL'4 w>l] ihow irou tittw Uaccomp.,Oi imrr-howle ii>ab«Maff«iA /our pr«>titt 
 
 d«,ly wwifc. g-Tf ni 1 1 1 naiimi ipiriil laiiitotal nrmr ii ■ i a illt im i i Mnl Th ataaliili u lwiiliiiii 
 
 FPFF - Al'**i' Cverr tingte tt«a<Sv<fnKifn«nf«nyraliMwh^l«v«r that Itoi hitherto 
 r ¥Vl-t» J^K^ 1 brp„ piiWikhed oa tr*l .t .»*■ iimOkkI* Has t*rn >t.;d iur In.n. $t u !■! 
 a ropy t»r more. I'lta^a k|>rci'lintr«'fiM-tory uler, wchAvcdacMladt-. ^ivrAwif iheftnt lopivs 
 olih*SYSTM4 edit«jn<ithia»pl«a-l. tntw real otatydvalir't booh. al«->lutrtv ttvr.wiib « •r«J 
 •r a rtaffwfti «( At old w' ttr^km Srid |^ «iih th« cotfiKHi. Ti « b'ok wiU ;;n torwwd > 
 •rtmily— aU charges ptapaid ; Mid your aaoM triil be p;a,.«d oa SlTSTEMa Mbmjiftiom liu 
 
 M'lW. mar^rfV ot TSe | 
 
 ' L<n>f Compdi-v, llro«'tif 
 
 V, Hon.. wTiM; *'Th« I 
 
 * U IHT « hill oi/si/t— 
 
 or/), Btil ni«ft theories 
 
 ftnd aigumeoift, but 
 
 pUi«. col -t tittimt't 
 
 /un. W« dvd Bot 
 
 ItNli H potubk to 
 
 boa dowm as much 
 
 bnualaodlBao Bn*a 
 
 _ vohiMt.** ItaMff ac 
 
 Slater, ol Spnfcaw, Waah . 
 
 Ali«t "If wo were to tell tuu 
 
 Iho niinihaff ol loit »o) I and tho 
 
 atniiae oi lBon«r *e havv«Ni«l«*ta 
 
 dirrct r««uit «l i«o k1#m set <if«d Irum 
 
 vwir bocik anil iitci>rpO'aM>t in t^«a a<lvrr- 
 
 tiM'inmtt. thit letter wouM Muad hue * ^^v 
 
 tat fl>«dk:ne leMHMMii*!. 
 
 SVSTIM 
 
 ftod U io* 
 
 wYi%e\ pieata 
 
 tMdSVStEM 
 
 o li.ll y«or to tha 
 
 lSI-193 
 W*(M>h Ava.. 
 
 4««^ 
 
 ■a« ^Jd ST.. 
 Nov Vaek 
 
 Subacriottaat td C^aadUa addrauat ait SQ aaatt ■ 
 
 Fig. 50. — In setting advertisements of this character, a " cut-out " 
 or pattern, such as that shown in Fig. 51, is used. 
 
 the illustration, and to place his type in the proper 
 position, the compositor uses a " cut-out " or pattern. 
 
 Taking a proof of the cut or cuts to be used in the 
 advertisement and cutting them out, allowing the 
 amount of margin desired around them, the compositor 
 places them in his stick or on the galley in reverse 
 position to that which they will occupy in the com- 
 pleted advertisement. 
 
 Or, better still, he places the cuts just as they are 
 
 [108] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 to appear in the advertisement, takes a proof of them, 
 traces the outlines on the back of the proof, and secures 
 a pattern such as is shown in Fig. 51. With this pat- 
 
 FiG. 51. — Patterns of this kind are used in setting advertise- 
 ments such as that shown in Fig. 50. 
 
 tern the rest is easy, as he can see just where to com- 
 mence and end each line. 
 
 Where the advertisement ends with a display sig- 
 nature, the compositor has a little leeway in his casting 
 up of the matter, as he can put in or take out a little 
 space without any trouble; but where it ends without 
 display, as does the example shown in Fig. 50, •the 
 utmost care is necessary in order that it may not run 
 over the allotted space. 
 
 [109] 
 
INTENTIONAL SECOND EXPOSURE 
 
 I 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 to be occupied by the illustration, to set the advertise- 
 ment much as he would straight matter. 
 
 In order to determine the space to be occupied by 
 
 How to Sell Real Estate at a Profit 
 
 This 128-Pagc Book 
 Packed with Dollar- 
 getting Reaj/^N^^ 
 Estate \dea.»y^' .<^ 
 
 
 Contains 43 complete plans and campaigns ready for your 
 
 immcdiaie use. Describes \ivi(ily, cl^Arly, specititally e\ery 
 
 newest method for selling farm and < ity prtiperiips, renting vacani 
 
 u-irs. aparrmfiir^ and bu^inna loca'tions. Of partuulir interest lo «%rry \>f<t\*- 
 
 my owner. Absulutely inv^luAble to every rtal esuir nua — tM^Kinaer or paooc«r. 
 
 T'm : li-^ioV ukp^ up, one by one, th* various phxvs of the rr.il rotate buniiKHti; big rrn:*! 
 
 \- ns ^muTing lrn.int4 for rc^iflfni r«; larRc and sm.iii. M-llinc down tows real »- 
 
 •o&iniE o( $uhtirb.tn lots; cxT''<Niin2 nrw additions, Kllinx arrr:<^«, f jr ti« «r.d 
 
 ; m.iking rnirrction^: krrping records cA rc^ caiaie lria;»icticas; clak3i)iaf 
 
 o^n-.i s i.\ [irosfjcctive cu,toincr». 
 
 What this book has dene for other real es* 
 tate dealers, it will just as surely do for yott 
 
 coai^lett 
 ^aS raady far ja« lo as*;.! 
 
 , N. A. M'll*^. iMRAffrr ol Th« | 
 ri'l C(HHp4'<ir. Brawiit ' 
 ^j,yjk*''Vr -^ v.^^^^^ ^'-I''v< Mfbh., wfiw«: *"Th« 
 
 ^^ '^^r-j^^^^y^^^^io*^. U U n luU oi/mai^ 
 
 ^ knd aigumcats, but 
 
 . /f..'*. W» <1kI wX 
 ^UiiiiM H poniM* to 
 
 boa H o w a* iHucii 
 
 bnialaod to w mraM 
 
 a voiumr.** SUttr d( 
 
 SUter, ol Spohxac, Wish . 
 
 aiW : "II «r wcr«|o tfll tiMI 
 
 th* iiiinibrr ot lo^^ ^»l 1 an.J ttie 
 '^ aiKoimf of ini>r.er »p tMV<p nu<t' 4s.i 
 
 '' iHi-fftr^iili ol two \t\n% K> 11*1* liiMn 
 . Jt bock a-^-tinL-..rpOfai«.l in ('•ojid»cr- 
 ^nM lh \ Uttrr w«ul4aound litteAp«t- 
 i .MIC tr>tinoeiAl. 
 
 SYSTIH 
 
 Hdo <0 l>»t prOD^rlM'^—IO bti'Mup 
 
 • ilicntcle— to kevu <o-i» on b itld* 
 
 int«~to Mil trj,\ cttiic ly n .lil-to 
 
 h«Hdlr t«sM>nai>lp t>u^ttte«>— <o CKpIolt 
 
 Cliy tui'-divlkion— 'to lu itiw lip pTA*[)*C' 
 
 Itvv c > sfomrrc— lo prcwnt a |>r'>pu«it<oa 
 
 to a t i^nt -to pUnt Aff '<n;eiil( thil ilin-ti 
 
 MiM-to kt»p « t«cOT<l e( t<r»A rixitt loaa^— 
 
 T« k«ep a ttitttA «ltj'k« anrt at<ttrac*&~ •"renlS 
 
 imrf* c« »nd ir*fcai>i.l«t.r..p#rtiek— toM;i|j 
 
 ,..,p.n,-l. On w •« «J..^. •Yt» -.V » ,« . c-„, rt tkh *<»*. "Ho- .0 Vll 
 
 R'll Fm«» at K Pfc*l." aUol- Tfir Ir*^. I« (hniifh^vsri- -t. wiuch sTudt i/w-cwj -m t!.« uxiv-h 
 
 Ki«|«t''it •< Bit^'iictt, 263 10 .*f6 pijM in evetr .**u« il -•VSTfcM. an J von una t *lfiMdiomi%s 4 
 
 I p* • p«ff. SYsrt'.I »ill »h*/w villi ' uw Id coriiin.st) lairf-huHIo i ttkciBurv m /wif prf.'iit 
 
 d«ii>' »-ik. Bath i»»uccbauiaiKp«ki^iB>i«lciuiorRutiuRuB all l«4tureioltlM Mai v&utebuviiiciA. 
 
 popp AY'"!* E»*n' liPfle UMtAuA voKimcnfsnr value whjtc*«rThitlMf hitherto 
 
 l^i^t*!:* /%V^ I trfn p'.ib4i>lt«J on r<|«I .t ii- mrtjuxls hM l**n siitiUurii^imU ty J5 
 
 a roproff morf. Hut a^ a ap^.t I imro Ijitory iiRer, w*hav«dccMi«dt' rfuPdwar llieftm iopict 
 
 •Itbr SYSTt:M ediiiun ij ihisiplrn-1. I new real eMare dealot's book. a;i«:<tutely tree, with a ne« 
 
 Ma itaawal el a'l oldau a4.rpti.111 Se nl |.' with Iho ro-ipon. T> • t> >ok wiU ;o lurwaetl ini.' 
 
 ■■iilllil t lil t^«aaa yt^aij. aaJ ycui »a— wt.1 be».a.tj »■ SYsTli-M'a ^IMuiptioa Ul 
 
 F»Ioh4 
 (ad f h* 
 whi.'b pleaM 
 md MStEM 
 one I 'I yea? to th« 
 addma trlow 1 abw li*e> 
 ward to tarn, all cbatfaa 
 prtpaiit. ooc cupr ol yof 
 > book. 'How u Siall lUll 
 Etutc at a Pr«4<.'* 
 
 151-lfl 
 Waba.h Aer, 
 
 aaM 
 Bait ^.(1 St . 
 Mew Voek 
 
 SijlMCfic«ioaa to Caaadiaa a d d waai at< M caatt « 
 
 Fig. 50. — In setting advertisements of this character, a " cut-out " 
 or pattern, such as that shown in Fig. 51, is used. 
 
 the illustration, and to place his type in the proper 
 position, the compositor uses a " cut-out " or pattern. 
 
 Taking a proof of the cut or cuts to be used in the 
 advertisement and cutting them out, allowing the 
 amount of margin desired around them, the compositor 
 places them in his stick or on the galley in reverse 
 position to that which they will occupy in the com- 
 pleted advertisement. 
 
 Or, better still, he places the cuts just as they are 
 
 [108] 
 
 THE TYPO GRAPHY OF ADVERTISEMENTS 
 
 to appear in the advertisement, takes a proof of them, 
 traces the outlines on the back of the proof, and secures 
 a pattern such as is shown in Fig. 51. With this pat- 
 
 FiG. 51. — Patterns of this kind are used in setting advertise- 
 ments such as that shown in Fig. 50. 
 
 tern the rest is easy, as he can see just where to com- 
 mence and end each line. 
 
 Where the advertisement ends with a display sig- 
 nature, the compositor has a little leeway in his casting 
 up of the matter, as he can put in or take out a little 
 space without any trouble; but where it ends without 
 display, as does the example shown in Fig. 50/ the 
 utmost care is necessary in order that it may not run 
 over the allotted space. 
 
 [109] 
 

 CHAPTER IX. 
 
 ILLUSTRATIONS IN ADVERTISEMENTS. 
 
 N SO far as illustrations in advertise- 
 ments are concerned, the part that 
 the compositor plays in their use is 
 merely to do the best he can with 
 what comes to iiim. Whether the 
 advertisement shall be illustrated 
 or not, and if so, with what kinds 
 of cuts, are questions decided by 
 the advertisers. When the copy reaches the printer 
 the cuts are already made, and it remains for him to 
 see that they are used in the most effective manner. 
 
 And in connection with the effective use of illus- 
 trations in advertisements are several points worthy 
 of serious consideration, the most important, perhaps, 
 being the question of the preservation of harmony 
 between the illustrations and type. 
 
 Given a cut of certain shape, to be used in an adver- 
 tisement of definite dimensions, the compositor can do 
 little if anything toward a changing of conditions as 
 regards shape harmony. If the cut harmonizes in 
 shape with the space designated for the advertisement, 
 so much the better; if it does not, it is beyond the 
 power of the compositor to remedy it. 
 
 [no] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 There is, however, opportunity for the demonstra- 
 tion of the niceties of shape harmony in the selection 
 of types to accompany certain cuts. Note the harmony 
 of line between the graceful italic letter and the free 
 treatment of the illustrations in the Cuticura Soap 
 advertisement shown in Fig. 54. Imagine, if you can, 
 the two lines which are now in italic being set in lining 
 gothic ! Note also the advertisement shown in Fig. 52. 
 Here we have another pen-and-ink illustration, but of 
 such nature that one would scarcely consider its use 
 in connection with the italic letter — the letter which 
 has been used being much more in keeping. 
 
 Of harmony of tone in the use of illustrations the 
 printer has, however, more control. Unless the instruc- 
 tions which accompany the copy arbitrarily designate 
 the type-face to be used, he can and should see to it 
 that a harmony of tone between type and cut is main- 
 tained. If the cut is light in tone and contains delicate 
 lines he should use with it a light type-face, while a 
 heavy, black cut would suggest a heavy, bold letter. 
 While it is not always possible to secure a perfect har- 
 mony between type and illustration, still a little thought 
 on the part of the compositor will result in bringing 
 them much closer together in tone, and prevent either 
 cuts or certain lines from unduly " standing out " from 
 the page. This is illustrated in Fig. 52, an advertise- 
 ment taken from a German publication. Here we note 
 a harmony of tone which gives a rich, even color to 
 the advertisement and results in an attractive appear- 
 ance. Fig. 53, another advertisement from the same 
 
 [III] 
 
m 
 
 m 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 publication, also illustrates a careful regard on the part 
 of the compositor in the selection of a type-face which 
 in tone harmonizes with the cut. 
 
 In direct contrast to these two examples, both of 
 which are dark in tone, is the advertisement shown in 
 Fig. 54. In this case the compositor, having a cut light 
 in color, has selected type-faces to harmonize, and the 
 result is an advertisement which " pulls together " in 
 a most satisfactory manner. Fig. 55 also shows a har- 
 mony in light tones, the type holding its place in the 
 illustrations most effectively. 
 
 And in this discussion of tone harmony between 
 cuts and text, the illustration shown in Fig. 56 is not 
 amiss. Although the cut in this advertisement is a 
 decoration rather than an illustration, it serves its pur- 
 pose as an example of a most pleasing harmony in its 
 relation to the text, and one can not but appreciate the 
 good taste with which the compositor has selected his 
 type-face. 
 
 Another interesting point in connection with the 
 use of illustrations in advertisements, and one that is 
 frequently not taken into consideration, is the question 
 of placing the cuts so that the illustration will lead, 
 by the nature of its composition, into the text rather 
 than away from it. Again, drawing an analogy between 
 pictorial composition and typographical design, we take 
 note of the fact that the painter arranges his composi- 
 tion in such manner that when one looks at the picture 
 the eye follows naturally from one point of interest to 
 the other, each figure or other object suggesting by its 
 
 [112] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shape and placing a movement of the eye toward the 
 next logical point of interest. For instance, when one 
 looks at a figure in a picture it is but natural that the 
 eye shall follow the direction in which that figure is 
 
 DEUTSCHE WERKSTATTEN FUR 
 HANDWERKSKUNST G. AA. B. H. 
 
 Cnlwwi: Rkh. RKmmduiiM. Dwsn Zimmcr kosM in Mjssiv-Eidie M ST7.— , in MissivMahaaoiM 
 M 62(.-. mu zweiliirigem Klci»<n<hnnk in Massiv - Eidie M wa— , in Massiv-Mahtjoni Hi U6.- 
 
 WOHNUNGS-E^NRICHTUNGEN 
 
 deutsdierArtin neuerTechnik. KlareFormen.edles Material. 
 Originalarbeiten nadi Entwurfen erster Kunstler. — Vor- 
 schlage ohne Verpflichtung fiir den Anfragenden kosten- 
 los. — Man verlange in jeder Buchhandlung oder von 6er 
 Gesdiaftsstelle Dresden-A.16 die illustrierten Preisbudier: 
 Nr. 10: Dresdner Hausgerat(Zimmer v. M230-950) M 1.20 
 Nr. lOi : Handgearbeitete Mobel (Zimmer uber M 900) M 5.— 
 Nr. 1: Kleingerat: textile und keramisdie Erzeugnisse (vier 
 Budier) und Beleuditungskorper (zwei Budier) .. M 1.75 
 Tapetenmusterbiicher und StoffmusterbQcher T zur Ansidit 
 gegen portofreie RuAsendung und je M— .50 in Marken. 
 Angabe der Art und Verwendung der Stoffe ist erwunsAt 
 
 VERKAUFSSTELLEN DRESDEN 
 
 un5 standige Ausstellungen: Ring-StraBe 15 
 
 MUNCHEN HAMBURG BERLIN W 
 
 Arcis-StraBe35 Kdnig-StraBel5 Bellevuestr. 10 
 
 Fig. 52. — A little care on the part of the 
 compositor in suiting the type to the illustra- 
 tion has resulted in a page that is harmonious 
 in tone. 
 
 [113] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 publication, also illustrates a careful regard on the part 
 of the compositor in the selection of a type-face which 
 in tone harmonizes with the cut. 
 
 In direct contrast to these two examples, both of 
 which are dark in tone, is the advertisement shown in 
 Fig. 54. In this case the compositor, having a cut light 
 in color, has selected type-faces to harmonize, and the 
 result is an advertisement which *' pulls together " in 
 a most satisfactory manner. Fig. 55 also shows a har- 
 mony in light tones, the type holding its place in the 
 illustrations most effectively. 
 
 And in this discussion of tone harmony between 
 cuts and text, the illustration shown in Fig. 56 is not 
 amiss. Although the cut in this advertisement is a 
 decoration rather than an illustration, it serves its pur- 
 pose as an example of a most pleasing harmony in its 
 relation to the text, and one can not but appreciate the 
 good taste with which the compositor has selected his 
 type-face. 
 
 Another interesting point in connection with the 
 use of illustrations in advertisements, and one that is 
 frequently not taken into consideration, is the question 
 of placing the cuts so that the illustration will lead, 
 by the nature of its composition, into the text rather 
 than away from it. Again, drawing an analogy between 
 pictorial composition and typographical design, we take 
 note of the fact that the painter arranges his composi- 
 tion in such manner that when one looks at the picture 
 the eye follows naturally from one point of interest to 
 the other, each figure or other object suggesting by its 
 
 [112] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 shape and placing a movement of the eye toward the 
 next logical point of interest. For instance, when one 
 looks at a figure in a picture it is but natural that the 
 eye shall follow the direction in which that figure is 
 
 DEUTSCHE WERKSTATTEN FUR 
 HANDWERKSKUNST G. M. B. H. 
 
 tnlwurf: Rkh. Riemers<hmia. Dieses dimmer koctet in Massiv-Eidie M 577,—, in MassivMahagoni 
 M 62«.- . nui zweitungem Kleidersthrank in Atassiv • tidie M 400.—, in Massiv-MabAgoni M 436 — 
 
 WOHNUNGS-E4NRICHTUNGEN 
 
 deutsdierArtin neuerTedinik. KlareFormen.edles Material. 
 Originaiarbeiten nadi EntwQrfen erster Kiinstler. — Vor- 
 schlage ohne Verpfliditung fiir den Anfragenden kosten- 
 los. — Man verlange in jeder Budihandlung o5er von 6er 
 Gesdiaftsstelle Dresden-A.16 6ie iliustrierten Preisbudier: 
 Nr. 10: DresdnerHausgerat(Zimmer v.M230-950)M 1.20 
 Nr. 10.: Handgearbeitete Mobel (Zimmer uber M 900) M 5.— 
 Nr. 1: Kleingerat: textile und keramisdie Erzeugnisse (vier 
 Bucher) und Beleuchtungskorper (zwei Budier) .. M 1.75 
 Tapetenmusterbudier und Stoffmusterbudier T zur Ansicht 
 gegen portofreie Rucksendung und je M —.50 in Marken. 
 Angabe der Art und Verwendung der Stoffe ist erwunsdit 
 
 VERKAUFSSTELLEN DRESDEN 
 
 un5 standige Ausstellungen: Ring-StraSe 15 
 
 MUNCHEN HAMBURG BERLIN W 
 
 ArcisStraBe35 K6njg-StraBel5 Bellevuestr. 10 
 
 Fig. 52. — A little care on the part of the 
 compositor in suiting the type to the illustra- 
 tion has resulted in a page that is harmonious 
 in tone. 
 
 [113] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 looking, or perhaps, pointing. This being the case, the 
 desirabiHty of having that figure looking or pointing 
 into instead of out of the composition is readily appar- 
 
 Ein Ruf an die 
 Buchkiinstler 
 
 Wir sind von einer grofien Verlagsbuchdruckerei mit der 
 Lieferung einer neuen kiinsllerischen Buchschrift sowie 
 dazu passcnden Initiolen nebsl Schmuck beaultragt und 
 •fir bitten diejenigen Herren Kiinstier, die sich der gestellten 
 setir dankbaren Hufgabe unlerziehen wollen, uns sobald 
 als moglich ihre Adressen aufzugeben. Wir sind berechtigt, 
 die Zeichnungen spatcr liir unsere Zwecke zu verwerten 
 und sind daher in der Lage, ein hohes Honorar zu zahtea 
 
 Schriftgicfierci Ludwig& Mayer 
 in Frankfurt am Main 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Fig. 53. — Another illustration of the harmony 
 of type-face and cut. 
 
 ent. That the application of this principle is as essen- 
 tial to good typography as it is to good pictorial com- 
 position is shown in the reproductions in Figs. 57 and 
 
 [114] 
 
 Cuticura Soap Best 
 for Skin andHatr 
 
 More than a generation ot 
 women have found that no soap 
 is so well suited for cleansing 
 and preserving the skin and hwr 
 as Cuticura Soap. Its absolute 
 purity and refreshing fragrance 
 would alone be enough to recom* 
 mend it above ordinary skin soaps, 
 but there is added to these qual- 
 ities a delicate yet effective med- 
 ication, derived from Cuticura 
 Ointment, which renders it in- 
 valuable in overcoming a ten- 
 dency to distressing eruptions, 
 and in promoting a normal con- 
 dition of skin and hair health, 
 among young and old 
 
 For the thirty-two page Cuticura Booklet. 
 « guide to the best care of the skin and hair, 
 address Potter Drug Ic Chemical Corporation. 
 t33 Columbus Ave.. Boston, U. S. A. 
 
 Fig. 54. — Here the type harmonizes with the illustration in shape as 
 
 well as in tone. 
 
 8 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 looking, or perhaps, pointing. This being the case, the 
 desirabiHty of having that figure looking or pointing 
 into instead of out of the composition is readily appar- 
 
 Ein Ruf an die 
 Buchkiinstler 
 
 Wir sind von ciner groOen Verlagsbujhdruckerei mil der 
 Lieferung einer ncuen kiinstlerischen Buchschrift sowie 
 dazu passenden Initialen nebst Schmuck beauftragt und 
 wir bitten dicjenigen Herren Kiinstler, die sich der gestellten 
 sehr dankbaren Aufgabe unterziehen wollcn, uns sobold 
 als moglich ihre Adressen aufziigebcn. Wir sind bercchtigt, 
 die Zeichnungen spaler fiir unsere Zwecke zu vcrwcrten 
 und sind daher in der Lage, ein hohes Honorar zu zahleii. 
 
 SchriftgieOerei Ludwig& Mayer 
 in Frankfuf t am Main 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 Fig. 53. — Another illustration of the harmony 
 of type-face and cut. 
 
 ent. That the application of this principle is as essen- 
 tial to good typography as it is to good pictorial com- 
 position is shown in the reproductions in Figs. 57 and 
 
 [114I 
 
 Cuticura Soap Best 
 for Shn andHatr 
 
 More than a generation ot 
 women have found that no soap 
 is so well suited for cleansing 
 and preserving the skin and hair 
 as Cuticura Soap. Its absolute 
 purity and refreshing fragrance 
 would alone be enough to recom* 
 mend it above ordinary skin soaps, 
 but there is added to these qual- 
 ities a delicate yet effective med- 
 ication, derived from Cuticura 
 Ointment, which renders it in- 
 valuable in overcoming a ten- 
 dency to distressing eruptions, 
 and in promoting a normal con- 
 dition of skin and hair health, 
 among young and old 
 
 For the tiiirty-two pace Cuticura Booklet, 
 a fuide to ttie best care of the skin and hair, 
 address Potter Drur & Chemical Corporation. 
 133 Columbus Ave.. Boston, U. S. A. 
 
 Fig. 54. 
 
 8 
 
 Here the type harmonizes with the illustration in shape as 
 well as in tone. 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 58. One will readily agree with the statement that 
 where an illustration is placed in an advertisement, 
 it is usually the center of interest — the thing which 
 
 YOUR house is not a home until your 
 furniture Jits. Harmony gives beauty, 
 dignity, restAilness — all that a home 
 should mean. Whatever quarrels or 
 cr<ywds mars the effect. The perfect bed 
 for one chamber may spoil another one. 
 
 This problem of beauty //w/i«rvK< issolred 
 by KimhallSs'Chafptll solid brass beds. Charm- 
 ing designs match the furniture of any good 
 Eeriod or style. Many with cane panels. All 
 oncst, stlid brass that lasts a lifetime and keeps 
 its golden surfaces untarnished in any climate 
 
 Let us till ytu why. Our Spring Style 
 Books and samples of tubing for the asking 
 
 tf^ritt ftr thtm udaj, 
 
 KIMBALL 6* CHAPPELL 
 
 284} LOOMIS STREET CHICAGO, ILL. 
 
 Fig. 55. — Neither cut nor text is predominant, 
 each holding its true value. 
 
 [1161 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 first attracts the eye. In looking at an illustrated 
 advertisement we almost invariably see the picture 
 first. Then from the picture the eye travels to the 
 
 The Summer Home Beautiful 
 
 May be a palace or a bungalow It is 
 not so much a matter of architecture as 
 of creating home atmosphere by the 
 furnishings. 
 
 An ideal summer home is not a mere 
 dream, but a reality for a moderate ex- 
 penditure — that is, if one understands 
 artistic arrangement and the facilities 
 afforded by the 
 
 Wanamaker Gallenes 
 of Furnishings 
 
 Assembled here are upholsteries, 
 furniture and everything to appoint a 
 simple cottage, picturesque bungalow, 
 stately manor or Roman villa. 
 
 The Buredu of Intertor Decorating 
 
 will gladly create plans and submit 
 estimates for the furnishing of your 
 home. Ho charges for this Service, which 
 will be extended either through a per- 
 sonal interview or the mail 
 
 JOHN WANAMAKER 
 
 New York 
 
 
 Fic. 56. — The type and decoration are well 
 suited to each other in tone. 
 
 [117] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 58. One will readily agree with the statement that 
 where an illustration is placed in an advertisement, 
 it is usually the center of interest — the thing which 
 
 YOUR house is not a home until your 
 furniture ^/x. Harmony gives beauty, 
 dignity, restftilness — all that a home 
 should mean. Whatever quarrels or 
 crowds mars the effect. The perfect bed 
 for one chamber may spoil another one. 
 
 This problem of beauty //u; strvie* is solved 
 by KimballS^Chafftll*olidbt*ubtd». Charm* 
 ing designs match the furniture of any good 
 
 Eeriod or style. Many with cane panels. All 
 onest, itlid brass that lasts a lifetime and keeps 
 its golden surfaces untarnished in any climate 
 
 Let us t«U ytu why. Our Spring Style 
 Books and samples of tubing for the asking 
 
 IVritt ftr thim fday. 
 
 KIMBALL 6* CHAPPELL 
 
 X84J LOOMIS SI REET CHICAGO, ILl- 
 
 i 
 
 i 
 
 :3 
 
 Fic. 55. — Neither cut nor text is predominant, 
 each holding its true value. 
 
 [116] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 first attracts the eye. In looking at an illustrated 
 advertisement we almost invariably see the picture 
 first. Then from the picture the eye travels to the 
 
 J 
 
 The Summer Home Beautiful 
 
 May be a palace or a bungalow It is 
 not so much a matter of architecture as 
 of creating home atmosphere by the 
 furnishings. 
 
 An ideal summer home is not a mere 
 dream, but a reality for a moderate ex- 
 penditure — that is, if one understands 
 artistic arrangement and the facilities 
 afforded by the 
 
 Wanamaker Gallenes 
 of Furnishings 
 
 Assembled here are upholsteries, 
 furniture and everything to appoint a 
 simple cottage, picturesque bungalow, 
 stately manor or Roman villa. 
 
 The Bureau of Intertor Decorating 
 
 will gladly create plans and submit 
 estimates for the nirnishing of your 
 home. Ho charges for this iervice, which 
 will be extended either through a per- 
 sonal interview or the mail 
 
 JOHN WANAMAKER 
 
 New York 
 
 D®: 
 
 :®n 
 
 Fig. 56. — The type and decoration are well 
 suited to each other in tone. 
 
 [117] 
 
-«ai 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 balance of the advertisement. This being the case, it 
 is unquestionably desirable that the picture shall be 
 placed so that it shall, of itself, cause the eye involun- 
 tarily to move toward the text. In Fig. 57 this has not 
 
 THE MINNESOTA & 
 DAKOTA RAILWAY 
 
 THE LINE OF EXCELLENT SERVICE 
 
 EVERY employe of 
 the Minnesota & 
 Dakota Railway 
 who comes into contact 
 with the public is given a 
 thorough schooling con- 
 cerning courtesy and pro- 
 priety of demeanor. The 
 system of " merits" and 
 "demerits" is carefully 
 maintained, and all the 
 trainmen are striving to 
 make a record, not alone 
 for efficiency, but for per- 
 sonal conduct. Sleeping 
 car porters and others in 
 charge of the trains during 
 .their trips are required to 
 exercise especial care in 
 keeping all the cars in a 
 clean and orderly condi- 
 tion. Incessant attention to this, a very important point 
 to those who travel, is one of the many factors which 
 make for a pleasant journey. 
 
 The trains are scientifically cleaned and renovated at 
 the end of each run. The sleeping car bedding is aired 
 in the sun. The seats, floor and woodwork are given a 
 vigorous scouring of compressed air, which removes all 
 uncleanliness. Carpets are taken up and renovated and 
 the flooring is scrubbed with soap and water. 
 
 M. M. MORRISS, General Pajsengtr Agent, Chicago 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 been done, and the movement of the eye, following 
 the direction in which the figure is facing, and also 
 suggested by the direction in which the arm is pointing, 
 would be away from the text and out of the advertise- 
 
 FiG. 57. — This cut is placed in such position 
 that it leads the eye, by reason of the direc- 
 tion in which it is facing, directly out of the 
 advertisement. Compare with Fig. 58. 
 
 [118] 
 
 THE MINNESOTA & 
 DAKOTA RAILWAY 
 
 THE LINE OF EXCELLENT SERVICE 
 
 VERY employe of 
 the Minnesota & 
 Dakota Railway 
 who comes into contact 
 with the public is given a 
 thorough schooling con- 
 cerning courtesy and pro- 
 priety of demeanor. The 
 system of ' ' merits ' ' and 
 "demerits'" is carefully 
 maintained, and all the 
 trainmen are striving to 
 'SIB^Til! V^?**' SI' ^ fnake a record, not alone 
 ^ 8l|^^-V^"'''^0 ^'"■^'^ciency, but far per- 
 il ^-^^ I vt§T*& %om\ conduct. Sleeping 
 ^y^ 1^ yj' Jf car porters and others in 
 
 chargeof the trains during 
 th.ir trips are required to 
 ex.rcise especial care in 
 keeping all the cars in a 
 clean and orderly condi- 
 tion. Incessant attention to this, a very important point 
 to those who travel, is one of the many factors which 
 make for a pleasant journey. 
 
 The trains are scientifically cleaned and renovated at 
 the end of each run. The sleeping car bedding is aired 
 in the sun. The seats, floor and woodwork are given a 
 vigorous scouring of compressed air, which removes all 
 uncleanliness. Carpets are taken up and renovated and 
 the flooring is scrubbed with soap and water. 
 
 M. M. MORRISS, General Pastenger Agent, Chicago 
 
 Y 
 
 Fig. 58. — Here the figure has been placed in 
 such position that, once it has attracted the 
 eye, it leads it naturally into the text. 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 balance of the advertisement. This being the case, it 
 is unquestionably desirable that the picture shall be 
 placed so that it shall, of itself, cause the eye involun- 
 tarily to move toward the text. In Fig. 57 this has not 
 
 THE MINNESOTA & 
 DAKOTA RAILWAY 
 
 THE LINE OF EXCELLENT SERVICE 
 
 EVERY employe of 
 the Minnesota i^ 
 Dakota Railway 
 who comes into contact 
 with the public is given a 
 thorough schooling con- 
 cerning courtesy and pro- 
 priety of demeanor. The 
 system of "merits" and 
 "demerits" is carefully 
 maintained, and all the 
 trainmen are striving to 
 make a record, not alone 
 for efficiency, but for per- 
 sonal conduct. Sleeping 
 car porters and others in 
 charge of the trains during 
 their trips are required to 
 exercise especial care in 
 keeping all the cars in a 
 clean and orderly condi- 
 tion. Incessant attention to this, a very important point 
 to those who travel, is one of the many factors which 
 make for a pleasant journey. 
 
 The trains are scientifically cleaned and renovated at 
 the end of each run. The sleeping car bedding is aired 
 in the sun. The seats, floor and woodwork are given a 
 vigorous scouring of compressed air, which removes all 
 uncleanliness. Carpets are taken up and renovated and 
 the flooring is scrubbed with soap and water. 
 
 M. M. MORRISS, General Pajtenger Agent, Chicago 
 
 Fig. 57. — This cut is placed in such position 
 that it leads the eye, by reason of the direc- 
 tion in which it is facing, directly out of the 
 advertisement. Compare with Fig. 58. 
 
 [118] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 been done, and the movement of the eye, following 
 the direction in which the figure is facing, and also 
 suggested by the direction in which the arm is pointing, 
 would be away from the text and out of the advertise- 
 
 THE MINNESOTA & 
 DAKOTA RAILWAY 
 
 THE LINE OF EXCELLENT SERVICE 
 
 EVERY employe of 
 the Minnesota & 
 Dakota Railway 
 who comes into contact 
 with the public is given a 
 thorough schooling con- 
 cerning courtesy and pro- 
 priety of demeanor. The 
 system of ' ' merits ' ' and 
 "demerits" is carefully 
 maintained, and all the 
 trainmen are striving to 
 make a record, nor alone 
 for efficiency, but for per- 
 sona! conduct. Sleeping 
 car porters and others in 
 charge of the trains during 
 th-.ir trips are required to 
 ex.Tcise especial care in 
 keeping all the cars in a 
 clean and orderly condi- 
 tion. Incessant attention to this, a very important point 
 to those who travel, is one of the many factors which 
 make for a pleasant journey. 
 
 The trains are scientifically cleaned and renovated at 
 the end of each run. The sleeping car bedding is aired 
 in the sun. The seats, floor and woodwork are given a 
 vigorous scouring of compressed air, which removes all 
 uncleanliness. Carpets are taken up and renovated and 
 the flooring is scrubbed with soap and water. 
 
 M. M. MORRISS, General Passenger Agent, Chicago 
 
 /(M^^ 
 
 Fig. 58. — Here the figure has been placed in 
 such position that, once it has attracted the 
 eye, it leads it naturally into the text. 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ment. In the rearrangement shown in Fig. 58 the 
 reverse is true. Here the figure has been placed in 
 
 PERFECT 
 
 TAILORING 
 
 Q. We would like to have you 
 take note of the extreme cere 
 we give to tailoriitf, as thown 
 in the finish of the fine suits aitd 
 overcoats we sell. Notice the 
 perfect curve of hand-shaped 
 collara and lapels. Try on the 
 garmentt: you'll find them easy, 
 pliable, shaped to your shoul- 
 ders — they fit. Then you will 
 appreciate the difference be- 
 
 tween HartmsH Clothes and the 
 ordinary kinds, and lose sifhi 
 oi the ' bargains" in "thrown- 
 together" stuff, advertised all 
 around town at half price. We 
 abow suits and overcoats ai 
 prices you can afford— properly 
 tailored — garments (hat look 
 well, feel comfortable and keep 
 •hapc. We charge no more 
 Ifaan the others charge for the 
 "other" kind 
 
 HARTMAN 
 
 270 MAIN STREET. CHICAGO 
 
 Q. We would like to have you 
 take note of the extreme care 
 we give to lailuring, as shown 
 in the finish of the fine suits and 
 overcoats we sell. Notice the 
 
 perfect curve of hand-shaped 
 collars and lapels. Try on the 
 garments; you'll find ihem easy, 
 pliable, shaped to your shoul- 
 ders — they fit. Then you will 
 appreciate the difference be- 
 tween Hartman Clothes and the 
 ordinary kinds, and kise sight 
 of the bargains' ' in "thrown- 
 together" stuff, advertised all 
 around town at half price. We 
 show suits and overcoats at 
 prices you can afford— properly 
 taik>red — garments tliat look 
 well, feel comfortable and Keep 
 shape. We charge no more 
 than the others charge lor the 
 "other" kind. 
 
 HARTMAN 
 
 270 MAIN STREET, CHICAGO 
 
 B 
 
 Fig. 59. — A question of the placing of a cut. In A the cut 
 divides the advertisement directly in the center, while in B- the 
 placing of the cut at the point shown divides the advertisement 
 into groups of unequal size, giving proportion. 
 
 [120] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 such position that, once it has attracted the eye, it leads 
 it naturally into the text. 
 
 By a proper placing of the illustration or illustra- 
 tions in an advertisement the compositor secures good 
 proportion in his design. Typographically, an adver- 
 tisement is a rectangle, of certain size and dimension, 
 broken up into spaces, and whether or not the spaces 
 are pleasing in their relations to each other determines 
 the beauty of the advertisement. The arranging of 
 these spaces in such manner as to be pleasing calls into 
 play the question of proportion. Perhaps this ques- 
 tion of proportion can best be illustrated in the plac- 
 ing of a cut in an advertisement, thus dividing the 
 advertisement into two parts. A reproduction of an 
 advertisement of this kind, containing one illustration, 
 is shown in Fig. 59. In ** A " the cut is placed directly 
 in the center of the advertisement, and the effect is not 
 satisfactory, the reason being that the groups of type- 
 matter above and below the cut are equal in size. In 
 order that our advertisement may have proportion we 
 must not only have variety, but pleasing variety. We 
 must move the cut away from the center, either above 
 or below. If we move it below, it will place the main 
 spot or force of attraction near the bottom of the adver- 
 tisement — a thing which should be avoided if possi- 
 ble. Therefore we will place it above the center. But 
 how much above ? This is determined in the same man- 
 ner as the question of proportion noted in previous 
 instances — by dividing the space into eight equal 
 parts and giving five of these parts to the lower part of 
 
 [121] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ment. In the rearrangement shown in Fig. 58 the 
 reverse is true. Here the figure has been placed in 
 
 PERFECT 
 
 TAILORING 
 
 C We would like to have you 
 lake note of the extreme care 
 we give to tailoring, as shown 
 in the finish of the fine suits and 
 overcoats we sell. Notice the 
 perfect curve of hand-shaped 
 collar* and lapels. Try on the 
 garments: you'll find them easy, 
 pliable, shaped to your shoul- 
 der* — they fit. Then you will 
 appreciate the difference be- 
 
 tween Hmrtmmn Clotkts and the 
 ordinary kinds, and lose si^ht 
 d the bargains' ' in "thrown- 
 together" stuff, advertised all 
 around town at half price. We 
 show suits and overcoats at 
 prices you can afford— properly 
 tailored — garments that look 
 well, leel comfortable and keep 
 •hapc. We charge no more 
 than the others charge for the 
 "other" kind 
 
 HARTMAN 
 
 270 MAIN STREET, CHICAGO 
 
 PERFECT 
 
 TAILORING 
 
 4L We would like to have you 
 take note of the extreme care 
 we give to laiioring, as shown 
 in the finish of the fine suits and 
 overcoats we sell. Notice the 
 
 perfect curve of hand-shaped 
 collars and lapels. Try on the 
 garments; you'll find them easy, 
 pliable, shaped to your shoul- 
 ders — they fit. Then you will 
 appreciate the difference be- 
 tween Hartman Clothes and the 
 ordinary kinds, and lose sight 
 of the ' bargains" in "thrown- 
 together" stuff, advertised all 
 around town at half price. We 
 show suits and overcoats at 
 prices you can afford— properly 
 tailored — garments that look 
 well, feel comfortable and Keep 
 •hape. We charge no more 
 than the others charge for the 
 "other" kind. 
 
 HARTMAN 
 
 270 MAIN STREET, CHICAGO 
 
 B 
 
 Fig. 59. — A question of the placing of a cut. In A the cut 
 divides the advertisement directly in the center, while in B- the 
 placing of the cut at the point shown divides the advertisement 
 into groups of unequal size, giving proportion. 
 
 1120] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 such position that, once it has attracted the eye, it leads 
 it naturally into the text. 
 
 By a proper placing of the illustration or illustra- 
 tions in an advertisement the compositor secures good 
 proportion in his design. Typographically, an adver- 
 tisement is a rectangle, of certain size and dimension, 
 broken up into spaces, and whether or not the spaces 
 are pleasing in their relations to each other determines 
 the beauty of the advertisement. The arranging of 
 these spaces in such manner as to be pleasing calls into 
 play the question of proportion. Perhaps this ques- 
 tion of proportion can best be illustrated in the plac- 
 ing of a cut in an advertisement, thus dividing the 
 advertisement into two parts. A reproduction of an 
 advertisement of this kind, containing one illustration, 
 is shown in Fig. 59. In *' A " the cut is placed directly 
 in the center of the advertisement, and the effect is not 
 satisfactory, the reason being that the groups of type- 
 matter above and below the cut are equal in size. In 
 order that our advertisement may have proportion we 
 must not only have variety, but pleasing variety. We 
 must move the cut away from the center, either above 
 or below. If we move it below, it will place the main 
 spot or force of attraction near the bottom of the adver- 
 tisement — a thing which should be avoided if possi- 
 ble. Therefore we will place it above the center. But 
 how much above ? This is determined in the same man- 
 ner as the question of proportion noted in previous 
 instances — by dividing the space into eight equal 
 parts and giving five of these parts to the lower part of 
 
 [121] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 the advertisement and three to the upper pkrt, thus 
 following out the proportions of three to five, com- 
 monly acknowledged to be the most pleasing. In the 
 original the advertisement is forty-four picas in length. 
 Dividing it into eight parts gives five and one-half 
 picas for each part. Taking three parts — or sixteen 
 and one-half picas — for the upper part of the adver- 
 tisement, we place the cut in such position that the 
 center is sixteen and one-half picas from the top, the 
 center of the cut thus dividing the advertisement into 
 two parts in the ratio of three to five. The result is 
 shown in *' B," and one can readily see that it makes a 
 much more attractive arrangement than does " A," 
 although the moving of the cut is all the change that 
 has been made. Personal taste may enter into the 
 proposition and suggest an additional line or tv/o of 
 text above or below the cut, but to the majority this 
 proportion would be the most satisfactory. 
 
 [122] 
 
 CHAPTER X. 
 
 HOW TO SET THE ADVERTISEMENT. 
 
 FTER having discussed the various 
 points of design, etc., which have a 
 direct bearing upon the advertise- 
 ment, it is well to take up the ques- 
 tion of the actual mechanical 
 work, following the advertisement 
 through its various processes from 
 copy to proof. 
 The copy given to the compositor is usually type- 
 written, with the portions to be displayed indicated. 
 When this has not been done, the compositor must 
 select his own display, keeping in mind the points pre- 
 viously discussed regarding this particular. 
 
 With the display selected, the next question is to 
 determine the arrangement of the advertisement. This 
 may be done by making a sketch after the manner pre- 
 viously described, although where the display consists 
 of but a heading, a subheading or two and the signa- 
 ture, a sketch may be unnecessary. 
 
 Next comes the question of type, and with our 
 admitted preference for the lighter faces, we will 
 usually select a plain old-style roman. 
 
 Then comes the question of borders. If the adver- 
 
 [123] 
 
 ' 
 
 < 
 
•^g^ 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 tisement is to be printed on a page with other advertise- 
 ments, it is desirable that the border shall be selected 
 with a view to its being in harmony with the other 
 borders on the page. In fact, where magazine pages 
 are composed of quarter or eighth-page advertisements, 
 it is much better, for the sake of a pleasing uniformity, 
 that each of the advertisements be surrounded by the 
 same kind of border. The advantages to be gained by 
 such an arrangement are well illustrated in Fig. 60. 
 Here the uniform borders of plain light rule, assisted 
 appreciably by the use of but one series of type, fur- 
 nish an extremely pleasing page. Ii more decoration 
 or variety is desired in the borders for certain of the 
 advertisements, it may be secured by the use of an 
 additional border inside of the one which surrounds 
 the advertisement, as shown in Fig. 61. But the keep- 
 ing of the outer borders — the ones which define the 
 boundaries of the advertisements — uniform through- 
 out the page will always give good results. 
 
 With the questions of type and border disposed of, 
 our next consideration is the actual setting of the 
 advertisement. One may go about this in two ways — 
 he may either set the display lines first, filling in with 
 the solid matter later, in whatever size of type it will 
 require, or he may set the solid matter first and then 
 regulate his display according to the amount of space 
 which he has left. Both methods have their desirable 
 features, although one can not slavishly follow either 
 on all occasions. Sometimes one system is best, some- 
 times the other — depending upon the nature of the 
 
 [124I 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 copy — and the compositor must learn which to choose. 
 We must bear in mind, however, that a good strong 
 heading is always desirable, and for this reason it is 
 usually better to set that first, letting it govern to a 
 certain extent the nature of the balance of the adver- 
 tisement. 
 
 The heading may be set in all capitals or capitals 
 and lower-case. While the lower-case is unquestion- 
 ably easier to read than are the capitals, still it is 
 usually better to sacrifice a trifle in the legibility for the 
 sake of getting better design, especially as the headings 
 are usually short and therefore not hard to read. The 
 line of capitals often gives a sort of dignity to the top 
 of the advertisement, which is lacking when lower- 
 case is used. 
 
 And so for the headings we use either capitals or 
 lower-case, depending upon which fills the line or lines 
 most acceptably, keeping in mind the previous state- 
 ment that in most cases the line or lines at the top of 
 the advertisement should be of full measure. 
 
 It might not be amiss in this connection to record 
 a personal objection — perhaps a prejudice — against 
 the use of italic, especially capitals, for the first line 
 of an advertisement, where said first line fills the meas- 
 ure. It always seems to spoil the symmetrical arrange- 
 ment of the design, and — if one may be permitted to 
 draw an analogy between the architectural design of a 
 building and the typographical design of an advertise- 
 ment — looks not unlike a building with the upper 
 story knocked askew. 
 
 [125] 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 In setting advertisements the compositor should 
 always avoid display lines which are almost, but not 
 quite, of the full measure. If a line is a trifle short it 
 
 wt mucn » SH4III 
 
 I nmm « V\nw It 
 
 The J. E. Linde Paper 
 Company 
 
 9* OMHr B«-^»« Awk^af. ms CM 1mm» 
 Nt» NOlm CITV 
 
 Detergine 
 
 Standard Type and Roller Wash 
 
 IMP P«OMait«4 
 
 Duryea Manulftctunng Compaogr 
 
 r- 
 
 — Features- 
 
 liWilyii H w««Ba WHlWMi «:««it«n i 
 
 ia^^ 
 
 The International Syndicate 
 
 >■ ■■ I •> '«»' »n ^" fc li iai m . Mml»l 
 
 Amencan Sreel Chase 
 Company 
 
 AlWCT trail 
 
 Sted Priniera' Cliases 
 
 27 BrHuMn Smrf 
 
 Ne« Vurt r>9 
 
 Graham Sl. Sons 
 
 Bankets 
 
 CHICM» lU 
 
 
 Peninsular Paper 
 
 Company 
 
 Mafcerii ol Uncommon 
 
 COVER PAPERS 
 
 COVfNANT 01BII»LT«» MWHtlOKi 
 OMUBO PtNINSULAI 
 PAIiCHMCNT OKKID 
 
 Cheny Blocking 
 
 jiS'!^- Henry H. Sheip 
 
 trnl.'ii: Manufactunng 
 
 PHILAOCLPHIA 
 
 Every Job Requifet • Piool 
 
 Potter Proof Press 
 
 Mi ■ FOTfll « MH dw »• 
 
 A F WANNER 4i. CO 
 
 Fig. 6o. — Where a page contains several 
 small advertisements, the use of uniform 
 borders is desirable. 
 
 is much better, in the interests of good design, to letter- 
 space it to the full width. This is especially true of 
 subheadings, and one usually finds that where a sub- 
 
 [126] 
 
 THE TYPOGRAPHY OF ADVERTISEM ENTS 
 
 heading is just a little short of the full measure, and 
 letter-spacing is undesirable, the running of the head- 
 ing in two short lines — always having the upper one 
 
 Shannon-Conmy 
 Printing Co. 
 
 
 Prmiiiig. Book Bindir^ 
 Paper Ruling 
 
 n^wKM^w i«aj 
 
 509 Saiuomr Siraet. Sttn fnncnco 
 
 E. C. Hughes 
 
 Company 
 Printers and Binders 
 
 CMal«g«ai«A4 
 
 M7 Mimu S<. San FanciteaCal 
 
 The Blair-Murdock 
 Company 
 
 PRINTERS 
 
 ^D7 
 
 The Hicks-Judd 
 Company 
 
 Printers. Book Binders 
 Publishers 
 
 Calakigue, Book and Job Pnnt- 
 ing. Law. Libraiy and all kind* 
 o< Book Binding. Loot* Leaf 
 Ledfen and Locking Oevicea 
 
 il4l r,m Sra.< 
 
 Fig. 6 1. — If added decoration or variety is 
 desired in the borders for certain of the adver- 
 tisements, it may be secured by the use of an 
 additional border inside of the one which sur- 
 rounds the advertisement, 
 
 the longer, however — will give a much better effect. 
 This is illustrated in Figs. 62 and 63. In the former the 
 
 fi27l 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 In setting advertisements the compositor should 
 always avoid display lines which are almost, but not 
 quite, of the full measure. If a line is a trifle short it 
 
 WE lOLICfT A 9HAm 0» VrH.ir V«T«OMAOI 
 
 PUmm i- \\ rw l-« 
 
 The ]. E. Lmde Paper 
 Company 
 
 Ntw Noiik cirv 
 
 •"t:ji-SKi=* ^ ' •"smlB" "— 
 
 I Detergine 
 
 SMndard Type and Rolln Wash 
 
 
 Duryca Manulactuniig Company 
 
 ■Sfl* >(.>•« I If* 
 
 -Features — 
 
 The Intemanonal Syndicate 
 
 Amencan Steel Chase 
 Company 
 
 Ameriraii 
 Steel Printers' Cluises 
 
 27 (WefcfiMn b<f«rt 
 
 Nr». YoA Cify 
 
 Graham Sl. Sons 
 
 Bankers 
 
 HriM* «•««•»• 
 
 Peninsular Paper 
 
 Company 
 
 Makers ol Uncommon 
 
 COVER PAPERS 
 
 COVfNANT OlMALTAIi MMJMtlOMi 
 OMHBO PlMNMJtAR 
 
 p*»CH«aeNr ohkiu 
 
 Cherry Blocking 
 
 *«»iiiliiiiail b« *• 
 
 '^'j::':V^ Henry H. Sheip 
 1L*.«"S.'C: Mwjufacfunns 
 -■2*5-: Company 
 
 mSp ot CM^HV^ rf" III ,* * ■ * ^ ^ 
 
 *ii^ r<«« Unm <• m ia*ii »••«• mt IiM teM 
 mitkOCLTHIA 
 
 MICM 4NO teMVLM CI — ■fm.l.> nAMMKO 
 
 Every Job Requiro a Prool 
 
 Potter Proof Press 
 
 A F WANNER &, CO 
 
 • OMkaM »i« CM1CMX» HUNOn 
 
 Fig. 6o. — Where a page contains several 
 small advertisements, the use of uniform 
 borders is desirable. 
 
 is much better, in the interests of good design, to letter- 
 space it to the full width. This is especially true of 
 subheadings, and one usually finds that where a sub- 
 
 [126] 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 heading is just a little short of the full measure, and 
 letter-spacing is undesirable, the running of the head- 
 ing in two short lines — always having the upper one 
 
 1 
 
 Shannon-Conmy 
 
 Printing Co. 
 
 Pnniing. Bot»k Binding 
 Paper Rulir^ 
 
 Wk-r h,am, JBU 
 
 509 SsnsomF Sfrerr San FrancncA 
 
 E. C. Hughes 
 
 Company 
 Printers and Binders 
 
 C M.l.tM. mi aMfclM. 
 
 147 MioM St . Sen Ftwiuico. Cal 
 
 1 
 
 
 
 ^W^ti« Mm^mIWI 
 
 The Hicks-Judd 
 Company 
 
 Pnnters. Book Binders 
 Publishers 
 
 TTie Blair-Murdock 
 Company 
 
 PRINTERS 
 
 f 
 
 
 Oulofur. Book and Jal> Pnnr. 
 ifig. l^w. Ubrary and alt ktnda 
 of Book Bindmc. LxioM Leal 
 Lodgen and Lxickuig Devicaa 
 
 ftiaiPuw^MM SmFmikkaC^ 
 
 
 
 • 
 
 Fig. 6i. — If added decoration or variety is 
 desired in the borders for certain of the adver- 
 tisements, it may be secured by the use of an 
 additional border inside of the one which sur- 
 rounds the advertisement. 
 
 the longer, however — will give a much better effect. 
 This is illustrated in Figs. 62 and 6^. In the former the 
 
 [1271 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 subheading is not pleasing, while in the latter it is very 
 satisfactory. One might go even a little further in this 
 question of subheadings, and state that, even though 
 
 The HUMAN FIGURE 
 
 Drawini and CoDttruclion by Joba H. Vaodcrpocl 
 
 MR. JOHN H. VANDERPOEL hti been for 
 nearly thiny year* one (A the most di»tin- 
 guiihed teachers of drawing in America ; 
 himself a consummate draftiman, he has in- 
 structed thousands of men and women, so 
 that the list of famous American artist, contains a large 
 percentage of those who have been his pupils. Hi» 
 specialty is the drawing and construction of the human 
 figure, and in this he stands high among the world's 
 masters. His knowledge of the nude, and the clear, 
 systematic manner in which he give* it cxprcaston, is 
 unsurpaaied in modern art instruction. 
 
 It Is Well Illustrated and Printed 
 
 Mr. Vanderpoel'i new book is a full and concise ex- 
 position of his system The text is a thorough analysis 
 of the human figure from the artist's standpoint, feature 
 by feature and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half-tone, nuetzo- 
 graph and tint — all of them masterly drawings of the 
 greatrM value to the student. In addition to these it 
 contains 330 marginal sketches, none of which have 
 ever been published, showing parts of the body in vari- 
 ous positiofts and actions. Altogether it is the moat com- 
 plete illustrated work on the subject now extant. To 
 the student and the working artist, as well as to the 
 general public which may use such a book for reference, 
 the publication of Mr. Vanderpoel's life-work is of the 
 utmost importance. 
 
 Mechanically the book is a beautiful one, finely printed 
 OB heavy paper, solidly bound in an artistic manner. 
 
 PRICE. t2.00 
 
 THE INLAND PRINTER COMPANY 
 
 ,624-632 Sherman Street, Chicago, 111. 
 Nnr Yock OtKn. 1729 TiibaM BKl- 
 
 THE TYPOGRAPHY OF - ADVERTISEMENTS 
 
 the line is full, it will usually be found better to break 
 it up into two lines. In doing this, however, one must 
 always be careful to avoid breaking up the wording in 
 
 Fig. 62. — The subheading, which almost, 
 but not quite, fills the line is not as pleasing 
 as that shown in Fig. 63. 
 
 [128] 
 
 The HUMAN FIGURE 
 
 DrawinI and Conitruction by John H. Vanderpoel 
 
 MR. JOHN H. VANDERPOEL has been for 
 nearly thirty years one of the most distin- 
 ^ished teachers of drawing in America ; 
 himself a consummate draftsman, he has in- 
 stnicted thousands of men and women, so 
 that the list of famous American artists contains a large 
 percentage of tbose who have been his pupils. His 
 specialty is the drawing and construction of the human 
 figure, and in this he stands high among the world's 
 masters. His knowledge of the nude, and the clear, 
 systematic manner in which he gives it expression, is 
 unsurpassed in modern art instruction. 
 
 It Is Well Illustrated and 
 Printed 
 
 Mr. Vanderpoel's new book is a full and concise ex* 
 poaition of his system The text is a thorough analysis 
 of the human figure from the artist's standpoint, feature 
 by feature and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half-tone, metio- 
 graph and tint — all of them masterly drawings of the 
 greatest value to the student. In addition to these it 
 contains 330 marginal sketches, none of which have 
 ever been published, showing parts of the body in vari- 
 ous positions and actions. Altogether it is the moat com- 
 plete illustrated work on the subject now extant. To 
 the student and the working artist, fes well as to the 
 general public which may use such a book for reference, 
 the publication of'Mr. Vanderpoel's life-work is of the 
 Utmost rmportaiKe. 
 
 .Mechanically the book is a beautiful one, finely printed 
 on heavy paper, solidly bound in an artistic manner. 
 
 PRICE. S2.00 
 
 THE INLAND PRINTER COMPANY 
 
 624-632 Sherman Street, Chicago, III. 
 
 New York Ofict. 1729 Tribune BKf. 
 
 Fig. 63. — A more satisfactory arrangement of 
 the subheading than that shown in Fig. 62. 
 
 [129] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPO GRAPHY OF ADVERTISEMENTS 
 
 subheading is not pleasing, while in the latter it is very 
 satisfactory. One might go even a little further in this 
 question of subheadings, and state that, even though 
 
 The HUMAN FIGURE 
 
 Drawing aad Coottruction by Joba H. Vasderpoel 
 
 MR. JOHN H. VANDERPOEL h«i been for 
 nearly thirty years one of the most distin- 
 guished teachers of drawing in America ; 
 himself a consummate draftsman, he has in- 
 structed thousands of men and women, so 
 that the list of famous American artists contains a large 
 percentage of those who have been his pupils. Hi* 
 specialty is the drawing and construction of the human 
 figure, and jn this he stands high among the world's 
 masters. His knowledge of the nude, and the clear, 
 systematic manner in which he gives it expreasion, is 
 unsurpaasrd in modern art instruction. 
 
 It Is Well Illustrated and Printed 
 
 Mr. Vtnderpoel's new book is a full and concise ex- 
 position of his system The text is a thorough analysis 
 of the human figure from the artist's standpoint, feature 
 by feature and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half-tone, metzo- 
 graph and tint — all of them masterly drawings of the 
 greatest value to the student. In addition to these it 
 contains 330 marginal sketches, none of which hare 
 ever been published, showing parts of the body in vari- 
 ous positiorM and actions. Altogether it is the moat com- 
 plete illustrated work on the subject now extant. To 
 the student and the working artist, as well as to the 
 general public which may use such a book for referencJ, 
 the publication of Mr. Vanderpoel'i life-work is of the 
 utmost importance. 
 
 Mechanically the book is a beautiful one, fiiiely printed 
 on heavy paper, solidly bound in an artistic manner. 
 
 PRICE. S2.00 
 
 THE INLAND PRINTER COMPANY 
 
 .624-632 Sherman Street, Chicago, III. 
 Nnr Ywk 0«tf . 1729 Tiibsne BI4(. 
 
 Fig. 62. — The subheading, which almost, 
 but not quite, fills the line is not as pleasing 
 as that shown in Fig. 63. 
 
 [128] 
 
 THE TYPOGRAPHY OF - ADVERTISEMENTS 
 
 the line is full, it will usually be found better to break 
 it up into two lines. In doing this, however, one must 
 always be careful to avoid breaking up the wording in 
 
 The HUMAN FIGURE 
 
 Drawing and Cooatruction by John H. Vanderpoel 
 
 MR. JOHN H. VANDERPOEL has been for 
 nearly thirty years one of the most distin- 
 guished teachers of drawing in America ; 
 himself a consummate draftsman, he has in- 
 structed thousands of men and women, so 
 that the list of famous American artists contains a large 
 percentage of t^ose who have been his pupils. His 
 specialty is the drawing and construction of the human 
 figure, and in this he stands high among the world's 
 masters. His knowledge of the nude, and the clear, 
 systematic manner in which he gives it expreaaion, is 
 unsurpassed in modern art instruction. 
 
 It Is Well Illustrated and 
 Printed 
 
 Mr. Vanderpod'a new book is a full and concise ex- 
 position of his (ystem The text ia a thorough analysis 
 of the human figure from the artist's standpoint, feature 
 by feature and as a whole. It is illustrated with 54 full- 
 page plates, variously reproduced in half-tone, metro- 
 graph and tint — all of them masterly drawings of the 
 greatest value to the student. In addition to these it 
 contains 330 marginal sketches, none of which have 
 ever been published, showing parts of the body in vari- 
 ous positions and actions. Altogether it is the moat com- 
 plete illustrated work on the subject now extant. To 
 the student ami the working artist, U well as to the 
 general public which may use such a book for reference, 
 the publication of'Mr. Vanderpoel's life-work i« of the 
 utmost importance. 
 
 -Mechanically the book is a beautiful one, finely printed 
 on heavy paper, solidly bound in an artistic manner. 
 
 PRICE, $2.00 
 
 THE INLAND PRINTER COMPANY 
 
 624-€32 Sherman Street, Chicago, III. 
 
 New York Office, 1729 Tribune Bl<(. 
 
 Fig. 63. — A more satisfactory arrangement of 
 the subheading than that shown in Fig. 62. 
 
 [129] 
 
THE TYPOGRAPHY OF ADVE'RTISEMENTS 
 
 such manner that it destroys the proper meaning of the 
 sentence. 
 
 After arranging the heading satisfactorily, one 
 
 I Hundreds of System-Readers J 
 
 HAVE in the course of the last twelve months become owners u 
 and users of "Factory Rebuilt" T)pewrilcrs. Our adver- 
 tisin^inSystemhasled them to investigate our claims. Their in- 
 vestigations provedsat'sfactory . Their names are on our books 
 THOUSANDS of System- Readers remain to be con\-erfed 
 to"Factory Rebuilts". To get their attention — that con- 
 iciout attention which is (olloned by action — shall be the aim 
 of our future talks on "Factory Rebuilts" In this we shall 
 succeed, if we can find the words to lully cxp.»ss our o«ti con- 
 fidence in our product— a confidence so well founded that it 
 cannot fail to beget the confidence of our audience. 
 
 HERE, a word about ourselves seems to be apropos. We 
 are manufacturers — builders and rebuilders — of T>-pe- 
 writers, operating one of the largest, best equipped, modem 
 tjpewriter plants, and also stores in aU large cities. Our staff 
 and working force are trained men, experts of tested ability 
 
 WE ARE financially responsible. Our thirty years' record 
 and unlimited resources say so. This places upon us 
 the obligation to "make good"— an obligation which in turn 
 compels us to promise no more than we can fulfill. 
 
 YEARS ago we trademarked our rebuilt typewriters under 
 the name "Factory Rebuilt". This was done to distin- 
 guish them from the common run of second-hand machines, 
 overhauled, repaired, patched up by tinkerers and marketed 
 by irresponsible dealers as Rebuilts. 
 \X/E MEAN to protect thf public against niisrq)r««rt»lion — our- 
 
 * ' selves against prejudice and unjust claims. Our trademark beinc 
 not only a declaration of quality, hut of ifuaranUtd quality, it is well 
 lof you to remcmbrr that "The guaranty follows the trademark." 
 
 IN OUR (uture Ulks on 'Factory Rebuilts", we shall tell you in deuil 
 ^ bow these selected machines of standard makes come to us, how they are 
 rebuilt from top to Ixittom, how their eftciency, performance, strength 
 and appearance are brought t»ck to the standara demanded from new 
 machines, how we guarantee them fully and bow, aotwithsUnding, we 
 save you from 25'^^ to IW^ on the list prices of the afifiaal manulacturen. 
 
 Wrifc t» fcilrilil Kilnii ml Mnm d aa—l itmk M»> 
 
 American Writbf Machine Company 
 
 345-347 Broadway, New York 
 
 Fig. 64. — The use of a smaller size of type 
 for the last lines of the group of body matter 
 is not only permissible, but at times desirable. 
 
 must decide upon what size of type he will use for the 
 body matter. This, in the ordinary advertisement, is 
 
 [130! 
 
 THE T YPOGRAPHY OF ADVERTISEMENTS 
 
 easily done by setting up a line or two in the size which 
 one thinks will answer, counting the words in the line 
 and comparing them with the number of words in the 
 copy. Thus, if we find that lines set in twelve-point 
 type will average eight words, and there are one hun- 
 dred and sixty words in the copy, we know that we 
 must allow at least twenty picas of space for the solid 
 matter. It is always better to be liberal about this 
 allowance, as it is much easier to space an advertise- 
 ment out than it is to space it back — and not infre- 
 quently one finds it impossible to get in all of the dis- 
 play after the solid matter has been set. 
 
 Where one has miscalculated the sjpace required 
 for the matter, and finds that he can n6t get all of the 
 copy in, it is sometimes permissible to use a smaller 
 size of type for the last lines of the text-matter, as is 
 shown in Fig. 64. This is not considered objectionable 
 — in fact, some advertisers prefer the copy handled 
 that way, as it gives them the opportunity of commen- 
 cing the " talk " with the larger and more easily read 
 type. Sometimes three, and even four, sizes are used, 
 commencing perhaps with fourteen-point and dropping 
 to twelve-point, then to ten-point, and finally winding 
 up with the last few lines in eight-point. 
 
 The display matter at the bottom of the advertise- 
 ment usually consists of the name, address, etc., of the 
 advertiser, and the compositor generally looks upon 
 this bit of display as an opportunity to "even up 
 things." If his advertisement is crowded, he condenses 
 this matter at the bottom ; if he has plenty of space, 
 
 9 
 
 [131] 
 
INTENTIONAL SECOND EXPOSURE 
 
 THE TYPOGRAPHY OF ADVEHTISEMENTS 
 
 such manner that it destroys the proper meaning of the 
 sentence. 
 
 After arranging the heading satisfactorily, one 
 
 Hundreds of System-Readers 
 
 HAVE in the course of the last twelve months become owners 
 and users of "Factory Rebuilt" T)-pe«rrilcrs. Our adver- 
 tising in System has led ihem tu investigate our claims. Their in- 
 vestigations proved satisfactory. Their names are on our books 
 THOUSANDS of Sy, item- Readers remain to be con\-erted 
 to "Factory Rebuilts". To gel their attention — that con- 
 scious attention which is followed by action— shall be the aim 
 of our future talks on "Factory Rebuilts" In this we shall 
 succeed, if we can find the words to lully expi 'ss our o«-n con- 
 fidence in our product— a confidence so well founded that it 
 cannot fail to beget the confidence of our audience. 
 
 HERE, a word about ourselves seems to be apropos. We 
 are manufacturers— builders and rebuilders — of Tj-pe- 
 writers, operating one of the largest, best equipped, modem 
 typewriter plants, and also stores in all large cities. Our stafl 
 and working force are trained men, experts of tested ability 
 
 WE ARE financially responsible. Our thirty years' record 
 and unlimited resources say so. This places upon us 
 the obligation to "make good"— an obligation which in turn 
 compels us to promise no more than we can fulfill. 
 
 YEARS ago we trademarked our rebuilt typewriters under 
 the name "Factory Rebuilt". This was done to distin- 
 guish them from the Common run of second-hand machines, 
 owrhauled, repaired, patched up by tinkerers and marketed 
 by irresponsible dealers as Rebuilts. 
 
 II/E MEAN to protect the public a{!iin«t misrepresentation— our- 
 * * wivtt iniiut prejudice and unjust claimf. Our trademark btinn 
 not ooly a dedaration of quality, hut of fuaramind quality, it i> well 
 for you to remember that 'The guaranty followji the trademark." 
 IN OUR future lalk» on "Factory Rebuilts". we shall tell you in deUil 
 ^ bow these selected machines of standard make* come to us, how they ate 
 lebuilt from top to lx>ttom, how their efficiency, performance, strength 
 and appearance are brought tiack to the standard demanded from new 
 machines, how we guarantee them fully and how, notwithsunding, we 
 •aveyou from 25*^ toSOc^ on the list prices of the «ri|ii>al manuiacturerv 
 
 American Writing Machine Company 
 
 34S-347 Browiwar, N«w Yorli 
 
 Fig. 64. — The use of a smaller size of type 
 for the last lines of the group of body matter 
 is not only permissible, but at times desirable. 
 
 must decide upon what size of type he will use for the 
 body matter. This, in the ordinary advertisement, is 
 
 THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 easily done by setting up a line or two in the size which 
 one thinks will answer, counting the words in the line 
 and comparing them with the number of words in the 
 copy. Thus, if we find that lines set in twelve-point 
 type will average eight words, and there are one hun- 
 dred and sixty words in the copy, we know that we 
 must allow at least twenty picas of space for the solid 
 matter. It is always better to be liberal about this 
 allowance, as it is much easier to space an advertise- 
 ment out than it is to space it back — and not infre- 
 quently one finds it impossible to get in all of the dis- 
 play after the solid matter has been set. 
 
 Where one has miscalculated the space required 
 for the matter, and finds that he can nOt get all of the 
 copy in, it is sometimes permissible to use a smaller 
 size of type for the last lines of the text-matter, as is 
 shown in Fig. 64. This is not considered objectionable 
 — in fact, some advertisers prefer the copy handled 
 that way, as it gives them the opportunity of commen- 
 cing the " talk " with the larger and more easily read 
 type. Sometimes three, and even four, sizes are used, 
 commencing perhaps with fourteen-point and dropping 
 to twelve-point, then to ten-point, and finally winding 
 up with the last few lines in eight-point. 
 
 The display matter at the bottom of the advertise- 
 ment usually consists of the name, address, etc., of the 
 advertiser, and the compositor generally looks upon 
 this bit of display as an opportunity to ''even up 
 things." If his advertisement is crowded, he condenses 
 this matter at the bottom ; if he has plenty of space. 
 
 9 
 
 [131] 
 
THE TYPOGRAPHY OF A DVERTISEMENTS 
 
 he spreads it out — and he is thankful more times than 
 he would care to admit, perhaps, for this opportunity 
 of covering up, by this display at the bottom, his errors 
 
 of judgment. 
 
 The printer should always be careful that the proof 
 of the advertisement is a good one — as good as he 
 can make it. Many an advertisement which looks 
 altogether undesirable when poorly proved on inferior 
 paper will be very acceptable if the proof is carefully 
 pulled on good stock. The advertiser may not be able 
 to imagine, from a rough proof, just how the adver- 
 tisement will look when printed, and to present it to 
 him in attractive form in the proof is to increase the 
 probabilities of an O. K. without any changes. If the 
 advertisement is to be run in colors, the submitting 
 of a proof in colors is desirable. With ordinary adver- 
 tisements, the pulling of a proof in colors is not at all 
 difficult. Perhaps the easiest way is as follows : Sup- 
 posing that the advertisement is to be printed in red 
 and black, with one line in red, we would ink the whole 
 form with black, carefully wipe the ink from the line 
 to be printed in red, and then ink that line in red, 
 using a small piece of roller which may be kept on 
 hand for that particular purpose. 
 
 The possibilities of color in advertising are as yet 
 practically untried, although it has been demonstrated 
 that illustrations printed in colors which show the 
 prospective buyer just what is the appearance of the 
 article advertised will attract infinitely more attention 
 than the illustrations printed in black. As an evidence 
 
 [132] 
 
 THE TYP OGRAPHY OF ADVERTISEMENT S 
 
 of this, a catalogue of rugs, issued by a department 
 store, will suffice. Illustrations of some forty rugs 
 were' shown, four of them being in colors, and the 
 orders for these four rugs outnumbered the orders for 
 all the others ten to one. 
 
 And so, in our discussion of the typography of 
 advertisements, we come to the position that if our 
 design is to be pleasing it must conform to basic prin- 
 ciples. As stated previously, the psychologists who 
 have turned their attention to the study of advertising 
 lay great stress upon the effect of the design upon the 
 mind. True, they do not minimize the importance of 
 the words, but the first impression — the basis from 
 which they must start in their deductions — is the 
 
 design. • 
 
 No one will question the fact that a painting, a 
 building, a piece of furniture or decorative work of 
 any nature, must, if it is to please the eye, conform 
 to certain principles of design. When we look at it, 
 we like it or we don't like it, and whether it pleases us 
 or otherwise depends largely upon how closely it fol- 
 lows in its form the principles which we have been 
 taught to look for and admire in other things. 
 
 And if this be true of these other things, it is just 
 as true of typographical design. The advertisement 
 which will attract the attention at first glance, and hold 
 it — which will please the eye — is, logically, the one 
 which has been arranged in conformity to basic prin- 
 
 [133] 
 
 i 
 
THE TYPOGRAPHY OF ADVERTISEMENTS 
 
 ciples, and is simple, well proportioned and harmoni- 
 ous, both in shape and tone, in its treatment. 
 
 Type display may be likened in a measure to music. 
 One does not feel that noise is necessarily music, or 
 that good music depends upon much noise. 
 
 Advertisements may, and do, vary as much as do 
 
 salesmen. , , t u 4.- 
 
 We find among the latter the loud, bombastic 
 variety, literally bullying the prospective customer into 
 
 making a purchase. 
 
 And we find also the refined, quiet-mannered sales- 
 man -keenly alert in the selling of goods, but having 
 at the same time a persuasiveness tempered with a 
 wholesome regard for our finer feelings. ^^ 
 
 The one salesman shouts, '' You want this ; the 
 
 other says, '' May I suggest " and you and I would 
 
 rather, much rather, deal with the latter. 
 
 Just so with advertisements. Some of them are 
 
 clamoring display, offensive to good taste, while others 
 
 ■ — the good kind — have the charm and elegance that 
 
 are synonymous with the highest efficiency m sales- 
 
 manship. 
 
 [i34l 
 
 li 
 
 Letters & Letter 
 Construction 
 
 fVith Chapters on Design and Decoration 
 By F. J. Trezise 
 
 THOSE interested in up-to-date printing should learn 
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 ^Ste7::TeSt^ign,withiUustrations.^^^^^ 
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 "f Sns 160 pages and 131 illustrations; artistically 
 
 bound. Price, S2.25. Postage, ^o cents extra 
 
 The Inland Printer Company 
 
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Design and Color 
 in Printing 
 
 By F. J. Trezise 
 
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 Appropriate Type-faces. 
 
 Association of Type-faces. 
 
 Simplicity in Design. 
 
 Proportion. 
 
 Tone Harmony. 
 
 Shape Harmony. 
 
 Typographical Designing. 
 
 The Science of Color. 
 
 Primary, Secondary and Tertiary Colors. 
 
 The Color-wheel. 
 
 Complementary Harmony. 
 
 Harmonies of Shades and Tints. 
 
 Arrangement of Colors. 
 
 S8s pages, paper, Si. 25. Postage, 5 cents extra 
 
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 The Inland Printer Company 
 
 632 South Sherman Street :: Chicago, 111. 
 
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 Imposition 
 
 A Handbook for Printers 
 
 By F. J. Trezise 
 
 THOUGH this handy volume contains 84 informing 
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 principles underlying imposition. The work gets down 
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 folding Its comprehensive indexing makes it a model 
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 Eight-page Forms. 
 
 Folder Forms. 
 
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 Eighteen-page Forms. 
 
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 The Inland Printer Company 
 
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Modern Type Display 
 
 A Manual in the Selection and Use of Type 
 and Ornament for Printers and Advertisers 
 
 By J. L. Frazier 
 
 Editor Job Composition and Specimen Re'vie^w Departments 
 
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 THIS goes right to the heart of the subject and tells 
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 the devices by which type display attracts attention and 
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 The cream of J. L. Frazier's constructive and scientific 
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 Fundamentals of Display. 
 
 Contrast. 
 
 Subordination and Emphasis. 
 
 White Space and Margins. 
 
 Type Styles in Display. 
 
 Capitals, Lower Case and Italics. 
 
 Interpretative Display— a Summary. 
 
 Rules in Type Display. 
 
 Shape Harmony. 
 
 Tone Harmony and Contrast. 
 
 Decorative Borders. 
 
 Initial Letters. 
 
 The Use of Ornaments. 
 
 Proportion. 
 
 Symmetry and Balance. 
 
 Contour. 
 
 Price, $5.00. Postage, 25 cents extra 
 
 The Inland Printer Company 
 
 632 South Sherman Street :: Chicago, III. 
 
 
i 
 
 Date Due 
 
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 1 
 
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 'I 
 
 I 
 
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 The typography of advertisements 
 
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