Design and color in printing by Trezise Frederick James 1875-

Author:Trezise, Frederick James, 1875-
Language: eng
Format: epub
Tags: Printing, Color printing
Publisher: Chicago, The Inland printer company
Published: 1909-03-25T05:00:00+00:00

where the copy will permit, the ideal page is the one on which either all capitals or all lower-case are used. Where more than one series of type is introduced — and this need be seldom, as the necessary emphasis can usually be given certain lines by the variety in the sizes of one series — the type-faces should have common shape characteristics. An indiscriminate mixing of condensed and extended letters, plain and decorative letters, etc., should be avoided. Everything considered, as stated above, the most pleasing and artistic printing is that which is not only confined to one series but which is set in either all capitals or all lower-case of that series.

And while we are careful to secure harmony of shapes in our design and in our selection of type-faces, we must not, as is so frequently done, overlook all consideration of tone harmony. The lack of tone harmony is most commonly exemplified in the use of initial letters, ornaments and rules, and a little thought along this line would secure much better results. We should see that the different masses which constitute the page are of approximately the same tone. When we consider tone harmony in connection with the printed page we will hardly set a job in heavy type, such as Blanchard or Hearst, and put around it a border of hair-line rules, nor will we use a heavy black initial in a page of Caslon old-style. Yet these things are found in the majority of the printing of to-day. Then, too, when rules are used for underscoring — a thing, by the way, which could be dispensed with in a great many cases with benefit to the job in hand — the rules are frequently either too light or too dark to look well with the type. A line of 24-point lining gothic underscored by a couple of hair-line rules is

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