[_The chapters following are devoted to the consideration of typography as practiced in the twentieth century._] PART TWO THE “LAYOUT” MAN _Page 35_ Typography in the twentieth century—Compared with the past—Perfection not attainable—The spirit of the master craftsman—Inspired work—The necessity of careful preparation—Every printshop should have a layout man—When a building is erected—Quality printing is not accidental—Shop style—Layout men in large and small shops—Please the customer—Typography essentially a business vocation—Orders obtained thru “dummies” submitted—Selecting a layout man—Type equipment should be appropriate and sufficient—A working outfit for the layout man—Portfolio of sample sheets—Laying out a small booklet—Paper, margins, type page and size of type—Words to a square inch—Arrangement of title-page—Specimen pages in available body type—Use of crayon and pencil—Dummy submitted to customer—Duplicating it in the workrooms—Dummy sheets for periodicals and large catalogs—Incorporating illustrations in the text matter— Marking copy for machine composition—The average stationery job—A patchwork of typographic styles—Different results if handled by a layout man—Studying color harmony—Determining color combinations—The colder color should predominate—Indicating the finished result—Proofs in the colors and on the stock to be used—Blending paper stock—Laying out advertisements. HARMONY AND APPROPRIATENESS _Page 41_ “Leit-motif”—The central idea in composition—Harmony and appropriateness—Undervaluing their importance—What is appropriate?— Discriminating judgment required—Discreet selection of type, ink and paper—It makes a difference—As to type-faces—As to inks—As to papers— Simplicity synonymous with good typography—The ideal printshop— Harmonious type-faces, ink colors and paper stock—Certain amount of contrast desirable—All capitals or all lower-case—Harmony of type-faces and borders illustrated—Typographic sins—In typography there should be a motive—“Is it appropriate?”—An architectural motive—In which strength is the motive—Design suggested by an old lock-plate—Typographic motive found in woodcut borders and initials of early printers—A millinery booklet cover—A page severely plain and non-sentimental—A program for a church service appropriate to the environment—A page in keeping with a festive spirit—Typographers should give support to artists—The Colonial arch and a title-page—The better the typographer, the more restraint will he exercise. TONE AND CONTRAST _Page 47_