Opening the text

The Art & Practice of Typography: A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of ArrangementGress, Edmund G. (Edmund Geiger)

History

The Art & Practice of Typography: A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement

Name: The Art & Practice of Typography: A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement
Author: Gress, Edmund G. (Edmund Geiger)

Gress, Edmund G. (Edmund Geiger)

Advertising layout and typography -- United States; Graphic design (Typography) -- United States; Printing -- United States -- History

EXAMPLE 140.—A page notable for the harmony between the tone of the
type-face and decoration. The illustration has been treated by Beatrice
Stevens in a decorative spirit, and is very effective. The capitals of
the body matter are used for the “Chapter III” line, and smaller
capitals for the descriptive line under it. The plain initial is more
effective than an ornamental one would have been.

EXAMPLE 141.—A title-page of classic design in Scotch Roman type. The
anchor and dolphin, originally the device of Aldus, as enlarged in
outline has much to do with the effectiveness of the page. The dignified
beauty of this page makes it worthy of close study.

EXAMPLE 142.—A further demonstration of the beauty of classic
typography. Fred. W. Goudy has done many things worth while, but none
better than this. He not only designed the smaller type-faces and
lettered the large lines in harmony, but arranged the page and, in its
original form, printed it. American typography owes much to Mr. Goudy
and it is a pleasure to include this page here.

[Illustration:

  EXAMPLE 141

  A title-page of classic design, with an Aldine anchor device. By
    William Aspenwall Bradley
]

EXAMPLE 143.—This is a page from one of the Roycrofters’ serious efforts
in bookmaking. It was printed in dense black ink on white stock, the
large text initials standing forth in pleasing contrast.

EXAMPLE 144.—This is a page from a book by Theodore L. De Vinne, and
probably presented his personal ideas in book typography. Notice the
spacing around the subheading, and the treatment of footnotes. The first
line under the subheading is not indented.

EXAMPLES 145 AND 146.—D. B. Updike, of the Merrymount Press, is
responsible for the typography of these pages, which are a portion of a
book containing the ceremony of marriage as performed in the Protestant
Episcopal Church. The type is a special letter based upon early forms.
The book was printed in black and vermilion. Mr. Updike, with Rogers,
Goudy and others, believes that the way to improve typography in America
is to do typography as well as it can be done. He established the
Merrymount Press in 1898, and has arranged and printed many fine
volumes, in addition to much high-grade small work.

[Illustration:

  EXAMPLE 142

  Classic feeling expressed in a modern title-page. Designed by Fred. W.
    Goudy
]

The Art & Practice of Typography: A Manual of American Printing, Including a Brief History up to the Twentieth Century, with Reproductions of the Work of Early Masters of the Craft, and a Practical Discussion and an Extensive Demonstration of the Modern Use of Type-faces and Methods of Arrangement

No reviews yet