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
Gress, Edmund G. (Edmund Geiger)
Advertising layout and typography -- United States; Graphic design (Typography) -- United States; Printing -- United States -- History
EXAMPLE 308.—It is seldom that an envelop corner is treated so
harmoniously and artistically as the one under consideration. The
general character of the decorative device is matched by the style of
the type-faces used. The squaring of the type group also adds shape
harmony. This corner card, designed some years ago, is proof of the fact
that good work is always good.
[Illustration:
EXAMPLE 309
An elaborate envelop corner
]
EXAMPLE 309.—Seldom should an envelop corner card be as elaborate as
this one, but when such an arrangement is allowable, as in this case,
the design shown is worthy of consideration. The type-face is Caslon
with Caslon Text, and the bands are made by using square ornaments with
alternating blank space inside of rules.
[Illustration:
EXAMPLE 312
The non-stock-ruled type of billhead, with a panel in which name, date
and other items are recorded. Showing use of roman lower-case
]
[Illustration:
EXAMPLE 313
Remove the words “Sold to” and the rule work, and this could be used
as a letterhead. Showing use of italic lower-case with spaced roman
capitals
]
[Illustration]
BILLHEADS & STATEMENTS
The printer called on to produce a billhead has a responsibility seldom
fully realized. He has a duty to himself, to his customer and to those
who come after, which is best carried out by suitable and dignified type
composition. A business house has been known to use the same design of
billhead for fifty years, and it is a fact that many merchants cannot be
persuaded to change the style of the billhead, no matter how homely it
may be.
Billheads and statements should correspond in style to that of
letterheads and other forms of stationery, and in changing the design it
must not be forgotten that these other forms should also be altered to
harmonize. The paper should be of the same finish and color, and the
main features of type arrangement similar. The type-face must be the
same on all.
The standard sizes of billheads for commercial purposes are:
8½ × 5½ inches, 8 out of a sheet 17 × 22.
8½ × 7 inches, 8 out of a sheet 17 × 28.
8½ × 9⅓ inches, 6 out of a sheet 17 × 28.
8½ × 14 inches, 4 out of a sheet 17 × 28.
Professional billheads are usually an inch or two smaller than the
smallest size of commercial billheads.
There is a variety of sizes in statements. Popular sizes are those cut
out of folio (17 × 22 inches), which then measure 5½ × 5⅝ inches, and 5½
× 8½ inches.
[Illustration:
EXAMPLE 310
In which are presented the principal features of the average
commercial invoice, or billhead. The customer’s name is placed in
the lower left corner
]
[Illustration:
EXAMPLE 311
How a letterhead may be converted into a billhead. The upper portion
is also shown as Example 283 in the chapter on letterheads
]
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