Effectiveness of an attractive package label—Good clothes and the package—Selection of wrapping stock—Appreciation of neat wrapping— Druggists excel—The art of making a good impression—Twine, gummed-paper tape, corrugated board—The printed label as a spot of attraction—The wrapping paper as a background—Two labels of contrasting treatment— Stronger label striking—Labels not usually seen at close range—No standard size—Stock that pastes easily—Hand lettered labels as studies— Italic with a decorative quality—A label design with no border— Suggestion of Italian art—Closely-spaced black-toned lettering—Artistic quality and interest by means of typography—A study in black and white— The Aldine combination—Border, decorative device and lettering in the same key—A label design that could be improved—A Goudy type arrangement— Label with address printed in—Stock labels should be studied. BUSINESS CARDS _Page 127_ Courtesies of business—The business card as an introduction—Sizes of cards—White cards predominate—An attempt at standardization in arrangement—A model of dignity—Featuring the individual’s name—Contrast in tone—A specimen of hand lettering—A design of strength and interest— An attractive black monogram—Decorative device in color—An interesting contrast—High-hat and frock-coat treatment in French style—Arrangement in blocked Caslon capitals—Decorative device in tint—Roman capitals with italic—A representative German card—The word “decorators” furnishes the cue—Italic for dainty effects—A strong, simple arrangement—Classic arrangement in one size of type—Much information on a card—Decorative treatment that could be merged with the stock—Horizontal rule lines—A card in Bodoni—More than one right way—Styles available for all likes and dislikes—Character and personality expressed typographically—More individuality now permissible—Copperplate engravers set the style for much business-card printing—How to obtain results. THE BLOTTER _Page 131_ Business cards and blotters—Less restraint and dignity—Coarseness should be avoided—No longer an experiment—Advertising values—The size—Enameled surfaces—A model typographic blotter with calendar—Treatment should be simple—One design of type-face—Blank space liberally distributed—Natural freedom—Most blotters contain too much type matter—Relief from sledge-hammer advertising—Blotter for personal checkbook—Good taste—For a convention—Pleasing factors—Strong contrasts—Reading the message as the signature is blotted—Masculine treatment—The character of an architectural panel—Pleasure in using—Material that is used and material that is not used—A model of good taste in blotter typography—The test of time—A neat, refined arrangement—The use of large type—The narrow way— Gray features—A touch of appropriateness—Other features. POSTERS, CAR CARDS, WINDOW CARDS