Another Hearst project in the early Twenties was a new format and the creation of a typographic lay-out for _Hearst’s International_. For the lay-out, the headings of which would have to be different from those provided earlier for _Cosmopolitan_, I designed a set of initial letters, later catalogued by the foundry and called “Vanity.” Knowing that Mr. Hearst would want to use portrait heads for covers and that they would all have to be made by a single artist whose style did not permit of confusion with the Harrison Fisher heads used on _Cosmopolitan_, I approached Benda with the suggestion that if he would use one color scheme for both head and background he could probably get the contract. On seeing the first Benda cover Mr. Hearst asked how it happened that this was the only Benda head he ever liked! He was told, and authorized a contract. These _Hearst International_ changes led to my being asked to give thought to strengthening _Cosmopolitan_ headings in 1923. The request came on a Monday morning. The issue then in hand closed at Cuneo’s in Chicago on the following Friday. Mr. Hearst never urged hurry, but early results were appreciated. Obtaining a current dummy with page proofs, I headed for the ATF composing room at Communipaw, N. J. About half-past four I had personally set, without justification, every heading in the issue--using Caslon in roman and italic in the manner it had been assembled by uninhibited compositors of the Colonial period. That night, at home, I trimmed and mounted proofs in a new dummy. The mixing of roman and italic in radically different sizes and with consideration for desired emphasis, with possibly a 96- or 120-point roman cap starting a 48- or 60-point italic word, resulted just as I had visualized while the type was being set in fragmentary form. No changes were necessary, and every minute of the afternoon had been good fun. Tuesday I left for Chicago; Wednesday was spent at Cuneo’s where, using this reprint copy, all headings were set, made-up with text pages, and proved; Thursday the new lay-outs were enthusiastically approved in New York; Friday, at Cuneo’s, _Cosmopolitan’s_ managing editor closed the forms according to schedule. It had been a grand lark--and within a few weeks that free style of typography began to appear in national advertising. One morning a request came from Mr. Hearst to use color at every editorial opening in _Hearst’s International_--a startling innovation at a time when illustrators were accustomed to drawing or painting only for reproduction in black and white or for an occasional insert in process colors. Closing day on the current dummy was only two weeks away. With the aid of editorial substitutions it was thought we could make the date. Taking a dummy showing possible signature distribution of colors, I made the round of studios to find artists agreeable to the use of one extra color.