



Produced by Richard Tonsing, Chris Curnow and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive)









                       _The_ ART & PRACTICE _of_
                               TYPOGRAPHY


[Illustration:

  THE FIRST PRINTED DECLARATION

  Fac-simile in reduced size (original type form about twelve by
    seventeen inches) of the Declaration of Independence officially
    printed about July 5, 1776. It was this setting of the Declaration
    that was read before Washington’s army. Reproduced direct from the
    original in the Congressional minute book of July 4, 1776
]

[Illustration]

[Illustration]

[Illustration]




                       _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


                             Second Edition

[Illustration]

                                  _By_

                            EDMUND G. GRESS

                      EDITOR THE AMERICAN PRINTER

                AUTHOR THE AMERICAN HANDBOOK OF PRINTING


                NEW YORK·OSWALD PUBLISHING COMPANY·1917

[Illustration]




                        Copyright, 1917, by the
                       Oswald Publishing Company


[Illustration]

------------------------------------------------------------------------




                  TO THE TYPOGRAPHERS OF THE PAST WHO
                   MADE THE ART HONORED AMONG MEN AND
                   TO THE TYPOGRAPHERS OF THE PRESENT
                   WHO ARE RESTORING TO PRINTING ITS
                      ANCIENT DIGNITY THIS BOOK IS
                               DEDICATED




                           TABLE OF CONTENTS


                                                      PAGE

             AUTHOR’S PREFACE                          vii

             SYNOPSIS OF CONTENTS                       ix

             LIST OF REPRODUCTIONS                     xvi

             LIST OF DESIGNERS                          xx


             WHEN BOOKS WERE WRITTEN                     1

             THE ORIGIN OF TYPOGRAPHY                    7

             THE SPREAD OF TYPOGRAPHY                   13

             TYPOGRAPHY IN COLONIAL DAYS                19

             TYPOGRAPHY IN THE 19TH CENTURY             27

             THE “LAYOUT” MAN                           35

             HARMONY AND APPROPRIATENESS                41

             TONE AND CONTRAST                          47

             PROPORTION, BALANCE AND SPACING            53

             ORNAMENTATION                              59

             THE TYPOGRAPHY OF BOOKS                    67

             BOOKLETS, PAMPHLETS, BROCHURES, LEAFLETS   75

             CATALOGS                                   83

             PROGRAMS                                   91

             ANNOUNCEMENTS                              99

             TICKETS                                   107

             LETTERHEADS AND ENVELOPS                  111

             BILLHEADS AND STATEMENTS                  119

             PACKAGE LABELS                            123

             BUSINESS CARDS                            127

             THE BLOTTER                               131

             POSTERS, CAR CARDS, WINDOW CARDS          135

             ADVERTISEMENTS                            139

             NEWSPAPERS                                147

             PERIODICALS                               151

             HOUSE-ORGANS                              161

             TYPE-FACES                                169

             IMPRINTS                                  195


             APPENDIX—GREETING CARDS

[Illustration]




                            AUTHOR’S PREFACE


In the preface to the first edition of “The Art and Practice of
Typography,” the author stated that he did not “anticipate again having
the pleasure of producing a book as elaborate as this one,” but the
favor with which the volume was received made another edition advisable,
and in consequence he has had the additional pleasure of enlarging and
revising it and of producing a volume even more elaborate and with a
better selection of examples.

The task of rewriting and replanning the second edition was near
completion when America entered the war against Germany, and now, a few
months later, the book is presented to the public. The first edition was
published in February, 1910. Work on the new edition was begun by the
author in the latter part of 1913, and so great has been the task, in
addition to his customary editorial labors, that almost four years have
passed.

The extent of the work will be comprehended when it is mentioned that
there are twenty-eight chapters, in which the illustrations or
typographic arrangements, numbering six hundred and fifteen, include
forty full-page specially-printed inserts. Most of these illustrations
or typographic arrangements are in color. The text matter, which makes
direct reference to the examples, totals nearly one hundred thousand
words.

That these examples are mostly high-class and by many of the best
typographers in America (Europe also being represented), is due to the
fact that the author during his connection with _The American Printer_
has received several thousand pieces of printing, from which selections
were made for this work.

Great care was exercised in the choice of examples in order that the
book would not become obsolete, and it is believed that most of the type
arrangements shown will be considered good for a hundred years to come.
That this is possible is proved by the Whittingham titles on page 32,
one of which is sixty-eight and the other seventy-three years old at
this writing. These titles were set up when most typography was poor,
yet few other type arrangements of that time would meet approval today;
which indicates that it is not _when_ printing is done, but _how_ it is
done that makes it good or bad.

Attention should be called to the plan of this volume. There are two
parts, the first having to do with typography of the past and the second
with typography of the present. Good printing of the present has a basic
connection with that of the past, and for this reason one part is
incomplete without the other.

The entire first part should be studied before any of the ideas in the
second part are applied to present-day problems, and especially should
the chapter on Type-Faces be patiently read and studied. The printer
should first know type-faces and then learn how to use them.

In the chapters on Harmony, Tone, Proportion, Ornamentation and other
art principles the author does not intend to advocate that his readers
shall make pictures with type or build pages that are merely beautiful.
The first requirement of typography is that it shall be easy to read;
the second is that it shall be good to look at. The efficient
typographer studies the copy and arranges it so that the reader’s task
is an easy and pleasant one.

                  *       *       *       *       *

In planning the second edition the general style of the first edition
was retained. However, an effort was made to change the style,
especially of the binding, but so satisfactory was the original that it
was again adopted.

The historical chapters in the first part have been revised and slightly
altered, but they are practically as before. Extensive changes have been
made in the second part. The text has been thoroly revised, and better
typographic examples substituted in many cases. These chapters
especially have been greatly altered: Booklets, Catalogs, Announcements,
Letterheads, Billheads, Business Cards, Posters, Advertisements,
Imprints.

The chapter on Type-Faces is all new and has been enlarged from ten to
twenty-four pages. New chapters on the following subjects have been
added: Package Labels, Blotters, Newspapers, Periodicals, House-Organs.
In place of the medley of contest specimens in the appendix of the first
edition, there are halftone reproductions of more than one hundred
attractive holiday greetings.

No one realizes more than does the author the minor defects in
typography, presswork and other details that are present in this volume,
yet the effort of a Hercules and the patience of a Job have been
expended in making everything as correct as possible. As the book now
stands, it is a reaching after the ideal, with human inability to attain
perfection. It is needless to point out imperfections; the reader will
discover them.

In his selection of examples and recommendation of type-faces the author
has been entirely free from pressure from any source. If certain
type-faces are favored, it is because the author believes he is doing
something for the cause of good printing by favoring them. What has been
written has been written with sincerity.

                  *       *       *       *       *

It is well to mention that the “Pilgrim’s Progress” title on page 21 is
not genuine. Having seen the book on exhibition at the New York Public
Library, the author arranged to have it photographed and included in
this work. The sequel to this is interesting and rather humorous. When
the chapter on Type-Faces was being written and Caslon types were being
studied, the author was startled to find that the types used on the
“Pilgrim’s Progress” page were the same as those William Caslon was
supposed to have designed forty-four years later. Greatly puzzled, the
author made a trip to the library and examined the original. He
immediately saw that the type-face used on the body of the book differed
from that on the title. Discovering a note on the fly-leaf signed by
William Pickering, the explanation dawned on him. The book was probably
owned by Pickering in the middle of the last century and the title-page
being missing a new one was set up, printed and inserted when the book
was rebound. It was Whittingham, Pickering’s printer, who revived the
Caslon types about that time, and he naturally used these types as the
nearest approach to the English types of the period, 1678, when
“Pilgrim’s Progress” was first published.

                  *       *       *       *       *

It is impossible to mention by name all of those who have in one way or
another assisted and encouraged the author in the production of this
volume. A list of acknowledgments would include typographers of
international note and typographers-to-be whose prentice hands need
guidance. It would include office associates and those of the workrooms
whose interest and attention to technical details helped much in the
effort to make the work worthy.

There is one, however, were such a list printed, whose name would lead
all the rest, the man who, back in 1903, conceived the idea of this
book; without whose business support this elaborate and costly work
would have been impossible; whose ideals have been an inspiration; whose
confidence and encouragement generated the energy and enthusiasm that
have attended the author during the fourteen years in which this work
has been building. It is a privilege to pay this tribute to John Clyde
Oswald.

                                                        EDMUND G. GRESS.

 New York, July, 1917.




                          SYNOPSIS OF CONTENTS


                                PART ONE


                        WHEN BOOKS WERE WRITTEN

                                _Page 1_

The printer and typography—Definitions and derivations of trade words—
Printing with separate types practiced between 1450–1455—Books
previously written by hand or printed from wood—The Middle and Dark
Ages—Latin in written books kept knowledge alive—Meaning of
“manuscript”—Writing materials—Arrow-shaped writing of the Chaldeans—
Papyrus rolls of the Egyptians—Ink, paper and block-printing supposedly
invented by the Chinese—Dressed skins and palm leaves used by Hindoos—
The Hebrews wrote upon stones and animal skins—We owe the present Roman
alphabet to the Phœnicians—The word “alphabet” derived from the first
two letters of the Greek alphabet, Alpha and Beta—The bards of Greece—
Manuscripts written by slaves—Papyrus imported from Egypt—Development of
parchment, and what it is—The great Alexandrian library—Length of rolls—
Story of “Septuagint”—Destruction of the Alexandrian library—Rome
supersedes Alexandria as an intellectual center—Cæsar credited as the
founder of the first newspaper—“Short-hand” writing—The period of
Emperor Augustus a memorable one in literature—Producing large editions
of manuscript rolls—Books were plentiful and cheap—Elaborate parchment
rolls—Origin of flat-sheet books—Hinged waxed tablets—Destruction of the
library at Constantinople—Drift of literature toward the East—
Transcribing and decorating holy writings in the monasteries of Europe—
Monopoly of learning gave power to Church of Rome—Since the seventh
century monastery manuscripts in Latin, the official language of that
church—Translation of Bible into “Vulgar tongue” forbidden—William
Tyndale’s English translation—Martin Luther’s German translation—Making
of manuscript books in the Middle Ages—St. Benedict sets the monks to
work copying manuscripts—Popularity of cloisters—The scriptorium and the
rules governing scribe or copyist—Tools and materials—Rubrics—
Illuminating—The copyist at work—A beautiful Irish book—Illuminators’
colors and binding of manuscript books—Missal, Psalter, Book of Hours—
Donatus, books associated with the Middle Ages—First types were
imitations of current Gothic lettering—Types cut in style of Roman
lettering—Ancient Roman writing all capitals—Evolution of Roman capitals
into small or lower-case letters—The uncial and half-uncial—Minuscule
and majuscule—Development of writing toward both heavy pointed Gothic
and the Roman style used by Nicholas Jenson—Cursive, a “script” letter.


                        THE ORIGIN OF TYPOGRAPHY

                                _Page 7_

The invention of typography marked the beginning of a new civilization—
The beginning and end of the Middle Ages—Printing with separate metal
types an evolution—Demand for playing cards and sacred pictures—Engraved
wood blocks—Block books, and method of printing them—Coloring cards and
pictures by means of stencils—The oldest dated specimen of printing—The
first block books probably Latin grammars—The “Art of Dying,” the “Bible
of the Poor,” and the “Mirror of Human Salvation”—When, where and by
whom was typography invented?—The inventor failed to print his name on
his product—Almost every European country claimed the honor—All claims
disproved excepting those of Germany and Holland—Weight of evidence is
with Germany—Typography was practiced by Gutenberg at Mainz some time
during 1450–1455—Claims of priority for Coster of Haarlem—Story of the
invention by Ulrich Zell the earliest testimony on the subject—Dierick
Coornhert’s version—The unfaithful servant—Dignified gray heads point
out the house of “the first printer”—Hadrian Junius and his “Coster
Legend”—Fashioning the bark of a beech tree in the form of letters—
Changing the letters to lead and then to tin—Old wine flagons melted
into type—A workman, John Faust, steals the type-making instruments—
Cornelis, an old book binder—The story dissected—Peter Scriverius has
another version—A clap of thunder—Confusion of dates—A statue erected to
Coster in Haarlem—“True and rational account” by one Leiz—Gerard
Meerman’s story—The sheriff who printed with wooden types—Robbed by a
brother of Johann Gutenberg—Jacob Koning awarded a prize for his essay
on the invention—Makes researches in Haarlem archives—Corroborates some
details in preceding stories—For many years Coster given equal honor
with Gutenberg—Investigations by Dr. Anton Van der Linde—Forgeries and
misrepresentations revealed—Haarlem practically surrenders its claim and
alters its school books—Records of Louwerijs Janszoon and Laurens
Janszoon Coster—Van der Linde goes to Germany, alters his name and
writes a book—Hessels translates the book into English, and afterward
becomes a Haarlem advocate—Coster proofs are weak—Haarlem claimants
unable to agree as to Coster’s identity—Gutenberg a tangible human
being, and probable inventor of the art—Parentage of Gutenberg—The
family removes from Mainz presumably to Strassburg—Was the new art
practiced at Strassburg?—Records of a lawsuit—Gutenberg agreed to teach
Andrew Dritzehen certain trade secrets—Fust lends money to Gutenberg and
takes a mortgage on his printing office—Fust seizes all types, presses
and books—Records of this suit evidence of Gutenberg’s invention—The
famous Forty-two Line Bible—Gutenberg again establishes himself as a
printer—An appointment from the Bishop of Mainz—Dies about 1468—H. Noel
Humphrey’s tribute—Peter Schœffer—Copies books at the University of
Paris—Becomes Gutenberg’s assistant—Assumes charge after his master’s
death—Marries Fust’s daughter—The new firm publishes a Psalter—First
book with a printed date—Features of the book.


                        THE SPREAD OF TYPOGRAPHY

                               _Page 13_

The city of Mainz—A conflict between two archbishops—The city is set
afire—Fust and Schœffer’s printing office burned—The workmen flee to
various parts of Europe—A table of the spread of typography from Mainz—
In Germany—John Mentel at Strassburg—Albrecht Pfister at Bamberg—Ulrich
Zell at Cologne never printed a book in the German language—Arnold Ter
Hoorne first to use Arabic numerals—Gunther Zainer at Augsburg first in
Germany to print with Roman characters—Heinrich Keffer at Nuremberg—John
Sensenschmidt at Nuremberg and Bamberg—The Bamberg Missal—Anthony
Koburger at Nuremberg had twenty-four presses in operation—In Italy—
First type printing done in the monastery at Subiaco—Conrad Schweinheim
and Arnold Pannartz brought from Germany—Ulrich Hahn first printer in
city of Rome proper—John de Spira first typographer at Venice and had
exclusive right—Nicholas Jenson comes to Venice and uses a new Roman
type-face—Story of his introduction to the art—The first page of
displayed type composition—J, U and W not in books printed by Jenson—His
office passes to Aldus Manut