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Typo: A Monthly Newspaper and Literary Review, Volume 3

Design in Typography. Some Practical Hints

page 95

Design in Typography. Some Practical Hints.

XXXII.

However large the number of characters in a combination, they are, as we have shown, all developments of a very limited number of geometrical forms, and are therefore capable of classification under a very few heads. It is self-evident that, however free and ornate the border may be, its basis is necessarily geometrical; and directly the plainer forms of running border are departed from, and the floral or foliated style is introduced, the art of the designer is shown in disguising the rectangular forms by which the design is built up. As an instance of a successful effort in this direction, we may refer to Bruce's Chinese combination No. 57, characters 32-41. We are not able to show these; but those of our readers who are able to refer to the founders' specimen-sheets will see that the curved lines on these pieces are so ingeniously arranged that when they are used in combination the most practised eye has some difficulty in mentally separating the component parts. On the other hand, some very recent floral ornaments of American origin, noted by us when they appeared, are brought close to the type at so many points that their rectangular character is painfully apparent.

In pursuing the subject of classification of characters, we have been necessarily led to anticipate in some degree the final section of this series of articles—the department of Combination Borders. It is necessary, in dealing with the foundation of the whole subject—the elementary forms—to trace these forms into some of their combinations and elaborations. Having done this, and clearly defined the thirteen classes into which the constituent parts of all ordinary combinations may be resolved, we have now to return to the simpler—and on that account the more widely useful—forms of running borders, in the use of which no greater artistic skill is required than to see that the pattern is not broken by reversing the pieces, and no more mechanical skill than to observe proper justification, so that an effect may be avoided at once destructive to the type and ruinous to the design—the border working « off its feet. »

No experience of the beginner is more common or more annoying than this. It may arise from opposite causes—the border being too tight or too loose. In the first case it will spring, and rise at one or more of the corners—in the latter the pieces, having too much play, lie partly sidewise, and there is a tendency on the part of pieces of the border, and the corners in particular, to drop out of the form.

When this effect, in ever so slight a degree, is seen, the work should at once be attended to, as every movement of the press or rollers tends to increase the mischief, which, if allowed to continue through a long-continued run, becomes irreparable. When a well-cut border stands true, the joins in the pattern are scarcely perceptible. When it is tilted, each type rests on one edge, the opposite edge at the top catching the full weight of the impression, the separate pieces standing—to use a somewhat exaggerated comparison—like the teeth of a saw. The highest angle of the type bears the full brunt of the planer, digs into the rollers and becomes foul, and is unmercifully crushed by the platen or cylinder. The impression at this end is black and heavy, the edge of the type as well as the face making an impression. From thence the impression becomes fainter, and in a bad case disappears altogether at the opposite end, being borne off by the uptilted edge of the next piece. All continuity of design is lost, every piece in the border may be counted, and the broken, piebald, and dentated effect is peculiarly hideous. The mischief does not end here, for the types, on examination, will be found to be seriously flattened at one end of the design and at the opposite end of the foot—they have acquired a permanent set off the perpendicular, and will never stand straight or give a good impression again. First and foremost, in border composition especially, avoid the slovenly and destructive practice of sending a form to press with the type off its feet.

Careless and hasty justification is the general cause; but the fault does not always lie wholly with the compositor. The varying standards of different houses have much to do with the evil. He may have a large fount of border and no justifiers from the same foundry, or an insufficient quantity; his quads may have been mixed from causes beyond his control; and even when the type and justifiers are from the same manufacturer, and professedly agree, there is often a sufficient discrepancy to produce this undesirable result. The compositor must never depend on his quads. He must test his work at every step, and at the last—though the task may be tedious and thankless,—must be sure that his work is right in this important particular.

If the defect appears, make no change in justification until the true cause is discovered. A single lead too long may push the whole form out of square. A lead too short is sometimes worse, as it is less easily detected. A space or thin type slips down at the end of the lead, and causes a « bind. » Avoid the error to which all beginners are prone, of putting hair-spaces, short pieces of lead, or other thin justifiers at the ends of lines. They are certain to slip, and cause mischief. Even when the form is carefully and accurately composed, the mischief may occur in the lock-up. A warped or uneven chase, or a piece of furniture bulged, battered, or slightly too long, outside the work, will throw the whole page out of justification.

This lesson in justification is so important—applying to the plamest as well as the most ornamental work, that we have written largely upon it. We hope all our younger readers will ponder it well. It is truly a matter of « design, » for no ornamental composition, no matter how artistic, can be other than a dismal failure if the type is in the least degree « off its feet. »