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Design in Typography. Contrast in Display.

Design, Display, and Decoration are the three points to be considered in ornamental composition, and each must be taken in its own order. Herein lies the fundamental difference between ordinary jobbing work and the attractive pages in a typefounder's specimen. In the latter, the natural order is inverted: decoration is often the first consideration, and the general design is found in practice to be quite inconsistent with any class of ordinary work. This is one reason why so many handsome designs in the specimen books are found of so little practical use in the average office. It is not always through incompetence on the part of the workmen: the real reason is that the combination is only suitable in rare or exceptional work. There is therefore a solid reason for the very general preference, on economical no less than artistic grounds, for the « straight-ahead » style of running borders. They are much less liable to misuse and in most cases look better than Egyptian, Assyrian, Japanese, or other elaborate combinations.

First, Design. This subject we have already dealt with. As used in these articles, the term signifies, primarily, the general or fundamental idea of the work as distinguished from its details. Let the design, for example, be architectural. It is manifestly improper to rear upon lofty columns an imposing edifice, and support the whole upon a foundation of leaves and flowers. If it be a banner, a line of letters apparently carved out of stone, casting a deep shadow, with architectural end-pieces, is egregiously out of place. Yet we have seen both these examples in actual work—of the latter we had a standing instance for many months in a printers' trade paper. Anything inconsistent with the general design gives it an appearance of unreality, and completely destroys its intended effect. Temples built upon a row of roses, or banners supporting several hundredweight of stone letters, are as false in art as they are ludicrously incongruous.

The second consideration, Display, is subordinate to the general design, and may be entirely absent. The banner for instance, may contain a closely-set announcement, without a single display line.

The third point, Decoration, we shall deal with at considerable length, in due course.

Our last article was devoted to Harmony in Display. We now proceed to the consideration of contrasted effects. Contrast, both in form and color, is the leading feature as a general rule in posters, handbills, theatrical announcements, &c. It also makes a great feature in trade notices. The draper who proclaims that he is clearing off his goods below cost, or the auctioneer who announces a great sale of furniture, as a rule do not appreciate subtle harmonies of form and color. Æsthetic considerations must give way to those of a more practical kind. Bold and striking contrasts are in such cases appropriate; and there is ample opportunity for the tasteful workman to exercise his skill.

In all kinds of displayed work, a few lines of subordinate matter greatly relieve the effect produced by the large lines, and impart an appearance of solidity to the whole. It is often worth while to forego all attempts to bring out lines of considerable importance, in order that the main features of the work may have due relief.

Contrasts may be bold, but should not be violent. And we may add that this rule, like every other relating to contrasts and harmonies, applies to color as well as form. Here is an instance of bold contrast:

Important Sale of Salvage Stock for the Benefit of Whom it may Concern.

Hawkes & Sparrow

Have received instructions to Sell by Public Auction, at their Mart, Main-street, on Saturday, 3rd May

Absolutely Without Reserve

The following Salvage Goods from the late Fire:— 200 Cases Kerosine 20 Casks Brandy 5 Tons Gunpowder

All more or less damaged by Fire. Also A Miscellaneous Lot of Drapery Goods Tea, Sugar, Rice, and other Groceries Damaged by Water.

And this is a specimen of violent contrast:

A Rare Opportunity!

To Make Room for New Shipments W. E. T. Blankette Draper 18 Clearing off Last Season's Stock

At 300 Per Cent.

Under Cost Price.

To give even typical instances of the various kinds of contrasted effects would be impossible. The styles of type and the varieties of work are so numerous that each several job has its own character.

In a well-stocked office it would not be difficult to set an average business card one hundred different ways, and each one satisfactory. It is about eighteen years since Messrs. J. & R. M. Wood, in the London Typographic Advertiser, offered a premium for the best setting of a small card, the copy being supplied. The subject was a ticket of admission to a lecture. Some hundreds were sent in, and were all published in fac-simile in the Advertiser. All imaginable styles of display were represented. It is needless to say that no two specimens were alike. The majority were very bad. Some were the work of apprentices whose ideas of display were of the crudest. The most pretentious attempts at ornamental work were generally the worst. It is a remarkable fact, and bears out a principle laid down in our last article, that the card which obtained the premium, was set throughout in plain romans of various sizes, with a plain page 24rule border. The balancing of the lines, the spacing, and the contrasts of light and shade, were admirable, and the piece of work stood out like a gem among the crude and gaudy attempts at display by which it was surrounded.

We give two specimens of contrasted effects in display:

The Publisher of Typo Will Give Insertion to Illustrations Representing any New Inventions in Machinery or Appliances Connected with Papermaking, Printing, Engraving, or Bookbinding.

Electrotypes may be sent direct, or through our Agents, Messrs J. Haddon & Co., 3 Bouverie-st., Fleet-st., London; and Messrs Palmer & Rey, Sansome-st., San Francisco.

Specimens of New Designs in Types are duly acknowledged, and carefully preserved.

Publications Reviewed

Advertisements in this Paper cannot be detached from the Reading Matter.

The most glaring instance of violent contrast we ever met was perpetrated by an amateur who set an octavo page so full of large display lines (from five-line roman downwards, and nearly all full), that he had to take all the leads out, and then had only a nonpareil space left for the address. The first and last lines of the page therefore presented the following astonishing contrast: