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Design in Typography. Running Borders.

Continuing the subject of the simpler forms of Running Borders, we have to add in regard to the standard or regular corner (B or C) on the body of the border, that it may be cast in four several ways, without affecting the design:—

(1)	as a square
(2)	as an L-piece
(3)	in halves—each half a right-angled triangle
(4)	in pairs—running-pieces with mitred ends (halves of No. 2)

The L-piece, being the neatest form of corner, has its advantages, but is not so useful as the square, as it restricts the limits to which tbe size of the border may be reduced. Thus, in the half-nonpareil border, the smallest possible space enclosed, in either direction, is 2½ ems, or 30 points. On the other hand, the « Preciosa » border, of about the same body, may be set close if required, or made to enclose a single unit of space, and any larger amount desired, in gradations of one unit, or three typographic points. The mitred, or half-corner, is at present almost unknown, being confined to one or two recent German combinations. Now, however, that « angle quads » are coming into general use, and work is so often crossed with bands at an angle of 45°, the half-corner will be in demand, and it may in time to come form a part of nearly every new border. The blank spaces in the diagrams in the margin show where the half-corner could be used with advantage.

Having pretty fully described the elementary forms of which the simpler borders consist, it is fitting to examine some of these simple elements, and to see what use can be made of them. The simplest of all, the one-character border, is almost universal in its adaptations. As we have already seen, it is at once running-piece, corner, and centre; but it is more than this. It may be doubled, when a nonpareil border becomes pica. In the same way, it may be trebled or quadrupled. It may be worked as a single border within or without a double one. It may be wrought into ornamental or fantastic corners. It may be worked as a simple or compound « Greek Fret. » These are some of its uses; it is also available as a groundwork, and in more ways than one. First, of course, set solid. It may be set checker-fashion, or with even a larger proportion of white. This may be done with one color. Where three or four colors are used, a practically infinite variety of beautiful effects can be obtained, in exact proportion to the artistic skill and patience exercised. There is no pattern in Berlin-wool or cross-stitch embroidery that could not be accurately imitated. (In fact, these patterns, in art-needlework books, are commonly composed from type, the varied colors being indicated by squares of different patterns.) We have indicated only a few of the effects that can be produced with a single symmetrical character on square body. Of course a good weight of the sort would be required, and plenty of justifiers—but single character borders are certainly the cheapest!

We proceed now to the symmetrical border of two characters. The simplest form is that of parallel lines, on em body. This pattern forms two entirely distinct borders, according as it is composed side-wise or end-wise:

The same corner applies to each, but turned in a different way. (And here we may add that, even in specimen-books, we have seen these corners deliberately turned the wrong way, marring an otherwise unexceptionable job. But for this, we should not have thought it neessary to point out that corners used thus are incorrect.) The corner being used when required, the two-character border is capable of nearly all the applications of the single-character, besides possessing numerous special applications of its own. The running-piece alone is capable of producing an indefinite variety of patterns of plaited or mat-work, equally suited for borders or ground-tints:

We are dealing with patterns composed from a single sort, but we may add that the simple and beautiful plait designs have been almost if not entirely overlooked by typefounders' designers. Three extra sorts would enable any ornamental plait to be represented in type. These are: the em running-piece closed at one end, an em running-piece cut off diagonally by a boundary-line, and the half-corner already described. There is nothing fantastic or ridiculous about plait patterns, and where a groundwork is used, they are always chaste and appropriate.

The adaptations of a simple corner, either by itself or in conjunction with the running-piece, are so extensive as to require a separate article.