Design in Typography. Compound Borders.

It is fitting that, before we proceed to the consideration of the more elaborate forms of border, we should consider how work may be adorned by using two or more simple running borders in combination with each other. This does not constitute a « combination border » as the term is used in these articles. We confine that term to a series in which one or more simple borders are interlaced, or enriched with specially-devised corner- or centre-pieces; or to those series in which the various units are so designed as when properly arranged to form an architectural or other realistic pattern. In these cases, though portions may be detached and separately used, every piece has (or should have) a defined relation to the whole, and cannot be omitted without injury to the scheme. There are, however, es-specially in the German books, numerous series which do not come under this category. The synopsis may contain an indefinite number of characters—perhaps thirty, perhaps a hundred. But on analysis they will be found to consist of simple running borders on various-sized bodies, each with its appropriate corner, any of which may be used apart without reference to the rest, and which, in fact, may be purchased separately. These we class under the category of Running Borders.

The great proportion of printing is done in black upon white. The engraver, however, in designing a border, by the due arrangement of lines and dots, can produce any intermediate shade between solid black and pure white. In the earlier borders, the same general tone prevailed throughout the whole design; but modern refinements of engraving, combined with an awakened æsthetic appreciation of color effects, has produced designs which, when printed in black upon white, give practically a three-color effect, as, for example: Solid black pattern, gray tint shade, white ground; or white pattern with solid black shade on gray ground. In our last issue, we referred to Herr Weisert of Stuttgart, as having specially developed this method of design. Something of the same effect may be produced with separate borders, when judiciously used; but the patterns should always be well considered before two separate borders are used in combination. And here is one rule, which adhered to, will save much trouble and annoyance.

Never (unless in the rare cases when the work is exactly square) use borders of different standards (as, for example, pica and emerald), in combination.—Even when the work is square, there is trouble in justification; but when the sides differ in length (as in an octavo page) the effect is always bad. It is often attempted, but never succeeds. It looks bad, for this reason, that the borders cannot be, (except where there is a fortuitous coincidence of the standards), kept a uniform distance apart. So that, besides the difficulty of justifying, the compositor may find his borders separated by a nonpareil em top and bottom, and by a sixth-of-pica at the sides.

The Cincinnati Foundry has a fine series of borders designed to work in combination with each other and with brass-rule. They are east to 3-, 6-, 9-, 12-, 18-, and 24-point, and new designs are frequently added. Each is complete in itself, but admirable effects are produced by using them in combination. They exhibit every depth of color, from a small chain-border in white on solid ground to the finest outline borders. As these borders are the most convenient for our purpose, we will make chief use of them for the purposes of illustration.

First, we would draw attention to the tint patterns,—the most useful of all in combination. These examples are on nonpareil and half-nonpareil respectively: Recently the foundry added a great many new tints to the series, some heavier and some lighter than these; but we are unable to show them, and those we have are sufficient for illustrative purposes. Let a compound border, two ems pica wide, be required for a card or circular, and the borders on that body are found to be too heavy or otherwise unsuitable. We find nonpareil and half-nonpareil borders as follow: There is room here for a great variety of compounds, but some would be entirely unsuitable, on account of a want of harmony in the component parts. Here, however, is a good combination: It will be seen how the central pattern of nail-heads is strengthened and set off by the narrow borders. And not by the borders alone, for the half-nonpareil white is quite as important as any other part of the arrangement. No fact in ornamental composition, and particularly in border-work, is so often overlooked as the necessity of allowing a due proportion of white space to give relief to the design. Take away the half-nonpareil white and note the difference. The open appearance of the first is more pleasing than the crowded effect of the second. Here is a variation on the first pattern, the tint being brought inwards. Each affords a good example of the use of the tint, in softening off the outlines of the more defined borders, and in allowing a change of pattern to be made without the effect of incongruity. Take away the tints and notice how the border is weakened: Here is another combination, in which the tint occupies the centre, the stronger border furnishing the outline: Here again the effect of the white space may be clearly seen by comparing the first example with the second. We prefer the effect of the tint borders used outside the pattern, in which case they should come close, producing the effect of a shade: The second of these is symmetrical rather than realistic, for in nature shadows are not observed to fall equally on opposite sides of an object. A tint used in realistic fashion as a shadow may be seen in the headpiece on page 109. As a general rule, in a shaded border, the shadow is thrown either inwards or outwards, all round, and a single corner does duty. A realistic shadow requires a separate design for each corner, and when these are thoughtfully provided, the comp frequently puts them all in wrong!