Letters and Lettering Part 4

The letters in both these examples are modeled after old work, and both display an unusually keen grasp of the limitations and possibilities of the forms employed, especially in the former, 153, where the use of capitals to form words is particularly noteworthy, while in general composition and s.p.a.cing the spirit of the letter used (compare 179) has been perfectly preserved.

[Ill.u.s.tration: 104. MODERN AMERICAN CAPITALS. EDWARD PENFIELD]

[Ill.u.s.tration: 105. MODERN AMERICAN SMALL LETTERS. EDWARD PENFIELD]

[Ill.u.s.tration: 106. MODERN AMERICAN COVER DESIGN. H. VAN B. MAGONIGLE]

[Ill.u.s.tration: 107. MODERN AMERICAN CAPITALS. H. VAN B. MAGONIGLE]

Mr. Edward Penfield's work first attracted attention through the series of posters which he designed for 'Harper's Magazine' with unfailing fertility of invention for several years. During this time he evolved a style of letter which exactly fitted the character of his work. The cover design shown in 103 displays his characteristic letter in actual use; while the two interesting pages of large and small letter alphabets by him, 104 and 105, show the latest and best development of these letter forms. The heading [102] shown in 102 exhibits a slightly different letter, evidently based upon that used by Mr. Penfield.

The capitals by Mr. H. Van B. Magonigle, shown in 107, are derived from cla.s.sic Roman forms but treated with a modern freedom that makes them unusually attractive. They appear, however, to better advantage in actual use in conjunction with a design, 106, than when shown in the necessarily restricted form of an alphabetical page panel.

[Ill.u.s.tration: 108. MODERN AMERICAN CAPITALS. B. G. GOODHUE]

Mr. Bertram G. Goodhue, whose designs for type have already been mentioned, is a [104] most facile and careful letterer. Although his name is more intimately a.s.sociated with Blackletter (examples of his work in that style are shown in the following chapter), he has devised some very interesting variations of the Roman forms, such as that used in 108, as an example.

[Ill.u.s.tration: 109. MODERN AMERICAN t.i.tLE. WILL BRADLEY]

Mr. Will Bradley uses a very individual style of the Roman capital, often marked by a peculiar exaggeration in the width of the round letters, contrasted with narrow tall forms in such letters as E, F and L. Mr.

Bradley has become more free and unconventional in his later work, but his specimens have always been noteworthy for beauty of line and s.p.a.cing; see 111. Figure 109 shows his employment of a brush-made variant of the Roman form; [107] and 110 shows both capitals and small letters drawn in his earlier and less distinctive style.

[Ill.u.s.tration: 110. MODERN AMERICAN CAPITALS AND SMALL LETTERS. WILL BRADLEY (1896)]

[Ill.u.s.tration: 111. MODERN AMERICAN COVER. WILL BRADLEY]

[Ill.u.s.tration: 112. MODERN AMERICAN TICKET. A. J. IORIO]

The ticket, 112, designed by Mr. A. J. Iorio, suggests what our theatre tickets might be made. In s.p.a.cing and general arrangement of the letters and the freedom of treatment, Mr. Iorio's work may be compared with much of the [110] work of Mr. Bradley. Figure 113 shows a modern Roman capital form modeled upon the work of Mr. Bradley.

[Ill.u.s.tration: 113. MODERN AMERICAN CAPITALS. AFTER WILL BRADLEY]

[Ill.u.s.tration: 114. MODERN AMERICAN CAPITALS. MAXFIELD PARRISH]

[Ill.u.s.tration: 115. MODERN AMERICAN t.i.tLE. MAXFIELD PARRISH]

[Ill.u.s.tration: 116. MODERN AMERICAN CAPITALS. A. B. Le BOUTILLIER]

Mr. Maxfield Parrish commonly employs a widely s.p.a.ced letter, fas.h.i.+oned closely after the old German models, beautiful in its forms, and displaying the individuality of the artist in its composition. The form and use of Mr.

Parrish's usual letter is well shown in 114; and the t.i.tle from a book cover design, 115, shows yet another example of the letter in service.

The lettering of Mr. A. B. Le Boutillier is always notable for s.p.a.cing and composition. Figures 117 and 118 exhibit excellent capital and small-letter forms (which, by the way, were drawn at the same size as the reproductions); and [111] the two other specimens of Mr. Le Boutillier's work, 116 and 119, which are reproduced to show his letters in use, will be found exemplars for s.p.a.cing, composition, balance of weight and color, and, in the latter drawing, for harmony between the lettering and the treatment of the design.

[Ill.u.s.tration: 117. MODERN AMERICAN CAPITALS. A. B. Le BOUTILLIER]

[Ill.u.s.tration: 118. MODERN AMERICAN SMALL LETTERS. A. B. Le BOUTILLIER]

[Ill.u.s.tration: 119. MODERN AMERICAN POSTER. A. B. LE BOUTTILLIER]

[Ill.u.s.tration: 120. AMERICAN BOOK-PLATE. CLAUDE FAYETTE BRAGDON]

The form of letter preferred by Mr. Claude Fayette Bragdon is represented by the page of small letters, 59, which, as we have already said, are closely modeled on the type alphabet designed by Jenson. In Mr. Bragdon's version they represent an excellently useful and conservative style of small letter. They are shown in use, with harmonious capitals and italics, in the 'Literature' cover design, 121. In the small book-plate, reproduced in 120, Mr. [112] Bragdon has used a very graceful variant, especially noteworthy for its freedom of serif treatment; and in the letter-heading, 122, he has employed an attractive capital of still different character.

[Ill.u.s.tration: 121. MODERN AMERICAN t.i.tLE. C. F. BRAGDON]

[Ill.u.s.tration: 122. MODERN AMERICAN LETTER-HEAD. C. F. BRAGDON]

Mr. H. L. Bridwell has originated the singularly excellent letter shown in 124, which is founded upon some of the modern French architectural forms.

He uses it with great freedom and variety in s.p.a.cing according to the effect that he desires to produce. In one instance he will jam the letters together in an oddly crowded line, while in another we find them spread far apart, but always with excellent results as regards the design as a whole.

Something of this variation of s.p.a.cing is shown in 123. In the numerous theatrical posters which Mr. Bridwell has designed--and which too seldom bear his signature--he employs a great variety of lettering. Sometimes, of course, the freedom of his work is restricted by the conservatism of clients; but often the letter forms here ill.u.s.trated add to the style and distinction of his designs.

[Ill.u.s.tration: 123. MODERN AMERICAN COVER. H. L. BRIDWELL]

[Ill.u.s.tration: 124. MODERN AMERICAN CAPITALS. H. L. BRIDWELL]

[Ill.u.s.tration: 125. MODERN AMERICAN CAPITALS. FRANK HAZENPLUG]

[Ill.u.s.tration: 126. MODERN AMERICAN CAPITALS. FRANK HAZENPLUG]

[116]

[Ill.u.s.tration: 127. MODERN AMERICAN COVER. FRANK HAZENPLUG]

Mr. Frank Hazenplug, the author of much clever decorative lettering, has evolved a very black and striking style of capital that still retains grace. Figures 125 and 126 show two sets of Mr. Hazenplug's capitals. A book cover on which he has used small letters in an original way is reproduced in 127. Figure 129 shows the employment of a heavy-faced letter similar to that exhibited in alphabet 126, but suggestive in its serif treatment of Mr. Penfield's letter.

[Ill.u.s.tration: 128. MODERN AMERICAN t.i.tLE. EDWARD EDWARDS]

Mr. Edward Edwards employs a letter, 128, which, though rather conventional in its lines, is noteworthy for its treatment of serifs and its s.p.a.cing.

Mr. Guernsey Moore's letters shown in 130 are naturally better both in intrinsic form, s.p.a.cing and composition than the widely used "Post Old Style" types which were based upon them. The large and small letters displayed in 133 show a form that, at the present writing, seems to be in considerable favor. It is, however, too extreme, and its peculiarities are too exaggerated to allow it to become a permanent style. But like the extravagant German forms [117] already referred to, it has also apparent advantages; and a few of its characteristics are not unlikely to survive in some more conservative adaptation.

[Ill.u.s.tration: 129. MODERN AMERICAN COVER. FRANK HAZENPLUG]

[Ill.u.s.tration: 130. MODERN AMERICAN t.i.tLE. GUERNSEY MOORE]

[Ill.u.s.tration: 131. MODERN AMERICAN t.i.tLE. HARRY E. TOWNSEND]

The letter by Mr. Harry Everett Townsend shown in 131 is most distinctive in effect--a more refined form of the rapidly drawn character shown in 138.

Mr. Howard Pyle often gives us charming bits of lettering in connection with his ill.u.s.trations. The heading, 132, shows a characteristic line. Most of Mr. Pyle's lettering is "Colonial" or Georgian in style, though the initials he uses with it are generally rendered in the fas.h.i.+ons of the early German woodcuts, somewhat similar to Holbein's initials for the "Dance of Death."

[Ill.u.s.tration: 132. MODERN AMERICAN HEADING. HOWARD PYLE]

One of the most original of American letterers is Mr. Orson Lowell. Usually closely conjoined with design, his lettering does not show to its full value when reproduced apart from its surroundings, for much of its charm depends [118] upon its harmony in line and color with the accompanying drawing Mr. Lowell has taken the same basic forms as those used by Mr.

Penfield, and has played with them until he has developed a series of most ingenious and fanciful letters. The examples reproduced in 136 and 137 but inadequately show a few of the many forms that Mr. Lowell employs with remarkable fertility of invention and delightfully decorative effect of line. The small letters, 135, shown opposite his capitals, 134, are not by Mr. Lowell, nor are they in any way equal to his own small letters, of which regrettably few appear in his published work; but they may serve to exhibit a similar method of treating a much more conventional form of minuscule than Mr. [122] Lowell would himself use for the same purpose.

Despite its unconventionally, however, an examination of Mr. Lowell's work will show that each letter has been developed to fit the s.p.a.ce between its neighbors and to balance and relieve their forms; and that, fanciful as some of the shapes may appear, they have invariably been knowingly worked out, and always appear harmonious and fit.

[Ill.u.s.tration: 133. MODERN AMERICAN LETTERS. F. C. B.]