Revised Studio Handbook Lettering

8/13/2019 Revised Studio Handbook Lettering

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/\//6

II \ \ D II IJ II hLETTER I nqfyMZZ?

04tf7 ISO PAGESLETTERINGDESIGN AND

LAYOUTSNEWALPHABETS

FREDERICK J. DRAKE {.CO.


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Ml)/

COPVRIOHT i960

FREDERICK j DRRKE CaCHICAGO

PRinTED in U.S.A.


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FOREWORD

^^lessingsontheheads of thePhoenecians

or whoever gaveus our alphabet.

Greater praise be tothose who have notonly made it usefulbut also ornamental.Hand lettering anddesign will alwaysremain an art; so tnisbookpicks up the re-frain and carries iton. To professionalsand amateurs, here ismusic for many a^battle ^^>


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TA&LE OF CONTENTSCV^

CONTENTS

WHYS ^WHATSON LETTERING

WHAT LETTERING CAN EXPRESS

OCCASIONAL LETTECLING-FIFTY J'TYLEwT

MODERN PACKAGE DESIGNA NE vv J- e CT I ON

LETTERING THAT COMMANDSGET BALANCE IN LAYOUTS

PANELS * WILL HELP YOU

CODY-BOX COB-NECLS TWENTY-NINE STYLES

DAGE RULESTHIRTY-FIVE STYLES

BOR.DER. SUGGESTIONS*

USE ORNAMENT DESMON

R.IBBON/DINGBATS*- THEATRICAL MA/K/THE D&.INTEJUT RULES*

TYPE CHAR.ACTER.SPUBLICATION SIZES*

DAG^S9*v23

24^-26

27 >- -32

33N..58

59 -v-73

74 -^-82

83 % 95

s, . 95

97 -v .95

99-V104

05^10607*^108

09^113

-^114

15^116

-^117

l-v1 1Q


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TABLE OF CONTENTSCO NTINUtO

CONTENTS PAGES

HtSTOlLY OF THE LETTER 119^126OLD AND MODERN ENGLISH- 127^,129

THE GER-M AN BLACK LETTER/ 130^134

FRENCH SCRJPT 135^140

ALL MODERN ALPHABET/** I41X20&

THE REVI/EO/ECTION* 209X243LATE/T IN LETTERING

FIND THE RIGHT THE ' - 244X247

TRADEMARKS 248V25IMONOGRAM/ 252X256QUESTION MARKS X257AMPER/AND/ \258NUMERALS 259X264

HELPFUL HINT/** ... 265X267SIQN WRITERS ALPHABETS 26S-2S2


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FOR XRTIMS AND ADVERTISERS


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Ability

Q*%e ability to drawJ JbeoL\JLtivLlly isan accomplishment

The ability to drawplain,simple lettersis an accomplish-

ment also, ^ >*But of little usewithout the skillto compose themeffectively;

vy


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lettoiiv^Is more than

a mere side lineof drauring, it is

an art worthyof specializationa side line is

aonqe in awhilebut 'lettering is

now in steady-demand*. ~~\>?


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Jfie Massing

Improvised Letter

formation for bodycopy paragraph orpage arrangementUse full round ovals

condense the verticalelements - - and a

slightly brokenalig*

nmentadds to theunique appearance

of the entire pro-duction ^ ^

12


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Good Choiceof LETTERING

To a de/igfh whichrequires lettering

Hand Letteringadds a grace andbeauty that is asattractive as the

design itself.Careful lu

choose a letter toconform with thedesign

xy &

*y

&> & &* ^13


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Its the truth/

It is more difficultto design a goodpage of letteringthantofillfhe samepage with a Soodpicture * * * *

This makesthe designers

problem stillmore difficultalthough not

hopeless * ^u


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e tier met

O^en tkat are notfamiliar mlk a certainstyle Atfill not use it,kence tke lack of\?anet>0

Express jyour

thougkts anpl ideas

m letters tkrou^Ja\Pider ckdnnels andobtain Variety*

IS


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EveryIndividualletter

must havecare in the makingfor it has as muchto do with the looksof a finished wordas features haveto a face.And more care

shouldbe taken inspacing of words

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Hand- craftLettering j$does nob deport ct onmechanical perfectionas its basic principle

Criticism consistingof individual letteranalysis according totype or the standard

alphabets ^ ^ wouldobliterate UandfctteKcraft as an applied art

It would have noindividuality and itsreal value would helost both from an art-istic and commercialViewpoint ^ ^ *

However this doesnot mean that basicprinciple should beentirely sacrificed -*

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'/A LETTERING /#

Jitle page is anunderta\ing onlyfor the mop I skilled

Ihe letter should

be easy to read */he design shouldhave balance toplease the eye ~

V

lh

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no.

enlarged upon ana -perfected throughthc

usages ofiArl andJ\leratureisbasedon

the theories of ^orm,and Design enwlvedbydncientjlomans -

in theirmonumentalInscriptions, yet/

^e%rmwhich theyaltainedti unequal-edlo dale


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~

Be Original-^Alphabets areoriginal only soferas individual

treatment andtechnic-alters

the appearancewilhoutchang'e

of basic-~

- - principle - %20


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if everythingyou letteredwould show-' individualtechnique ?

Your -workwould thenbeoriginal and-would be more

Individualitypredominates

21


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theimportanceof the

unequal spacingp

cap-itals of irregularshape is often under-rated ' fault is some-

times found withcapitals awkwardlyfitted when the com-

ositoris at fault


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Six foremost letter Artists

of today

HARVEY H' DUNN

A^o

WJBT

Bertfch


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StudioNeeds

TOF>

Virtists ****Advertisers

2T


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Letteringcan epfrress ihe/ottowinp Ideas

\jQmininity JJjtfiqtttttj, NOUCLTy GomMa/uf/ Style, Craftsman; Conservatism PERMANENCE

Syi\copdiiof{ RUGGEDNESS__w


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LETTERINGand lis meanina

OLD ROMANPROPRIETY

imaiALrSINCERITY

DIGNITY


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C

^tterlag^Various(Occasions/

J ho, designer isoften at a Toss fortimety tetterinqsuch as

QnfxouncGrnQntsQrQQtinqs ~

^loUo/tlos ~(


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^anityjair'urn

^Wouldn'tyou

like

For Those Vfho Know

Jour boy needs a

GicludivecMBiie^/ a

Roady Jox'EmorgQn

be F

vnormer28


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b^iftfijivenueJVew 6

One Watch with the

We invite mail ovdevb and

Oqftest antelope leather^

CostunieFJculleur

c ?or/iQm Sterling Silver

/Jiamono c/Li'iyfc T

(jrecU varveii/

ode AAost Beautiful in

GAreo. &zc/?er Girfs

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trirst irrizt Jcmama{-jooa taste, a aides

v7our of our

jowyors

GranQ's dCinen c$lsDn

WhoIs Letter-lirfect In

ParOaJMhfaccepia

La lemme Uu rlon(xFnmk. c }Mterfiou4er

\Kq daintiness of a.

(Zt ^hirfy'-o^i/ikSireet_ ^Jt30


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HOLEPROOF CIsiiltocpirajilhs

Stephens Motor C

Tojyour favorite Paris

lis use and enjoyments

J rnai'-tr Ecorvortvy

^ans Importations 15

por pVcrvvoKcrc

Where to Live t

WellRallyRoundTvy

31


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PIERCE-ARROHIGHWAY CAR

CIGARETTE SEGRENOVILLES

Wedding gifts-iiius*

attractive a

HAVE DECIDED VPCRESCENT ROUTE

UNDERWOODA32


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LETTERING


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MODEP.N PACKAGE DESIGN

MEAN MOfcED EMAN DFOftTHOSEDOING THE

LETTERINGAND DESIGN

34


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LETTERam

m

OMMANDINGEFFECTS OBTAINEDBY THE USE OF MM-IF TTEMNG ADDS TO

THE DISPLAY QUALITYOF MODEAN PACKAGE

DESIGN35


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INTERESTED IN

MODERN

DESIGNSEE PAGES THAT FOLLOW36]


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THE PRGKRGE


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MAKE SET UP'

BOXES THATCAN BE MADEAT LOW COST


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FOLDING'DISPLAY CARTONSDIE-CUT OH COVtfcFOR STICK-UP OUPLAY


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v FOLDlNG DISPUY CARTONS

DIE-CUT

STICK-UPOISPLAY

BACKWITH FOLD

OVER ENDSAND

CUT-AWAY*&OHT

DIE-CUT

>UUO?F FOHTWITH tAStL COT -OUT OF THE

CARTON BACK


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SELF-EASELED COUNTER. DISPLAYSDIE-CUT AND SCORED FOR SHIPPING FLAT

FIATDISPLAY SET*

Ai


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SELF-EASELED COUNTER DISPLAYSMADE LAR.GC.fl FOR. WINDOW DISPLAY

T ?Imut ITEMS'LLF-LASIL

ISPLAXS


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DESIGN ON THE PACKAGE


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DlSPLAYONWHAT THEPACKAGECONTAINS

SWAHS

OISIGHS 5HOWIHGPRODUCT OISPLAY

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DESIGN ON THE PACKAGEGOOD US E OPILLUSTRATIONIN O fc $ I C H

NEEDS A LOTOF THOUGHT


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DESIGNING LABEL DISPLAY


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THE

ARRANGEMENT

OFHAND LETTERINGIN THE STUDY OFDESIGN IS

AN ART THATTYPESETT E RSCAN NOT OBTAIN50


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Direct ~fi rom the

JTeaGarden

to your -v

. Tea Pot51


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Dealershave it

LOOKREAD

iJclmeft^


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Saving Pie ciMorning

for'Bksiness/

SUPER-SERVICE

4

53


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'LETTER'STRENGTHThis Shows Judgment

Hhc first of eveiymonth will bring*a check to yourbeneficiaiy as longas he or she lives

'through

THE PRUDENTIALContinuous MonthlyIncome Policy


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TRADE - MARKEDLUMBERPRODUCTS

qMwInclude th flour

Jfiwt Useful

Douglas Fir ^Cal. White Pine

Southern Pine55


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XcursionsCclliforniat

OloradoNew MexicoArizona. .

andthe ZNationalParl^


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2o*CenturyLimitedThe acceptedway of makingthe overnightjourney between

Chicago andNew \brk

5?


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CALIFORNIA

BARTLElfPEARS

BUY THEM BE-FORE THE SEASON

IS GONEbuy them by the dc%en58


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1 1 ii mmH/VTromooo

o


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Ihis . : (\ SroallerTootkHL /l/Hf/ Brushy

**'' / \ better/ I/, .Dishpan/


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m;-m


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lkeJt*> cyfm you, Jetting

youjjsJdri grow m&?

VK New Models

^hV^i SlcomnKj*7

S3


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/

010

hour^Jn noxunGxnq

SpeabcZer0/ {

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ruined

M*^ yon cars, tajtef


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JorLuncly

/?0CW S

THE

at

I Q^ QUITTERYWhere everyougo*

Smartthe

but durable

/-Wl later *


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TlGWSouthwesl,TallGain/

event efficiency

3flH0lt


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Classmates

Wilt berJfthe MOME , u

0} your dreams/

*\ mommyyour Jrm

T


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Pineapple Pie

THRILL YOU SOPunctures

repaired

ulere isIt loads like

tnmnessi h p None Better

A Jit Obtainable atl_ /Costs jbuless*


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r ?=a

r^el dy RealBqys f

this^D#7

sss is/&/ sendybr this,'Tree/ _ , _ _ _^ 'ValieidVantage

69


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Qveryweek

because70


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J~\Q#7hreeand One-half

tjfhmk Talk With~

&J0HND.MOKPHT

atisfaction*

JIuto rr/

JifterVantty

wi\


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oMatched71


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Nifty WOKcTor

Jdfte GUARANTEED

Unbeatable

Two Great jSensational*

ton^Tdttfldtions

Specials?73


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WHERE THE EYE STOPS MOST PLEASING MARGIN

GENERAL LAW OF CENTER MARGIN- ISTO HAVE THETHE OPTICAL CENTER IS ABOVE WIDEST AT THE BOTTOM THECENTER. LAW 15 THE REASON TOPNEXT-THE SIDES ALIKE

A PLACE FOR BLACK HEADING OP A PAGE

ON THE OPTICAL CENTER. THE HE ADIMG 1 5 WHATIS A SPOT FOR SOLIO BLACK THEY WANT SEEN (FIR.ST)OR A LITTLE TOUCH OF COLOR SOWEMAKE IT (BLACKER)

W74


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4

INGOOO BALANCE POORLY BALANCEDA BADLY BALANCED PAGE O F LETTERING FAILSPRIMARILY IN ITS OBJECT BECAUSE. IT DISTRESSESTHE NERVE THROUGH THE SIGHT. * * * * r *

VERY GOODBALANCE PICTURE BALANCEIT PUTS THE EYE OF THE HUMAN BEING OUT OFLINE WITH THE LAW OF GRAVITATION ' ' 'THE APPLICATION OF THE LAW OF GRAVITATIONTOTHE EYE 15 CALLED BALANCE. ^ ^ ^

W


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Rugs like new after 14 years

Vhe HOOVER75ig Advertisers find pen technique an assent lotAe earn-

paign,. %Drdwino:*s for /Advertised products suc/t as thzTioover Electric Charters. TdkeonNewlik beadiest ofResourcefulness of Artist?.

7e


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listening-to the melodies

of the masters

THfc ABOVfc ILLUSTRATION ATTRACTSTHfcYE BECAUSE OF THE ANGLE FROM WHICH

7///S DRAWING WAS MADE DRAWN FROM AN t L L VA T I ON - lHl*k FORt ITCOMPLLS THt PUBliC TO STOP AND LOO*

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^

Uhc purpose of t/iis'LAYOUT' is to /end to2/tQ contair^Qr and coupon.

W78


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HOLLEY

oPlvo gray lines make Me point to be emphasisedthe bull's -eye of Me advertisement

79


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[ It jigg CoU Dm*|| vPy j tW.n*^>ywr wJJT)

SO


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4*&4_

Chili con Came?

Casalsmore/

JHESE LAYOUTSSHOW GOOD

PICTURE AND *JR*mCOPY BALANCE

4

AL ftOX/

aICE

81 -V-


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Jhese also have ''quality

and NOW- ^f ^SfS >with tirawberries

/// / // What AboutYour// Water Supply/

Layne &BowterPumps

lieges of Profit

V V. [JTABLI5HEO IN ( X %

J?

1-WHATS

yOUR. INITIAL7

THE OAKLAND 5ANK

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HOWWHENWHYandWHERE

to use a ^

panel:

t yO /J83


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mead that

^o accomplish thisthe Designer must he astudent of composition,and good balance.

Ihis layout mustcatch and hola the publiceye.

With the aidof panelsand lettering which*commands, he can carrythe eye to different ~points ofinterest.^ndthe ad sells f

m XJ S>^64


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4

LargestShip

intheWondis anAmerican

Ship

THE PANEL HAS BEEN OF GREAT VALUETO OBTAIN BALAHCE AND COA POS/r/ONIN THE ABOVE LAYOUT-THE BlRDTAKESTHE EYE OUT OF THE PAMEL

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Whole Paivel^

PoiyeLr andthei*many

Uses/

Panels are verylvelpfulin^etting$ooci Balance to

Layoutyw

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PANELS ' ^e> < ^>


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Pauvols C6X

as


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SSK

Parcels *


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PANELS ~ -

90


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Panels %

J^sg^ =^^^^

PLATEI GlassJ

v w01


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Tanolr JC JP Jp

Oftr^93


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Hal/ Panels // //

94


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Hdlf/PancV S f

y 9*


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BOX CORJMEFLS

n1 H #

rni f \

96


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c 3F

PaSfe Rules

g s te>3>

%^*


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PogeRiileifc

G^ cassa Oo - = yi P

900

9

>

z g

? ^

m acgaffi * bbbs2

*< =***

9


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* Border Suggestion/*^w

m>0


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Border Suggestions

TT

TCD

I

i

1

I

T

100


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Bordei* Suggestions,KJlrl |i

. y ,^. fI S II^M j Mil ( .Jli B*NK(A'

: 3 aP EMMm\ HE 3 I \A\ v\K

|fj :. linJ 3 If) *ttHYji s 3 III IT ' vlKj3 F 3 u \


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1I %o%

w


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Border Suggestions w

s

u j

s

8

ft


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1

BORDER* SUGGESTIONS ^=

INI IS ] Sill 1111

= 11 5 a ] II 1= N if a ] II=;

J

Is

a

a

3

I

II1 1 HB

01

3

3 IInHI

I a 3 IIII HI n 3 III

'

I 9j| S01 3 II II

1 HI I a 3 II IIs Hi I c ] 11=

1sS

c

c

c

3

3

3 II= mil n : C3 II II=

u s = C3 91=ll I

C3

II 1

==

1S W5 C

C

3

3.

3I

|1 Jl 5 I c 3 II

S3 HI s ii=S H II

i p-jI c I'm

M HI H 111 K S II HI n IIs I II| S H ii

||M I II

II H| n IIII INI

Mr 1 111 III 1

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1IL

S^^jili ^~^- To *


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ORNAMENT

106


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RIBB0NS


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ft DINGBATS

109


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DINGBATST?

no


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ngii i nuiunuimm Din^bat/S -+


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DINGDAT5

1W


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MASKS

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The Printers RuleHe measures upanddoturtHis widthis one wmore columnsHis hei^tisin*Pomts,P2oas,Emsand Affate lines77he>Q a*o 72 Points to the inch

m m * 12 M * a, pica- * w 6 Picas M the zno/itt ft . g Ems M wm .. - 12 Picas M co2.. 14 Agate lines iwcA

one A$ate equals 5/6 pointsHe finds the number of linesof type to the inch, by dividing*72 trg the type s/;?x? in points. Example? ( 8 point typo used)

(72) divided by (8) equals (9) linesType siz$s run from 3> pointsto 72 points high.

One column newspaper is12 picas or (2) inches wide,

Magazine columns are more ExampleGopii space 4 columnswide -140 lines deep,~ equalsaspaee 8xio inches, When typesize is not mentioned ^ ~~ ^

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Point Faces

1 POINT

2 POINTS

3 POINTS

A POINTS

6 POINTS

8 POINTS

1 1

12 POINTS

1 1

14 POINTS

i i

18 POINTS

AND 3024 POINTS

-36-42-48-60-72- POINT FACETYPE

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^> ^o ^v*

Most used Tijpe CharactersTHESC ARE A8 POINT TYPE FACE

jfr i nil ii

i i^ |M

Artcrajft

CaslonBol-Cheltenham-

CooperCooper BlGoudyBoldGoudy ItalicParsons ~ ~. ~Caslonltal.

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Publication Siz^s

Public acti oiv Pe^eSrze

American MagazineGood Housel\epm$^he LiteraruDigfes tXjlIQ . v

Motor Lire^ *

Saturday EveningfPostLadiesfiome JournalCountry Gentleman,WomansnomeGampanion

Newspaper -v ^

7X10^6i

7&XI0%8x ro

8&XI2t* t

8^6X11^4ft

85fexil9fe

9%Xl2Jfe

*%

17 X 21/2

1 1x25 feet4 Sheet BillboardSketches drawn ~ inchtothe foot

^ ^M

1IB


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ROMANLETTER


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9 he letters themselves are a develop-ment from the Arabic and Qreeh.and later, theRoman. The letter we callRpman is the most beautiful in exis-tence.and forms the basis for nearlyall civilized alphabets. It reachedavery high development in inscriptionson tombs andmonumentsin ancientand mediaeval Rome and Italy. It\has been adapted and modified bynearly every type founder orletterer.

The Roman letter used in theEnglish speaking nations has come

'down to zts through the Italiansand through the Qermans it hasgrown into the modem Qerman-Qothic, a letter which is very strongand heavy and solid, hut lackingin grace or elegance.

The different national temper-aments are well expressed in ^tfie type of lettering each uses.The graceful light, and vivaciousscript came from France.

Roman has been broughtto its highest modern develop*ment by the Englishman 'Jtm.Caslon, and the heavy blackfacetype is distinctly German. \7.

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(j/Z^R^Tnan Letter

the most difficult~o compose into words

artisticallyspacing ofthe teller ptays a great

share un the resuits,


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OLD ROMANTag letters on this plate >tfcre dra^tv

from a photograph of a portion of* tileinscription, at tkebase of t(\e TrajanCohmm af Pome, dated (im A.D.)

ABCDEFGILMNOPFLSTQVX ^7

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ROMAN'Trvis alpkabet of Capitals founded on

tnc letters of tke inscription on tfie baseof Trajan's CblumTvRome.cracted bet-ween 106 and no a.d. Tke charactersnot given in tke inscriptionare supplied,together witR tke^,CE,Qnd&.

Tîs alpkabet, tkoug(\ following tr\eTrajan letters closely, fyas many points ofâriance.Têreismore difference itvtfveproportion of }Re tkick and thin strokestfvan in (Ke origirvgl.

ABCDEFGHIJJKLMNQPRSTUVWXY^CEG

23 W


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ROMAN13kcs


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ROMANtoKcsc Capitals made for ff\is

special alphabet careful parallelstudies of tfe types ofjoqnr\es Spirt]and Nicolas Tenson from t\e editionsofPliny, printed at Venice, 'Cfai topSpirq in, 1469, JensorCs in. 147^

AndfroiuCiceros Kpistles, prmtedbyJenson in 1470. T/ve le Liars as tfveyqppeqr qre f(\e best of the assays,and arc, different in detail from anye^istinq type.

ABCDEFGHIJKLMMNOPRSTUV6c CE .

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aommc(fl


126/289

#f?Sf?M

*HafcMaljijkl

itraopqristuMttXgl234.

127


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0LD ENGLISHhih mil mil gj S gi iiiii mil urn urn I

a,

CSCS>

jtgggMgjTjgC128


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- modmt^tigttehj* ^

v?

dfotitf$hik= ^

129


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6prmanHIac1}Gpttpr*

slight script- v


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WMPD

14


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UNIQUE

II

BASEDON

ROMAN LETTERS


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Alphabets

WEEKTOTOScreen Comedian

ABCDEFG

HJKLMNPCffiSTIIVt142


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IS

UuohprsiJlrt-CfiHe *

ABCDEF GHIJKLMKOPQRSTUVabcdefgkijk

lnriRopctrsii

143


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GHIJJKLNMPQRS-TUVWXYabcdefghij

klmopqrst


147/289

ABODEFGHUKLMNQPKSTUVWXYZSetbcdefghijklmnopqrsfuvwxyz.


148/289

ABCDEFGHIJKLMNOPRST

UVYgBBEiHBBEBEBBBllMfflBll^lBBTOSHE IBgabcdefghij

klmnopqrstuywv


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PJEVISEPX

FGHIdKPST\ffti

abcdef&h.

ijtjmnop


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this letter is very ooocLwhen used small ^

cABCD&FGWRUWfOPQRSTUPWXVZTfV-abcdefpghijihhrrnopqrst

vy


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J

DEFL

TUVWY

pgrstuvui150


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ABCDEFGHIJKIMNOMPCLRSTUVWYZpabcdefghijklnmopqrstuvM[y&>

123156789

ROUND POSTERABCDEF6HIJK

LMNQPRSTUWX & XZ151


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Vj CLASSIC

ckb ode o^fVjXij Kim mji tvo p


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/SpeedballLeUet

ABCDEFeM11KLMNP

QRSTUVW)CY-MM76abedeighljklmnopqi'

154


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Iffmmmiii minimi minium

ABQDEFGHJZIMNQPRSTavwyz-ffl W\abcrdefgliijfcttmiopgr

sffavwxyz12545678155


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aJte-rnatcr

aLcdef^lnijk.1mnopqr stuvwxyz =aDcaei^niiklnop q r sluvwxy

etbcdefglvijklroivopqrstuv

wxyz f&aaaaaaaaaa156


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abcdefghrjhlmi\tt\no]qrsttu

\ivw\tfxyz^abcdofghghijklmnppqrstuvawwxyz

abc defc^li ijklmTiojD qi?-w

7


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ABCDEFGHIJK

LMNOPQRSTUVWXYZOTHIC

ABCDEFGHIJKLMNOPQRSTUROMAN V Vv A I / j

ABCDEFGHIJKLMNOPQRSTUuc VWXYZABCDEFOHJRLMNOPQRST. UVWXY

156


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ABeDEFGH1JKLMN0PQRSTUVWYZ======= B 'abc defcfh ijk Inopqrstuvwxy

====================

abcdefghijklnopqrstuvwxy

. fr^ , _= q continuous and

runninghand curve ^ 159


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rofpx.

GOTHICCopHHaoult/ called Spurred Gothic

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ABCDEFOHIJKLMNOPQRSTUVW

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ABCDEFGHIJKMNOPRSTUVWXYPLAIN GOTHIC

ABCDEFGHIJKLMNOPRSTU

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BoldAolic

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A

lowercase

aabecle

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Caps far the two lowercasesthat follow-by altering the serif

ABCDEFGHJKLMNPRSTUW


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abcdefghijklmno*prstuvwyz 8

172 r


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abcdefghijklmnopqrstuvWXTJX


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Uppercase followed by Lowercase

mCDEFGHIJKLMNOPQRSTUVWXY.


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ahcdef

mnopqrstuvAwXyz^


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hijkmnopqrstuv*

e rfwkst


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one tiling

thattalks

ABCDEFGHIJIiLmHQPRit's-cheap-


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MODGRNill

ALPHABETS

DECORATIVE

UPPERCASE


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Italian. Renaissance

ABCDEFGHIJKLMNPQRSTW ROMAN CLASSIC -

ABCDEFG

HJRLMNQRSTWXYZ1&4


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ABCDEFGHJKLMPQFJTVABCDEF*GHIJJRMLNCPQRSTUVWX^ZPl


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abgd:FGHIJKLMNMKOPQR

WWXYda


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ABODEFGHIdKLMNOPQRSTUWMNXYZ3>f

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ABCDEFGHJKLMNQPRSTUVwx-yzMMRX

OswoL190

Id Cooper


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QHIJKLMNOPQPSTUVVWRMSW

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ABCDEFGHIJKRSTUVWXYZ&Stylo of finish shoyon,here adds to Variety

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ABCDEFGHIJKLMNOPRSTUVWXYZ6MODIFIED ..

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ABCDEFGti UKLMNQPRSTUVWMWXYRNKZw194


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mniiiii .mum ninimi iinufin iiiiiiiin iiimiii inimiii mminil

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ABCDEFGHjKLMN

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SPOTSin


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-EXflfTlPL-t V211


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215


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i215


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216


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M

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AftCDEFOHIJKLMNOPQftSTUVWXYFOR SALE

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flBCDEFGHIJKLinnopQRSTtIVUJXV

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iLBCDEFEHJKMHDETSUVWY

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ABCDETGHJKLMNOP,'RSTUVWXY

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ABCDEF GHIJK

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STUYWXVZ

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a#g46


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G^lhejk^kc

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Ti'adeMarks


252/289

ROLLS-ROYCE

A^OUPETTE THAT TELLS THE ROLLS- ROVCt STOK Y ANOCONSEQUENTLY HAS YlftTUALLY QECOWI A TftAOE *A*K

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the radiator cap of fAe car, tfre poised figure of a woman,balanced, on one foot body ftung far forward and f tyingdraperies indicative of easg, swiff flight.

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fir S cpflfs suelowels

un exRtfPie of th fffPfT/rm m/f used for5TRE55JHD TRfiBf CHRRRCTFR QHLY

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Trade Marks

0 @

(DLEETIREERUBBER CO.N.Y. (4) THE OHIO STEEL FOUNDRY CO. LIMA.0

Afeu> of the most striking

Americd.n*irade-marlis*illustrate nicely hoiu forthis country has advancedin trademark desigri. ws

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%

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7-6 .26-

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Quo/^ion Mark

Pi ? ? %_

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xmxixxx---XXXXLLLXLXX

0 A o so 60 70

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NUMERALS

12345678

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12345 6789196150769

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123456760262 V


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12345678/123456789

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SHOW |NG TWOWAYS TO GETPLACEMENTFOR VOURSUBJECT ORILLUSTRATION

fmsn

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fQfw point for compass pin in each operationABOVE AND BELOW SHOW METHOD FOR

fMAKING OF PERFECT ROLWD CORNERS

J. o~.I-' &

i *

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(all dotted line* to be in pencil only)---.

0PtRATION5(2 J)

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FINISHED OPERATION

IN INK

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271/289

PLAIN EGYPTIAN

ABODEFGHIJ

KLMNOPQRST68


272/289

PLAIN EGYPTIAN

UYWX123456789abcdefghijklmnopq

rstuvwxyz269 #


273/289

MODERN GOTHIC

A&CDEFGHIJKLmn

OfQRSTUVWXYZ623456789

270


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MODEM GASPIPE

RBCDEF6HIJKLITI

nOPQ71


275/289

MODEM GASPIPE

RSTUVWXY

12345678372


276/289

B HOADWAY

ABCDEFGHIJKLAVNOPQ

73


277/289

BROADWAY

RSTUvwx456739

74


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CLASSIC ROMAN

ABCDEFGHIJKLMNOPQRS

75


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CLASSIC ROMAN

TOWXYZ1234567890

76


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MODEM POSTER

aih;i>E FCMILL

MSSOFIIKSTTWX

77


281/289

MODERN ENGLISH

MBT15 JO JKJLIttHUM

278


282/289

TUSCAN ROMAN

ABCKJLMNOPSTUWXY

79


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GAY NINETIES

ABCDEFGHI

JKLHNOPQRSTUVWXYZ&

280


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ROMAN

ABCDEF

IJKLMNOP

81


285/289

ROMAN

RSTUV

WXYZ12 345

789282


286/289


287/289


288/289

University of

Connecticut

Libraries

39153027401902


289/289

Documents

Revised Studio Handbook Lettering