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THE SCOTCH SERIES
Together with a Showing of Initials, Ornaments and
Selected Decorative Material
MERGENTHALER LINOTYPE
COMPANY
Brooklyn, New York
SOME CHARACTERISTICS OF THE
TYPE FACE KNOWN AS SCOTCH
MONG the plain modern faces of type, Scotch
stands in a class by itself. Its excellently pro¬
portioned letters and harmonious color make
for easy reading, and, as these have been attained
without recourse to exaggerations of any kind,
the Scotch face still maintains its high position
among types after about a century of uninterrupted popularity.
Only a type designed and cut on basically sound principles could
achieve this record.
Scotch capitals are full and sturdy, with the lower case in
harmony. The firm, incisive downstrokes, beautifully turned serifs
and general crispness are all definite features that make themselves
felt but do not obtrude.
There seems to be some divergence of opinion regarding the
exact origin of this face. In the De Vinne Press book of type faces
we find that “Scotch Roman, as it is now called, was a contribution
to novelty made for and first used by the Ballantyne Printing
Houseof Edinburgh, in thefirstdecade of the Nineteenth Century.
Its most striking peculiarity to,the inexpert is the greater breadth
and openness of the letters without appearance of undue obesity.
It has no eccentricity save the almost unnoticeable flat top to the
lower case ‘t’.”
Another authority, Edmund G. Gress, Editor, The American
Printer, traces the Scotch face back to 1796, “when Mrs. Henry
Caslon brought-out a modernized Caslon Old Style to satisfy the
demand for modern faces that had been created by the Bodoni
types from Italy.”
Whether or not one sees in the Scotch face an attempt to mod¬
ernize Caslon Old Style, it is quite certain that the face was being
advertised a hundred years ago by type-founders in Scotland as
Modern Roman. Visual evidence would seem to indicate that it
grew out of an attempt to modify the straight serifs of the Bodoni
face, for in the period of transition there is a marked similarity
between the two. Since the introduction of Modern Roman into
America, when it became known as Scotch face, it has undergone
but few changes. As cut for Linotype Typography, the traditional
letter forms remain intact.
THE SCOTCH SERIES
6 Point-—2 Point Leaded
LINOTYPE TYPOGRAPHY MAKES ONE SOUND SYSTEM OF THE much confused accumulation of material that confronts the printer. It eliminates unsparingly all that is incongruous and wrong, but without limiting full variety and latitude of choice by narrow canons of cold art. It simplifies the practice of ambitious composition, and as an actual part and result of that simplification, gives the Linotype user the material for composition of a richness attainable heretofore only by inordinately costly and laborious handwork. It gives the master printer an equipment competent to fulfill all that he can design, meeting every demand that can be made on type. Linotype Typography furnishes equipment that both guides and responds to design, meeting every demand that can be made on type. It simplifies the practice of ambitious composition, and as an actual part and result of that simplification, gives the Linotype user the material for EQUIPMENT COMPETENT TO FULFILL ALL THAT HE CAN DESIGN, MEETING
LINOTYPE TYPOGRAPHY MAKES ONE SOUND SYSTEM OF THE much confused accumulation of material that confronts the printer. It eliminates unsparingly all that is incongruous and wrong, but without limiting full variety and latitude of choice by narrow canons of cold art. It simplifies the practice of ambitious composition, and as an actual part and result of that simplification, gives the Linotype user the material for composition of a richness attainable heretofore
10 Point — 2 Point Leaded
8 Point — 2 Point Leaded
LINOTYPE TYPOGRAPHY MAKES ONE SOUND SY^S-
tem of the much confused accumulation of material that
confronts the printer. It elfminates unsparingly all that is
incongruous and wrong, but without limiting full variety and
latitude of choice by narrow canons of cold art. It simplifies
the practice of ambitious composition, and as an actual part
and result of that simplification, gives the Linotype user the
material for composition of a richness attainable heretofore
only by inordinately costly and laborious handwork. It gives
the master printer an equipment competent to fulfill all that
HE CAN DESIGN, MEETING EVERY DEMAND THAT CAN BE MADE ON
LINOTYPE TYPOGRAPHY MAKES ONE SOUND SYS-
tem of the much confused accumulation of material that
confronts the printer. It eliminates unsparingly all that is
incongruous and wrong, but without limiting full variety and
latitude of choice by narrow canons of cold art. It simplifies the practice of ambitious composition, and as an actual part
11 Point — 2 Point Leaded
LINOTYPE TYPOGRAPHY MAKES ONE SOUND
system of the much confused accumulation of material
that confronts the printer. It eliminates unsparingly
all that is incongruous and wrong, without limiting full
variety and latitude of choice by narrow canons of cold
art. It simplifies the practice of ambitious composition,
and as an actual part and result of that simplification,
gives the Linoti^pe user the material for composition of
A RICHNESS ATTAINABLE HERETOFORE ONLY BY INORDI
LINOTYPE TYPOGRAPHY MAKES ONE SOUND
system of the much confused accumulation of material
that confronts the printer. It eliminates unsparingly
all that is incongruous and wrong, without limiting full
variety and latitude of choice by narrow canons of cold
12 Point — 2 Point Leaded
LINOTYPE T YPOGRAPHY MAKES
one sound system of the mueh confused accumulation of material that confronts the
printer. It eliminates unsparingly all that is
incongruous and wrong, but without limiting
full variety and latitude of choice hy narrow
canons of cold art. It simplifies the practice of ambitious composition, and as an actual part and result of that simplification, gives THE LINOTY^PE USER THE MATERIAL FOR COM
LINOTYPE TYPOGRAPHY MAKES
one sound system of the much confused
accumulation of material that confronts the
printer. It eliminates unsparingly all that is
LINOTYPE TY^POGRAPHY MAKES ONE
sound system of the much confused accumulation of
material that confronts the printer. It eliminates
unsparingly all that is incongruous and wrong, but
without limiting full variety and latitude of choice
by narrow canons of cold art. It simplifies the prac¬
tice of ambitious comjiosition, and as an actual part
AND RESULT OF THAT SIMPLIFICATION, GIVES THE
LINOTYPE TYPOGRAPHY MAKES ONE
sound system of the much confused accumulation of
material that confronts the printer. It eliminates
unsparingly all that is incongruous and wrong, hut
xvithout limiting ftdl variety and latitude of choice
14 Point—2 Point Leaded
LINOTYPE TYPOGRAPHY makes one sound system of the mueh confused accumulation of material that confronts the printer. It elimi¬ nates unsparingly all that is incongru¬ ous and wrong, but without limiting full variety and latitude of choice by narrow canons of cold art. It simplifies THE PRACTICE OF AMBITIOUS COMPOSITION
LINOTYPE TYPOGRAPHY makes one sound system of the much confused accumulation of material
THE SCOTCH SERIES
LINOTYPE TYPOGRAPHY MAKES ONE SOUND system of the mueh confused accumulation of material that con¬ fronts the printer. It eliminates unsparingly all that is incongruous and wrong, hut without limiting full variety and latitude of choice by narrow canons of cold art. It simplifies the practice of ambitious composition, and as an actual part and result of that simplification, gives the Linotype user the material for composition of a richness 18 Point Italic —2 Point Leaded
LINOTYPE TYPOGRAPHY MAKES ONE SOUND system of the much confused accumulation of material that con¬ fronts the printer. It eliminates all that is incongruous and wrong, but without limiting full variety and latitude of choice by narrow
LINOTYPE TYPOGRAPHY MAKES ONE sound system of the much confused accumulation of material that confronts the printer. It elimi¬ nates unsparingly all that is incongruous and wrong, but without limiting full variety of choice by narrow canons of cold art. It simplifies the 30 Point —2 Point Leaded
LINOTYPE TYPOGRAPHY r^akes one sound system of the much confused accumulation of material that confronts the printer. It eliminates unsparingly all that is incongruous and wrong, but with¬ out limiting full variety and latitude of
The Initial, Ornament and Border Electrotypes shown on this and the following
23age are exclusive designs, specially created for the JNIergenthaler Linotype Com¬
pany for use with the Scotch Series and other Modern Faces whose weight of color
and other general characteristics are similar. The point sizes given are approximate.
132 Point Initial—A to Z: One Color, Metal Base, X-1382; Wood Base, X-1383; Unmounted, X-1384 Second Color, Metal Base, X-1385; Wood Base, X-138G; Unmounted, X-1387
Rules and Borders for Use with the Scotch Face
STANDARD RULE BORDERS
Appropriate with Scotch Face
2 Point Matrix Slide No. 401
2 Point Matrix Slide No. 403
2 Point Matrix Slide No. 405
4 Point Matrix Slide No. 503
G Point Matrix Slide No. 508
G Point Matrix Slide No. 516
8 Point Matrix Slide No. 736
12 Point Matrix Slide No. 538
SIMPLE DECORATIVE BORDERS
Appropriate with Scotch Face
iiiiiiiiiiniiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiii 3 Point Matrix Slide No. 1681
4 Point Matrix Slide No. 1403
4 Point Matrix Slide No. 1708
5 Point Matrix Slide No. 258
6 Point Matrix Slide No. 256
8 Point Matrix Slide No. 1371
10 Point Matrix Slide No. 1654
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM 12 Point Matrix Slide No. 1678
SYz Point Matrix Slide No. 1509
6 Point Matrix Slide No. 1517
6 Point Matrix Slide No. 1520
6 Point Matrix Slide No. 1616
12 Point Matrix Slide No. 1518
12 Point Border Matrices No. 1064
12 Point Border Matrices No. lOGOYi
12 Point Border Matrices No. 10601/^
12 Point Border Matrices No. 1060d
12 Point Border Matrices No. 1060e
12 Point Border Matrices No. 1060/
12 Point Border Matrices No. 1060(/
12 Point Border Matrices No. 1060/j
12 Point Border Matrices No. lOGOi
12 Point Border Matrices No. 1060j
12 Point Matrix Slide No. 1490
SCOTCH BORDERS
For use with Scotch and other Modern Faces
The Complete Alphabet of IniUals is obtainable in either of the sizes shown on this
and the preceding page, and special sizes of the Initials, Ornaments or Border can be
furnished when they are specially ordered. For both the 132 Point and 72 Point
Initials a second-color electro is available.
72 Point Initial—A to Z: : Unmounted, X-1389. Second Color, Metal Base, X-1390; Unmounted, X-1391
Ornament, 714x514 picas Metal Base, Mortised, X-139<)
Unmounted. Unmortised, X-1307
Headband, 18x6 picas: Wood Base, X-1392; Unmounted, X-1393, Aiso made larger size, 21x7 picas: Wood Base, X-1394:
Unmounted, X-1395
Ornament, 11x5 picas Wood Base, X-13nH Unmounted, X-1399
Complete Page Panel—Outside, 5114x69 picas; Mortise. 40x53 picas; Wood Base, Mortised,-X-l400; Unmounted, Unmortised, X-1401
AGENCIES And the Territory Covered by Each
Customers located in the territory covered by the New York Agency should send
their orders direct to the Service Department, INIergenthaler Linotype Company,
corner Park Avenue and Ryerson Street, Brooklyn, N. Y. A complete stock of
matrices is carried at each of our Agencies. Customers in States outside of New
York Agency territory should send their orders direct to the Agency in whose
territory they are located.
FACTORY
Park Avenue and Ryerson Street, Brooklyn, A. T.
Connecticut Delaware Dist. of Columbia
Maine Maryland Massachusetts
New Hampshire New Jersey New York
North Carolina Pennsylvania Rhode Island
Vermont Virginia West Virginia
Colorado Iowa
CHICAGO
1100 South Wabash Avenue
Michigan Nebraska South Dakota Illinois Kansas Minnesota North Dakota Wisconsin Indiana Kentucky Missouri Ohio Wyoming
Alaska California
SAN FRANCISCO
646 Sacramento Street
Idaho Nevada Utah
Arizona Hawaiian Islands Montana Oregon Washington
A branch oflBce of Canadian Linotype Limited, covering British Columbia, is located at the San Francisco Agency
Alabama Florida
NEW ORLEANS
549 Baronne Street
Louisiana New IMexico South Carolina Arkansas Georgia Mississippi Oklahoma Tennessee
Texas
TORONTO, ONT., CANADA
Canadian Linotype Limited, 119 Adelaide Street, West
Covers Dominion of Canada (except British Columbia) and Newfoundland
British Columbia is covered by Canadian Linotype Limited, 646 Sacramento Street, San Francisco, Cal.
FOREIGN AGENCIES
_ I^tnotype and Machinery, Limited, London, England
t U X • Covers Southern Europe, Africa and the Far East
Agencies are also maintained in the principal cities of the entire world
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