UC-NRLF B M EDO flS5 How To Make Type Talk «o LIBRAR SCHOOL HOW TO MAKE TYPE TALK HOW TO MAKE TYPE TALK The Relation of Typography to Voice Modulation Basic Principles as Developed and Proven in Actual Practice by Barnard J. Lewis of The Stetson Press, Incorporated Boston PUBLISHED BY THE STETSON PRESS INCORPORATED BOSTON Copyright, 1914 by The Stetson Press, Inc. Boston ^NuulSH I x k ; FOREWORD K OW TO MAKE type talk" was originally a twenty-minute paper delivered at the Toronto Convention of the Associated Advertising Clubs of the World. The manner in which it was received was an encouragement to put the "paper" into book form, with a few simple illustra- tions to carry the points covered. No pretense has been made to cover illustration, color, stock, etc., in relation to typography, owing to subject limitation. Neither has any attempt been made to extravagantly show finely illustrated composition such as may be found in leading magazines, catalogs and books. While " How to Make Type Talk" is far from being a text- book, it should however be a great help to a clearer knowledge as to just what constitutes effective typography, — why it is worth striving for, — and how to achieve results with minimum • . HOW TO MAKE TYPE TALK T .Xypes talk, though voiceless, — through the medium of expression, both facial and physical. Facial because of the many styles. Physical because of the many sizes of each style. Language is language, — and is equally recognized as such by the sense of sight as well as by the sense of sound. So that, when types are put into words, these words mean just as much to the mind as though they were actually spoken, — provided that the voice was properly interpreted. The voice carries the maximum of human expression, be- cause it is natural and requires no special effort. Types in them- selves being voiceless, but with the ability of expression, must be humanized, — and this, unlike the voice, requires consider- able effort and study. We all recognize the difference between light and heavy types. Between sloping and upright types. Between slender, and round, and fat types. And so on, down through innumer- [7] abie comparisons^ Arid that all these differences affect our feel- ings to a greater or lesser degree. While the layman simply knows that it either pleases or displeases him, the trained mind knows why and can explain it. And because the layman is in the vast majority, and it is the majority who are the buyers of merchandise, we must know how to please him without his realizing how hard we play for his attention. In other words, — our words on paper must look as natural and as sincere as these same words sound when spoken with all warmth and expression of the voice. The voice speaks softly at times, harshly at other times — emphasizes out of hundreds of words, one or many words or sentences. Pauses! Hammers home a particular, striking fact or word. Commands! Attracts! Here, then, we have our cue on how to make type talk. Type faces have expressions that will look the part of the voice. Soft tones — light types. Heavy tones — heavy types. Pauses — white space. Effeminate, Masculine and Ecclesiasti- cal types. Full, round tones — round types. Sharp tones — types with sharp serifs. Every different intonation calls for a con- trast. While with the voice there are no limits to these con- trasts, too many type contrasts offend the eye. Or, to use the old expression, — too much display is no display. [8] Here, then, is our problem: How to get a great deal of ex- pression into comparatively few words, giving all necessary information, and to attract and hold the attention of the reader from start to finish. Now to work ! To begin, we start with the copy and a given space to carry it. We separate the most important facts for emphasis. The strongest fact first, and so on. After which we choose type faces which conform most appropriately to the expression of the voice and the argument, constantly bearing in mind that looks count heavily for or against us. Here is where individual good taste, knowledge and expertness enter. But above all, — the layout man — be he printer or not — must have a clear insight to the real purpose of the copy — what it is expected to accomplish. Copy costs good money and a lot of hard work in the compilation — space costs money — printing costs money — so does mailing; and your Uncle Sammy col- lects the no small item of postage. A consistent amount of merchandise must be sold, or its equivalent in good will must be created, before these expendi- tures develop into profitable investments. With these two big facts as thoroughly understood keynotes, the layout man is more apt to keep his head and hands where they belong — to [9] the best interests of the man or firm spending the money. He must understand and sympathize with the spirit of his text. Types in themselves are too extensive a study for me to try to go into thoroughly at this time. I can only just scratch the surface — the big points — and permit your own good judgment to grasp all that I am forced to leave untouched. Now that we have our copy analyzed, our types selected, and our blank space before us, — let us use a pencil and ruler and make a layout to find out how the copy will look in print. Pic- ture in your mind exactly how long you wish the reader's glance to rest on each word or group of words, — remember- ing that the length of time it takes for the eye to pass on is the length of time the mind is absorbing the meaning of the word or group of words. When you have this time-distance approximated, pencil-in the lettering. Then, if there is a pause in thought or a break in idea, run the ruler down until you feel that you have allowed enough space to represent the pause in speech. Then proceed with the next idea. It most often happens that in a group of words in major dis- play it is necessary to emphasize almost every word. In such cases italics or caps of the same face can be used, or an under- score. Here, too, does individual taste determine what is best [10] At times each word on a separate line gives emphasis to each word, or some one or two words can be brought up stronger and give even greater emphasis. The breaking up of sentences into lines is where care must be used. The wrong arrangement may give a wrong impres- sion of the idea in mind. Always try and have a complete thought or idea expressed on a line. This idea or fact may consist of one or many words. Some- times greater effect in emphasis can be obtained by subordinat- ing either the first few words, or the last few words, or the middle of a sentence — the different sizes of types used in the sentence to occupy different lines. On the other hand, at other times such a procedure might make a jumble because of too much emphasis. This is where a layout is invaluable. A first rough draft should show these defects in balance. After criticism of your own labor, make a second draft, — and if need be a third, — until you have a layout which looks attract- ive, effective, and as though spoken with enthusiasm. By all means construct your layout upon geometric lines, for if you think you can get an attractive result without it you are badly mistaken. The eye is hurt by confusion — balks — and passes on. Geometric arrangements please and hold the eye, — while the numerous possible combinations of geometric figures [11] PRINTING BRINGS RESULTS A Stepping-stone to Bigger Sales 1. — 18 pt. Old Style Antique. Cap. alphabet 360 pts. Lower case alphabet 244 pts. (Eualttp printing for (Ettalttp effect 2.-24 pt. Priory Text. Cap. alphabet 465 pts. Lower case alphabet 240 pts. SALESMANSHIP OJV PAPER Fresh View-points, Imagination, Appeal 3.-22 pt. Original Old Style Italic. Cap. alphabet 370 pts. Lower case alphabet 216 pts. RESULTS DECIDE VALUE Why Direct Advertising Pays Us 4. — 24 pt. Caslon Old Style. Cap. alphabet 440 pts. Lower case alphabet 260 pts. TffE BEST COPY CAN BE RUINED And Made Use/ess by Unsympathetic Typography 5. — 18 pt. Original Old Style Italic. Cap. alphabet 312 pts. Lower case alphabet 168 pts. All type styles shown above go very well together. Any two or three and even all five at times may be used effectively in one composition. The range of possibilities is so great with this com- bination (plus Caslon italic, not shown here) that were all other types eliminated while these re- mained, the cause of good printing would suffer only slightly. 1. A fairly heavy type. Round. Spool-shape serifs. 2. Decorative. Churchy,heavy.Caps,round; lower case, condensed. Diamond-shape serifs. Sharp points and angles with graceful curves. 3. Graceful. Long descenders. Round curves. Swash serifs hold eye very long. Note old-fashioned lower case p. Only size in existence. 4. The most versatile type in existence. Round. Fine proportions. Long descenders. Note upper serifs on caps T and A and compare with other types. Round serifs. 5. Crude but effective. Round. Looks like hand lettering. Long descenders. Erratic serifs. Very interesting. Holds eye a long time. Only size in existence. [12] APPEAL IN TYPE IS THE Understanding shown behind it 6.-22 pt. Poster Roman. Cap. alphabet 414 pts. Lowercase alphabet 282 pts. HUMANIZING TYPE AND PRINTING IS The Power To Express Thoughts in Type 7. — 12 pt. Boldface. Cap. alphabet 288 pts. Lower case alphabet 216 pts. QUAMTY PRINTING MAKE S IT RESUL,TFUIi This is the Art of the A hie Typographic Designer 8. — 10 pt. Fatface. Cap. alphabet 247 pts. Lower case alphabet 180 pts. THE SPARK OF HUMAN-INTEREST comes from the use of eloquent Typography 9. — 18 pt. Bodoni. Cap. alphabet 294 pts. Lower case alphabet 204 pts. COMPREHENSIVE PRINTING SERVICE Organized to bring Buyer and Seller Together 10. — 14 pt. Scotch Roman. Cap. alphabet 289 pts. Lower case alphabet 182 pts. Types shown on this page differ in focus and yet have considerable in common. While body strokes vary, the serifs and many of the faces bear a close family resemblance. The heavy lines are hef cy in various degree, while the hair lines are all equally fine. Compare the wings of the cap T and the swash stroke of the cap R. The differences in color values permit a wide range of modulation, but care must be taken when several of these types are used together to avoid conglomeration. Notice the strength of Fatface as compared to Poster Roman ; that the eye rests longer on the Poster face due to larger size ; and that Fatface talks in strong compressed tones due to heft with smaller size; permitting more words in a given space. 6. Moderate heft. Round, with square set effect. Serifs based on square and ellipse. 7. Heavy. Round. Elliptical serifs. 8. Very heavy. Round, with square set effect. Square serifs. 9. Sharp condensed face. Long descenders. Serifs sharply square. 10. Very versatile type. Round. Full, round serifs. [13] PRINTING CREATED ON PURELY a Mechanical Basis Lacks Sympathy 11.— 18 pt. Century Old Style. Cap. alphabet 324 pts. Lower case alphabet 230 pts. AN INVITATION TO READ IS SELDOM PASSED By When Illustrations and Typography are Attractive 12.— 12 pt. Cushing Old Style. Cap. alphabet 222 pts. Lower case alphabet 158 pts. A PRINTING ORGANIZATION OF and for Advertising Men must bring Results 13. — 18 pt. MacFarland. Cap. alphabet 318 pts. Lower case alphabet 195 pts. WHILE TRIFLES MAKE PERFECTION Perfection is Far from Being a Trifle. MmorougK 14.— 18 pt. Packard. Cap alphabet 312 pts. Lower case alphabet 180 pts. FEELING— TASTE— SYMPATHY Are Responsible for Strongest Effects 15. —20 pt. Cadmus Old Style. Cap. alphabet 352 pts. Lowercase alphabet 234 pts. There is no family resemblance between the types shown on this page. But because of similar focus the first two can be combined effectively. The last three are decidedly individualistic faces and it is inadvisable under ordinary conditions to combine them with other types. All types with the same focus and serifs somewhat alike, but with varying heft, combine effectively (either har- mony or harmonious contrast). By respecting this principle harmony is created, where ignorance develops an abortive snarl. 11. Large, close-set face with attractive even line (may be likened to the sheen of silver). Con- densed. Slightly elliptical serifs. 12. Somewhat heavy. Condensed. Slightly spool shaped and elliptical serifs. 13. Moderate heft. Caps are round, while lower case is condensed. Angular serifs. A type with a peculiar look because of serifs and different focus of caps and lower case. 14. Moderate heft. Hand-lettered effect. Round ; somewhat condensed on some letters. Long descenders. Serifs are unusual and hold eye a long time. Note two kinds of cap T. 15. Large, somewhat condensed face. Sharp triangular serifs. Compare with other types for differences. [14] TONS OF PRINTING WASTED Poor Typography is The Reason 16. — 18 pt. Franklin Gothic. Cap. alphabet 352 pts. Lower case alphabet 270 pts. NEVER MISTAKE A LOW PRICE For True Economy. The Stetson Press 17. — 14 pt. Bold Antique. Cap. alphabet 330 pts. Lower case alphabet 240 pts. FREAKISHNESS NEVER SHOULD Be Confused With True Style or Art 18.— 18 pt. Cheltenham Bold. Cap. alphabet 336 pts. Lower case alphabet 232 pts. CREATIVE PRINTING IS THE KIND THAT Generates the Pulling Power in Advertising 19.— 18 pt. Cheltenham Bold Extra Condensed. Cap. alphabet 252 pts. Lower case alphabet 187 pts. DIRECT ADVERTISING IS FAST BECOMING ONE of the Greatest Selling Forces in This Country 20.— 18 pt. Franklin Gothic Extra Condensed. Cap. alphabet214 pts. Lower case alphabet 178 pts. Types shown on this page play an important part in ad composition, newspaper headings, mani- fold work, miscellaneous circular and job work, and wherever estheticism must be subordinated to utility. Because of their blackness they should be used sparingly in any onecomposition(mostly for major display). They are, however, legible as straight reading matter set widely leaded, with liberal margins, or when printed with colored ink or on colored stock. Vigorous effects can thus be obtained. All of these faces when used to contrast lighter types come naturally into the foreground. 16. Strong round face, square set. Good proportions. Practically no serifs. 17. Very strong and somewhat sharp. Round, with square set effect. Square and circular serifs. 18. A favorite display type. Round (some of the caps have a slightly condensed tendency). Long ascenders. Spool-shape serifs. Note two kinds of lower case r. 19. Condensed. Long ascenders. Spool-shape serifs. Note two kinds of lower case r. 20. Condensed. Oblong set effect. Practically no serifs. [15] offer unlimited opportunity for the widest variety of display. Study the patterns in linoleums. Notice how a square surface is broken up into circles, squares, diamonds, triangles, oblongs, — and remember that the blank sheet of paper can be sub- divided into various shapes, and type be made to correspond — each shape carrying an idea. Give shape to your display. Shape is the skeleton — the framework — of the finished result, and unless the frame is well-proportioned the body cannot be otherwise than ugly or indifferent. Then, assuming that we base our type arrangement on the correct frame, we have yet another obstacle to over- come — the selection of the right type faces and type sizes to fit the frame. We have agreed that the larger the type face — up and down and left to right — the longer the eye rests on it. The degree of heft or blackness of the type face has positively nothing to do with the length of time the eye rests on it. This is a point I wish to call to your particular attention. It is on this error more than any two others put together that abortions in type speech are created. In fact — the large, heavy type faces do not hold the eye attention anywhere near as well as do the large, lighter type faces. Over-strong black types talk coarsely — they clamor for [16] attention. You know it and instinctively feel suspicious at such an aggressive attack on your attention. Large, light types talk easily and have a more attractive look — more inviting and refined. But too much large type is bad because it talks too slowly, — the eye rests longer on each word than is consistent with voice delivery. Smaller black types in contrast with larger light types give emphasis. They talk in compressed but strong tones. Because of their smaller size the eye travels over them quickly and their appearance is more consistent with voice delivery. You can readily understand by these comparisons that the length of time types talk is determined by size, — that the heavy voice tones are determined by heft, — and that size and heft can be combined in one face. While the blackness of type has nothing to do with the length of time it talks, black types, for reasons of their stronger voice and contrasting ability in connection with light types, do serve a purpose. Used in their correct sizes in major display, they are at a nearer reading distance to the eye, — therefore they are aggressive and talk with a punch without being coarse. Used in minor display they supply the strong, compressed tones of emphasis, and, due to their smaller size, talk no longer than is necessary to convey secondary ideas. [17] Typographic Models Reproductions of . Typographic Designs 'by Barnard J. Lewis The Stetson Press 195 Fort Hill Square Boston Cambridge, Mass. The Printing Art mcmxii All reproductions are exactly one-half original size 21. Title page set in Caslon upper and lower case throughout. Dignified, yet informal. Short dashes prevent eye from travelling down page too fast ; are decorative and complete geometric formation. Note modulation of emphasis caused by type size changes and break-up of lines. 22. Cover page in Colonial style. Note arrangement of place and date with cut-off rules ; typical of the period. Event is placed at golden center. Name of club forms a diamond resting on a rec- tangular base. Note length of time eye rests on name because of this break-up. 23. Folder for small envelope. Note strong emphasis caused by combination of odd white spaces, color, underscore, and panel. 24. Announcement page. Talks with great emphasis, due to use of white space and light types stronglycontrasted.Note that cut-off rulescreatea long pause and maintain square form of page. 25. Announcement page. Capitals are dignified ; italics, graceful ; white space, airy. Note geo- metric arrangements and that chief display is at golden center. [18] li Boston Massachusetts SEVENTH ANNUAL CONVENTION THE ASSOCIATED ADVERTISING CLUBS OF AMERICA August i, 2, 3,4 191 1 22 The Victor Company Defeated LOSES its Most Important Suit A DECISION 'ffir-rcacninfim. J-\ parlance it Tut Talking ■*■ -^ Machine Trade was handed down by Judce Houch, of the United Slates Circuit Court, in New Tort, on Saturday, Feiruarj 25, 1911. 1 AST December the Victor Co. ' *■ obtained an injunction from this same court restraining the Sonora Co. | from using the automatic feed, and ! the Victor Co. bid fair to perpetu- i ate its monopoly in this important 24 When your competitor get» out "some" catalog- Go him one better See Henry Davis 1 The StetsonPress, Inc. 23 •c=3.0=.a*^.e^.»».«e.i».«nl. 8^. csS.»». €**•■*♦ «E?.S5»g Tou art Cordially Invited to Visit and Inspect . our new, extensive, and perfectly appointed STUDIOS for the display of lightingfixtures AND EXHIBITION ROOMS for the demonstration of household electrical appliances WQ **l*frf nttgtititm, fir tht nmptru titttrumt i, mVutpmkUt twlttmfi +4 KtJhU tftrng » PETTINGELL-ANDREWS COMPANY Ltgkami Ftxtmru . ittdritmt Affkattn BOSTON [19] 25 INDIA TINT Dunkirk Text Dunkirk Text contains a large percentage ofragy bulks thick Jbr weight— has a sofl pliable Jnish & is a desirable stock Jbr every purpose Jbr which a book paper is used Stone & Andrew lncorponbd Manufacturers and Distributors GneUe irtt BWj. Uitopolltu U» BU>. 26 All reproductions are exactly one-half original size 26. Folder set in Scotch and Original Old Style italic. Note letter spacing of three Scotch lines to achieve proportions, left to right. Note italic &* which completes inverted pyramid and at the same time helps to bring out next two lines. 27. Double-page spread of folder set in Cheltenham Bold. Ordinarily the use of so much black type is dangerous to legibility. White space, grouping, and color break-up make it legible, and the types talk every bit as strong as the occasion calls for. Note difference in spaces between paragraphs and absence of stiffness. 28. Back-cover page set in Century Old Style. Important talk presented without bluster of heavy type. Square set pages, with border, usually have a set effect. This page is relieved through the irregularity of the center, white space, and the use of caps and small caps. 29. Folder set in Cheltenham Bold Condensed, Century Old Style, and Cheltenham Bold. Small sizes of Cheltenham Bold are used ( in places ) and therefore do not pull the eye out of focus. Note the way page is broken up into various geometric figures — each figure carrying one or more ideas. [20] A New Departure for Us — and one that will prove to Your Greater Convenience and Satisfaction ENVELOPES Now Carried in Stock IN OUR BOSTON WAREHOUSE Made from the following Standard Bond Papers; in both White and Colors; Regular Finish. nrrr* t «5,_6«4— 10 ) Security Trust Bona Option Bond basis J Community Bond Persian Bond 20 H>. Folio ( BY SPECIAL ARRANGEMENT With the United States Envelope Co., tie Logan, Swift & B rig ham Division, at Worcester, Mass, will carry a Complete Stock of Buckeye Covers In special sizes permitting the economical cutting of ENVELOPES in all the Standard Catalogue Sizes. We are now prepared to furnish yon Envelopes made from this popular cover stock, in all the colors, and in either Antique or Ripple Finish, basis 20x25—50. m Your Advantage ^^ Tbis arrangement assures you prompt and economic*] En velope Service, with the new additional features of being able to obtain ^k envelope* that will match in color and finish your Buckeye catalogue or folder B the following advantageous stylest Open End Improved Columbian Clasp Two-Button Tension I Any Size — any Color — any Style M PROMPTLY The Arnold-Roberts Co. PAPER 180 Congress Stress, Boston 27 The Initial is published from time to time in the interests of more effective Advertising Typogra phy Each Issue Presents a different and distinctive style in Copy— Color— Set-Up It will pay you to study well each number— and to keep the issues for future reference 28 Used (or making High-Grade blank books (or permanent records Uvriflnayyontouxt VALLEY PAPER CO.'S EN U 1 It has great strength and unexcelled erasing quali- ties. It b pare In color— of uni- form texture — and has a beautiful finish. i It takes writing, ruling snd printing to suit the moat exacting requirements. It is an Ideal paper for loose-leaf system*. INSIST Off CETTWG VALLEY PAPER CO.'S LINEN LEDGER 29 [21] White space supplies the major pauses in type speech, while a change in size of type, or the correct break up into lines of sentences or words or groups of words, supplies the minor pauses. Right here is where a few remarks about serifs should enter. The serifs are the extra strokes given to the perfectly plain lines of the letters; for instance, the fine lines, especially the cross strokes — the various freak strokes across the face — and various extra length strokes. Serifs give the character to type which creates expression, and have a wonderful influ- ence on the eye. They are interesting, attractive, and hold the eye for an unusually long time. Two type faces with exactly the same proportions but with differently constructed serifs may resemble each other just about as closely as a circle does a square. There are square serifs, round serifs, triangular serifs, wavy serifs, and other kinds, — and every different kind of serif has its variations. The beauty and distinction of good hand-lettering comes in its serifs, flexibility and compactness. The serif is what makes original Caslon and Bodoni types so much superior to lining Caslon and modern Bodoni. The serif in type is first lieutenant to size of type in holding the eye attention. Eye focus is yet another element we must consider. You [22] may construct your frame perfectly — select type sizes of the right sort — with good serifs, — and then spoil it all by using types of too many different proportions in one composition. There are three broad classes of proportion in types. These are based on three geometrical figures — the circle, the hori- zontal oblong and the vertical oblong. These proportions in printers' parlance are called normal, extended and condensed. All these proportions are good for certain uses. Often two of these three can be used together to great advantage — but all three should never be used together. The round proportion in a type face is the most natural one. The eye rests fully on it, the focus being equally the same to all points. On the extended type the eye focus is from left to right, while on condensed type it is up and down. Not only is it a positive fact, but it stands to reason that the round types — because of the natural focus — are the most legible and the best to use in most places. There are many condensed types used for text which have great legibility, but care should be taken to use condensed dis- play type with the body type, so that the eye focuses only one way — up and down. The extended types are rarely legible enough to use for text, — being used mostly for display headings where depth of [23] space is limited and width of space too great for a compara- tively small face. The extended types are the least useful of the three. While it is best to keep to only one focus throughout, present- day necessity often compels us to use different proportions in display type. Bear in mind, when such a contingency occurs, that you should never use more than two of these proportions together, and that when two are used, one must be round. In other words, round and condensed, or round and extended, but never condensed and extended. Every one of these types have their own peculiar focus, and when two of them are used together it makes a double focus and more work for the eye. When all three are used together — or when the condensed and extended are used together — the focuses are such wide contrasts that a jumble is created which talks in a terrible snarl. Another cardinal principle generally very little understood is what I call a level — an eye level, or the level the eye rests upon — the distance of eye to blank space or white space — the distance of eye to type in the background — and the distance of the heavier types in the foreground. For clarity I will say that there are two levels or distances and one foreground. The major level — or the one that is fur- thest from the eye — is the white space. The minor level is the [24] even type tone which is naturally nearer the eye. The fore- ground is made up of every type nearer the eye than the two levels. Study every piece of typography that appeals to you and I will wager that you will find that there are either the two levels only, or the two levels and one foreground. If there are more than two levels, the composition is bad and talks in confusion. And the same thing is true if there is more than one fore- ground. You will find that by strictly adhering to the two levels and one foreground — together with the other principles pointed out — that type talks intelligently, attractively, and duplicates nearly every voice inflection. Levels and foreground handled correctly enhance the effect- iveness of illustrations. Illustrations and type then talk to- gether, each adding strength to the other, because correct handling of all three levels have removed non-essential eye attracters and confusers. Here then are the elements which make type talk : the frame — type size — type heft — serifs — focus — levels — and white space. These elements are at everybody's command. Individual application and good taste determine the amount and quality of talk types can be made to create. The underlying principles [25] IFTY YEARS of a delightful business — bringing from far countries the finest of tea and coffee. Fifty Busy Years — in which have grown up entirely new ideas in hand- ling, packing and safeguarding. Fifty Prosperous Years — in which the number of our customers has grown until to-day there is no part of the United States or Canada where our goods are not sold. CHASE fiC SANBORN fmpoTtm oPlea ami G>$z All reproductions are exactly one-half original size 30. Newspaper ad set in Bodoni.with hand lettering and decorations. Dignity without stiffness. Note extra long swash strokes on hand lettering which hold the eye, thereby emphasizing that particular line or word. An eye attracter. Esthetic and practical. 31. Ad with a mixture of types and hand lettering. Shows up strong in newspapers. Nicely illus- trates contrast and talk values as explained in text 32. Ad set in Old Style Antique. Note two start-off lines set up large to make heading. Note levels. Shows up strong in newspapers. 33. Hand-lettered newspaper ad. Strong attraction values. Note long ascenders and descenders. Note square-up on left and right, with uneven white spaces in center. Note length of time eacn line holds eye and modulation created thereby. [26] With Ice sugar and lemon Delicious! Chase flr Sanborn's Seal Brand TEA In pound, half-pound and quarter- pound, sealed air-light canister. 31 For the little mis- haps of summer — mosquito bites, bee stings, bruises, lame feet, — there's nothing to equal a few drops of Sulpho-Napthol in a little water. It takes out the smart, prevents in- fection, helps the hurt to heal quickly. Take a bottle on your vacation. Keep it handy all summer. 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