{ 166} [Illustration: DESIGN FOR THE COVER OF A DICTIONARY, PUBLISHED IN PAPER-COVERED PARTS.
Admirable lettering (more closely following the Caroline manuscript than the design for _La Revue Encyclopédique_), united with harmonious design, the artist not being contented merely to introduce a girl with poster-like hair, but bringing out an idea—that of the expansive distribution of knowledge, signified by the dandelion seed, which is freely distributed by the wind; see motto “_Je seme a tout vent_.” I sow (or spread) seed with every wind.]
■{ 167} card, most of you will agree with me. But when I claim that the title should be in very heavy block type, and not in French Old Style, I shall not have so many followers. Of course, it is true that circumstances alter cases, and while I think it quite necessary that a “Daily News,” “Journal” or “Press” should have the heaviest of type, I will acknowledge that a dainty little weekly in 8vo, called “The Needlewoman,” or “Embroidery Notes,” might be properly printed with a pica italic heading.
I think the reader now understands the object of the second part of “Drawing for Printers,” and will see that nearly all the illustrations in it are selected with a view to their appropriateness for rough printing, simply because it is therein that you need to study the subject of designing for printing. It is self-evident that to print a half-tone cut you need calendered or coated paper, and that with this a little half-tone initial letter could be used, but as we study printing on poor stock, familiarity with the styles of the past is necessary to acquaint you with what is best in pictorial, or rather decorative, effect.
This much said, let us fall to considering some principles of designing. Other things being equal, a broad black line is best if there is any shadow or detail in the drawing. But if there is no shadow the outline need not be very heavy, but the drawing may partake of a diagram effect, as in the watch-chain illustration from the _Figaro_, given in a preceding chapter (page 165). Such a thin line harmonizes with the type and does not { 168} attract too much attention. It is also well suited for the unimportant elements in a heading design. But if you wish to introduce in a heading an important element like the American eagle, the coat-of-arms of a state, or an emblematic design for a class paper, then a strong line or a solid black is preferable. Strong lines and blacks are also preferable for an initial letter that is to form part of the decoration of a page.