There is a great deal of character in this simple letterhead design. The lantern is really a monogram. By Charles R. Capon ]

EXAMPLE 275 (Insert).—Lithographers and steel-die printers really furnish the styles for the conventional arrangement of letterheads. They work along standardized lines and usually produce well-balanced, appropriate headings. Typographical printers should study stationery produced by these processes and observe how the parts of headings are grouped and the advertising points emphasized; for a letterhead is one form of advertising. There are limitations, however, in the copying of such letterhead arrangements. Only plain designs should be studied for this purpose. Imitations of shaded and ornamental lettering are seldom successful. Example 275 demonstrates how a good letterhead can be designed along lithographic lines. The effectiveness of this heading depends a great deal upon the use of both light- and dark-faced type. Where there is a great deal of matter, as in this instance, the heading would likely appear flat and uninteresting and would lose some of the advertising qualities it possesses if the light-faced type were used thruout. This is no argument for bold-faced type on stationery headings as a usual thing, but refers to the kind of heading here shown. The parts in the dark-faced type include the firm name, the nature of its business and the city in which the firm is located. The names of the officers are arranged in the upper part of the heading, and this position of the names seems to be satisfactory in most instances. The telephone number and cable address are in the center near the date line. The type used in this heading is Card Litho and Card Light Litho.

The Art & Practice of Typography — Part 172

EXAMPLE 276 (Insert).—Professional stationery must be treated with dignity and refinement, and the type should be small. Treatment such as this would undoubtedly meet with approval from the professional customer. It would be a mistake to apply to professional stationery the variety of attractive and interesting arrangements that are applicable to stationery used for many business and advertising purposes. The printer would save resetting of the work and more surely please his customers if, in filling orders for doctors, lawyers, architects, engineers and other professional men, he attempted nothing but the conventional dignified treatment illustrated by this example. The type is an imitation engravers’ gothic slightly letterspaced to give the effect usually found on steel-die work.

The Art & Practice of Typography — Part 172