. The typography of advertisements that pay : how to choose and combine type faces, engravings and all the other mechanical elements of modern advertisement construction . the artist. The entire advertisementis so clean, so well-balanced and so different, thatit stands more than an even chance of getting areading^ As a final exhibit to show what wonders canbe done in lines only one of Franklin Boothsdrawings for the ^olian Company is reproduced. This is not a woodcut but a woodcut effect. I wonder why more woodcuts are not used. Atone time they were the only cuts used, and it seemsstrange that
. The typography of advertisements that pay : how to choose and combine type faces, engravings and all the other mechanical elements of modern advertisement construction . the artist. The entire advertisementis so clean, so well-balanced and so different, thatit stands more than an even chance of getting areading^ As a final exhibit to show what wonders canbe done in lines only one of Franklin Boothsdrawings for the ^olian Company is reproduced. This is not a woodcut but a woodcut effect. I wonder why more woodcuts are not used. Atone time they were the only cuts used, and it seemsstrange that advertising men do not use themmore often even now. They are surprisingly in-expensive. The subject of a woodcut is drawn or traced onhard, specially prepared wood, and then all of 170 TYPOGRAPHY OF ADVERTISEMENTS the wood around these lines is cut aAvay. Thisleaves the shading and sharpness in the hands ofthe engraver. For clean, fine lines, that combinewell with the Forceful Educational style and theHandlettered style, woodcuts offer an excellentmedium for obtaining novel beauty. Ask your engraver about woodcuts when youare on the *path for something i^^fflBR
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