u- ”Np-w..— - __,_.... _ r .0 w>'.‘~‘ ~WUMLb eosioptry //Il/l///l//ll/ll////l//l///ll//l/ll///l//ll/ll/l//ll///ll// //l//l / 1 Sherbow’s Type Charts "Emmi/22%“ alkyd/226d ” In Four Volumes VOLUME IV Charts 400 - 706 \ a; Publishedby Benjamin Sherbow Coma/tam 2'72 flpograp/zy 50 Union Square NEW YORK Copyright, I 9 I 7, I 9 I 9, by Benjamin Sneroow All property rights reserved including t/zose in foreign countries 9-pts. here—> 3-pts. here-> 5-pts. here—> Sherhow’s Type Charts Copyright l9l7, 1919, by Benjamin Sherbow Volume IV Chart 400 Emphasis—Display Heads in SCOTCH ROMAN Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly; make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 14-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow Without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with our advertising. Two lines of 36-pt. 8-pts. between <—12-pts. space here (-14-pts. space here 24-pt. head (-S—pts. here éll-pts. space here 18-pt. head <-5-pts. here €13-pts. space here Two lines of 12-pt. 3-pts. between <-5-pts. here 9-pts. here-9 3-pts. here-> 5-pts. here-> Sherhow’s Type Charts Copyright 1917, 1919. by Benjamin Sherbow Five degrees Volume IV Chart 401 Emphasis—Display Heads in SCOTCH ROMAN ITALIC of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The prOper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly; make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all preper emphasis. A subhead set in 14-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over—emphasis nullifies itself, becomes tiresome to the reader, and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with our advertising. Two lines of 36-pt. 8-pts. between 612-pts. space here 614-pts. space here 24-pt. head <-8—pts. here éll-pts. space here 18-pt. head (-B-pts. here <-13-pts. space here Two lines of 12-pt. 3—pts. between <-5-pts. here 9-pts. here-9 3-pts. here -> 6-pts. here —> Sherbow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Chart 402 Emphasis—Display Heads in BOOKMAN Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that,“ it is not intended to be taken as a model. You will note that only the top head- line fills the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a. low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 14-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. ' In advertising, this tendencyis already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using diSplay of more than one line, try to break up the lines by the sense of the words rather than by the number Of words that Will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are feW capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. I A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we Will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with our advertising. BOOKMAN can also be used with Caslon or any other similar face. Two lines of 36 pt. 10-pts. between <- 14-pts. space here (- 16-pts. space here 24-pt. head 4&- 8—pts. here (- 11-pts. space here 18-pt. head <- 5-pts. here (— 13-pts. space here Two lines of 12 pt. 3~pts. between <- 5-pts. here 13-pts. here-9 3-pts. here -> 5-pts. here -> Sherhow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow Chart 403 Emphasis—Display Heads in CHELTENHAM BOLD Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You Will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display. lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower. case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say What we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the efiectiveness of our advertising. CHELTENHAM BOLD can also be used with Caslon or any other similar face. Two lines of 36 pt. 8-pts. between <- 10-pts. space here (- 14-pts. space here 24-pt. head (—8-pts. here (- 14-pts. space here 14'pto head <- 6-pts. here <- 8-pts. space here Two lines of 10 pt. 2-pts. between 64-pts. here 13-pts. here-9 3-pts. here .9 5-pts. here —> Sherbow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly; make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as’possi- ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10.point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words ’ break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the effectiveness of our advertising. CHELTENHAM BOLD ITALIC can also be used with Caslon or any other similar face. Chart 404 Emphasis—Display Heads in CHELTENHAM BOLD ITALIC ho lines of 36 pt. 8-pts. between <- 10-pts. space here <- 14-pts. space here 24-pt. head <- spts. here 6- 14-pts. space here 14-pt. head <— 6-pts. here <- 8-pts. space here Two lines of 10 pt. 2~pts. between <-4-pts. here Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sher-bow Chart 405 Emphasis—Display Heads in COLOR Five degrees of Emphasis shown on This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a this page goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obviOus or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, This Chart is intended to show the effect of color for varying sizes of display heads: and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the effectiveness of our advertising. It is not intended to suggest the use of this amount of color on any one page. 10-pts. here-> 3-pts. here-> 4-pts. here-9 Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherhow Emphasis—Display Heads in BODONI Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 14-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 8 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read-less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with our advertising. BODONI can also be used with Caslon or any similar face; or with Bodoni Book. Two lines of 42-pt. 6-pts. between é-lo-pts. space here <-16-pts. space here 30-pt. head (-6-pts. here (-lzopts. space here 18-pt. head (—4-pts. here él3-pts. space here Two lines of 12-pt. 3-pts. between (-5-pts. here l3-pts. here-9 3-pts. here —> 5-pts. here 9 Sherbow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that only the top head- line fills the measure in which the text type is set. Also that there is always a goodly amount of White space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of White space adds to the force of display lines. For a line The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly; make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a lOW, muttered monotone. Let it tell your business message as clearly and distinctly as possi— ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point of secondary Emphasis and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the Width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know What we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but We say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it Will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the effectiveness of our advertising. 79.] can also be used with Caslon or any other similar face. Chart 406 Emphasis—Display Heads in Monotype 7 9] [CASEiBil‘JugOLD] ' Two lines of 36 pt. 8-pts. between <- 10-pts. space here <— 14-pts. space here 24- pt. head éS—pts. here (- 14-pts. space here 14-pt. head <- 6-pts. here (— 8-pts. space here Two lines of 10 pt. 2-pts. between (-4-pts. here 13-pts. here—) 3-pts. here 9 6-pts. here-9 Sherbow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. , The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the effectiveness of our advertising. CENTURY BOLD can also be used with Caslon or any other similar face. Chart407 Emphasis—Display Heads in CENTURY BOLD Two lines of 36 pt. 10-pts. between (- 12-pts. space here (- 14-pts. space here 24-pt. head (-8-pts. here (- 14-pts. space here 14-pt. head é6-pts. here <- 8-pts. space here Two lines of 10 pt. 2-pts. between (-4-pts. here 13-pts. here —> 3-pts. here —> 5-pts. here 9 Sherhow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow Chart 408 Emphasis—Display Heads in CENTURY BOLD ITALIC Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye'can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If We will keep in mind then the primary function of type as a. carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the efiectiveness of our advertising. CENTURY BOLD ITALIC can also be used with Caslon or any other similar face. Two lines of 36 pt. 10-pts. between (- 12-pts. space here <- 14-pts. space here 24-pt. head <-8—pts. here (- 14-pts. space here 14-pt. head é-6-pts. here (— 8-pts. space here Two lines of 10 pt. 2-pts. between (-4-pts. here 10-pts. here-9 3-pts. here-> 4-pts. here-9 Sherhow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Chart 410 Emphasis—Display Heads in BODONI ITALIC Five degTees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 14-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with our advertising. BODONI ITALIC can also be used with Caslon or any similar face; or with Bodoni Book. Two lines of 42-pt. 6-pts. between 610-pts. space here €16-pts. space here 30-pt. head <—-6-pts. here élZ-pts. space here 18-pt. head (—4-pts. here (-13—pts. space here Two lines of 12-pt. 3-pts. between €5-pts. here 12-pts. here—9 2-pts. here—> 3-pts. here—> Sherbow’s Type Charts Copyright 1917, 1919. by Benjamin Sherbow Volume IV Chart 411 Emphasis—Display Heads in nonom BOLD Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 14-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with our advertising. BODONI BOLD can also be used with Caslon or any similar face; or with Bodoni. Two lines of 36-pt. 6-pts. between (-8-pts. space here 614-pts. space here 24-pt. head <-4-pts. here (-13-pts. space here 18-pt. head é-3-pts. here <-13-pts. space here Two lines of 12-pt. 3-pts. between (-5-pts. here 12-pts. here-9 2-pts. here-> 3-pts. here-9 Sherbow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Chart 412 Emphasistisplay Heads in BODONI BOLD ITALIC Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing difl’erent degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. . Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 14-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—-—less confusing to the eye. A flirther reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, We don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it Will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than. the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with our advertising. BODONI BOLD ITALIC can also be used with Caslon or any similar face; or with Bodoni Two lines of 36-pt. 6-pts. between <-8-pts. space here <-14—pts. space here 24-pt. head 64-pts. here 613-pts. space here 18-pt. head 63-pts. here (-14-pts. space here No lines of 12-pt. 3-pts. between 64-pts. here 13-pts. hereé 3-pts. here —> 5-pts. here-> Sherhow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow Chart 413 Emphasis—Display Heads—Flush [Heads in Cheltenham Bold] Five degrees of Emphasis shown on this page This page arrangement was designed as a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. You will note that none of the heads quite fill the measure in which the text type is set. Also that there is always a goodly amount of white space above and below the display lines. (More space above than below, so that the eye can see at once to which section of the body matter the display belongs.) When display lines are crowded close to the text matter they lose in emphasis. White space is one form of emphasis. The proper use of white space adds to the force of display lines. For a line of secondary Emphasis The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line, try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. The tendency to fill the first line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom We are talking. And so if we know what We are about, We don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say What We have to say as clearly and distinctly as possible. If we will remember that type is meant to be read, it will keep us from using “artistic” types TEXT set in Monotype Scotch 12-point, leaded 3 points, and 10-point, leaded 1 point hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the effectiveness of our advertising. Two lines of 36 pt. 8-pts. between (— 10-pts. space here (- 14-pts. space here 24-pt. head <-8-pts. here <- 14-pts. space here 14-pt. head <- 6-pts. here <- 8-pts. space here Two lines of 10 pt 3-pts. between (-3-pts. here Sherbow’s Type Charts Volume IV Chart 414 Copyright 1917, 1919. by Benjamin Sherbow . Emphasis—Display Heads—Hanging Indention . [Subheads centered] Five degrees of Emphasis shown on this page ' Setting the text in hanging indention on display lines is particularly effective on a newspaper or magazine page. The white space thus created helps to make the ad- vertisement stand out. The subheads on this page are centered because of the three column arrangement in the lower part of the page, which does not permit of each separate column being a convenient method of showing different degrees of emphasis. It suggests good treatment of display heads and good spacing of this display. Beyond that, it is not intended to be taken as a model. Note that there is always a goodly amount of white space above and below the displaylines. indented under the head. This page arrangement was designed as The Century Dictionary defines emphasis as: “Significant stress. Special stress or force of voice given to the utterance of a word, a succession of words or part of a word in order to excite special attention; to bring out clearly or distinctly: make more obvious or more positive.” Make your type look alive. Make it look as if it had some- thing interesting to say. Give it some accent and inflec- tion. Don’t let it drone on endlessly in a low, muttered monotone. Let it tell your business message as clearly and distinctly as possi- ble and with all proper emphasis. A subhead set in 12-point type Please don’t misunderstand me. I am not trying to boost the tendency to over-emphasize. In advertising, this tendency is already too strong. Over-emphasis nullifies itself, becomes tiresome to the reader, When display lines are crowded close and by reason of its quantity, ends by being no emphasis at all. In using display of more than one line. try to break up the lines by the sense of the words rather than by the number of words that will come into the width of a line. Note how that is done on this page. ' The tendency to fill the first to the text matter they lose in emphasis. For a line of secondary Emphasis line, regardless of how the words break by sense, is not good. Keep in mind that the chief idea in display is to excite inter- est and to impart a thought in the quickest way possible. There are few capital letters in the display lines shown here. Lower case letters are easier to read—less confusing to the eye. A further reduction of Emphasis Type is a message-carrier. It is a means of communication with our fellow beings. It is visualized speech. It is hard enough at best to get ourselves understood by the people to whom we are talking. And so if we know what we are about, we don’t mumble our words, we try not to talk in too low a tone to be heard comfort- ably, but we say what we have to say as clearly and distinctly as possible. ' If we will remember that type is meant to be read, it will keep us from using “artistic” types hard to read; from squeezing up type until it chokes for want of breath; it will keep us from using type too small or too large to read comfortably, and from set- ting it in lines too long for the eye to follow without a ruler. The first line set wider than the second If we will keep in mind then the primary function of type as a carrier of thought, it will keep us from doing tricks with it that may amuse us, but play the very deuce with the effectiveness of our adVertising. Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow Chart 415 Emphasis-.Display heads Knowledge beats Guess-work Timely hints as to Storage Battery Care during the Winter season even for those who live in climates where batteries can never freeze and where en- gines and starters are not sluggish on cold Whether you drive your car all winter, or not, here is one thing you should surely remember: always know the condition of Knowledge beats Guess-work Timely hints as to Storage Battery Care during the Winter season even for those who live in climates where batteries can never freeze and where en- gines and starters are not sluggish on cold Whether you drive your car all winter, or not, here is one thing you should surely remember: always know the condition of Knowledge beats Guess-work Timely hints as to Storage Battery Care during the Winter season Whether you drive your car all winter, or even for those who live in climates where not, here is one thing you should surely batteries can never freeze and where en- remember: always know the condition of gines and starters are not sluggish on cold Timely hints as to Storage Battery Care during the Winter season—showing that Knowledge beats Guess-work even for those who live in climates where batteries can never freeze and where en- gines and starters are not sluggish on cold Whether you drive your car all winter, or not, here is one thing you should surely remember: always know the condition of No. 415-1 36-pt. Cheltenham Bold 10-pts. space below 18-pt. Cheltenham Bold 6 pts. between lines (-10-pts. space here 12-pt. Monotype 98.1 3 pts. between lines No. 415-2 36-pt. Cheltenham Bold 8-pts. space below 18-pt. Chelt. Bold Italic 6 pts. between lines 610-pts. space here N 0. 415-3 36-pt. Cheltenham Bold 8-pts. space below 18-pt. Bookman 6 pts. between lines (—10-pts. space here No. 415-4 18-pt. Cheltenham Bold 6-pts. between lines <-10-pts. space here 36-pt. Chelt. Bold Italic 12-pts. space below Sherhow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sher-bow Benjamin Sherbow’s Charts 11 folderolly decorative scheme that at- tempts to use his business story as so much filler for mortises. He spends his good money for printed matter as a help toward put- ting his business where he thinks it belongs. And so he doesn’t want those vital facts about his business set in anaemic type and printed in some fade- away color that it takes a very good pair of eyes or spectacles to read. This subhead is set in twelve-point type We must get a more sympathetic un- derstanding of what the advertiser is trying to accomplish. Let us give our best thought to what he has written about his product or service and then plan and contrive our typography so that the reader will be able to grasp with the least amount of time and attention what is being said to him. Let us use only types of simple, vig- orous design, easy-to-read, and good to look at, in such sizes and with such __..___—___..._---———-_—-~—-— No. 416-1 Subhead: 2 lines of 12-pt. Monotype 98J (similar to Bookman) with 3 pts. between. 10 pts. above and 4 pts. below subhead. First line of text under subhead flush, which emphasizes the display. Charts 416 and 417 are intended mainly to show subhead arrangements on a booklet page. A reference to the Dis- play Head Charts (from 400 on) will show many different kinds of types suitable for subheads on booklet pages. ———_——-—_—_.____— folderolly decorative scheme that at- tempts to use his business story as so much filler for mortises, He spends his good money for printed matter as a help toward put- ting his business where he thinks it belongs. And so he doesn’t want those vital facts about his business set in anaemic type and printed in some fade- away color that it takes a very good pair of eyes or spectacles to read. This subhead is set in twelve-point type E MUST get a more sympathetic understanding of what the ad- vertiser is trying to accomplish. Let us give our best thought to what he has written about his product or service and then plan and contrive our typography so that the reader will be able to grasp with the least amount of time and attention what is being said to him. Let us use only types of simple, vig- orous design, easy-to-read, and good to look at, in such sizes and with such N 0. 416-2 Same as No. 416-1 except for the 2-line initial, which not only emphasizes the subhead but gives color to the page. Initial is 24-point Scotch. Text is 10-point Monotype Scotch, leaded 1 point, set 14 picas wide. Running head in 8-point Scotch with double V2 point rule above and single 54 point rule below. 8 points between rule and first line of text. Chart 416 Emphasis—Booklet pages Benjamin Sherbow’s Charts 11 Sherbow’s Type Charts Volume IV Copyright 1917, 1919. by Benjamin Sherbow .—————_-—.——..__...._.__..__.__—_—— Benjamin Sherbow’s Charts 11 folderolly decorative scheme that at- tempts to use his business story as so much filler for mortises. He spends his good money for printed matter as a help toward put- ting his business where he thinks it belongs. And so he doesn’t want those vital facts about his business set in anaemic type and printed in some fade- away color that it takes a very good pair of eyes or spectacles to read. This subhead is set in twelve-point type We must get a more sympathetic un- derstanding of what the advertiser is trying to accomplish. Let us give our best thought to what he has written about his product or service and then plan and contrive our typography so that the reader will be able to grasp with the least amount of time and attention what is being said to him. Let us use only types of simple, vig- orous design, easy-to-read, and good to look at, in such sizes and with such h_—_._._..___—---- N0. 417‘]. Subhead: 2 lines of 12-pt. Monotype 98J (similar to Bookman) with 3 ptabetween. First line set flush; second line indented one em. 10 pts. above and 4 pts. below subhead. First line of text under subhead flush, which emphasizes the indented line above. Chart 417 Emphasis—Booklet pages Benjamin Sherbow’s Charts 11 folderolly decorative scheme that at- tempts to use his business story as so much filler for mortises. He Spends his good money for printed matter as a help toward put- ting his business where he thinks it belongs. And so he doesn’t want those vital facts about his business set in anaemic type and printed in some fade- away color that it takes a very good pair of eyes or spectacles to read. This subhead is set in twelve-point type E MUST get a more sympathetic understanding of what the ad- vertiser is trying to accomplish. Let us give our best thought to what he has written about his product or service and then plan and contrive our typography so that the reader will be able to grasp with the least amount of time and attention what is being said to him. Let us use only types of simple, vig- orous design, easy-to-read, and good to look at, in such sizes and with such __________________________________________________________________________ J No. 417-2 Same as No. 417-1 except that both lines of subhead are set flush and a two- line initial is used. The initial, not only emphasizes the sub- _ head but gives color to the page. Initial is 24-point Scotch. Text is 10-point Monotype Scotch, leaded 1 point, set 14 picas wide. Running head in 8-point Monotype 98J with double 56 point rule above and single 36 point rule below. 8 points between rule and first line of text. Chart 418 Emphasis—Subheads—Centered Sherhow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow SILENCE OF OPERATION The most silent-running efficient typewriter. Absolute silence has been very nearly attained. DECIMAL TABULATOR A help in billing and tabulating. There is no extra charge for this convenience. VARIABLE LINE SPACER Enables the operator to start on a given line and space from start- ing point; also to write on ruled No. 418-1 Subheads in 10-point No. 86J caps with 10- points space above and 4-points below. SILENCE OF OPERATION The most silent-running efficient typewriter. Absolute silence has been very nearly attained. DECIMAL TABULATOR A help in billing and tabulating. There is no extra charge for this convenience. VARIABLE LINE SPACER Enables the operator to start on a given line and space from start- ing point; also to write on ruled No. 418-4 Subheads in 10-point Scotch Roman caps with 10-points space above and 4-points below. SILENCE or OPERATION The most silent-running efficient typewriter. Absolute silence has been very nearly attained. DECIMAL TABULATOR A help in billing and tabulating. There is no extra charge for this convenience. VARIABLE LINE SPACER Enables the operator to start on a given line and space from start- ing point; also to write on ruled No. 418-7 Subheads in 10-point Scotch Roman caps and small caps with 8-points space above and 4-points below. Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from start- ing point; also to write on ruled No. 418-2 Subheads in 10-point No. 86J caps and lower case with 8-points space above and 4- points below. Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in. billing and tabulating. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from start- ing point; also to write on ruled No. 418-5 Subheads in 12-point Scotch Roman caps and lower case with 10-points space above and 4-points below. Silence of Operation The most silent-running eflicient typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from start- ing point; also to write on ruled N 0. 418-3 Subheads in 10-point No. 86J Italic caps and lower case with 8-points space above and 4-points below. Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. Variable I/ine Spacer Enables the Operator to start on a given line and space from start- ing point; also to write on ruled No. 418-6 Subheads in 12-point Scotch Roman Italic caps and low- er case with 10-points space above and 4-points below. All examples are Monotype composition. Text is 10-point Scotch Roman, leaded 1 point. The flush paragraphs emphasize the centered heads. No. 86J is the Monotype equivalent for Cheltenham Bold. Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow Chart 419 Emphasis—Subheads—Flush SILENCE OF OPERATION The most silent-running effici- ent typewriter. Absolute silence has been very nearly attained. DECIMAL TABULATOR A help in billing and tabulat- ing. There is no extra charge for this convenience. VARIABLE LINE SPACER Enables the operator to start on a given line and space from starting point; also to write on No. 419-1 Subheads in 10-point N o. 86J caps with 8-points space above and 3-points below. SILENCE OF OPERATION The most silent-running effici- ent typewriter. Absolute silence has been very nearly attained. DECI MAL TABULATOR A help in billing and tabulat- ing. There is no extra charge for this convenience. 'VARIABLE LINE SPACER Enables the operator to start on a given line and space from starting point; also to write on No. 419-4 Subheads in 10-point Scotch Roman caps with 8-points space above and 3-points below. SILENCE or OPERATION The most silent-running effici- ent typewriter. Absolute silence has been very nearly attained. DECIMAL TABULATOR A help in billing and tabulat- ing. There is no extra charge for this convenience. VARIABLE LINE SPACER Enables the operator to start on a given line and space from starting point; also to write on No. 419-7 Subheads in 10-point Scotch Roman caps and small caps with 6-points space above and 3-points below. Silence of Operation The most silent-running effici- ent typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from starting point; also to write on No. 419-2 Subheads in 10-point No. 86.! caps and lower case with 6-points space above and 3-points below. Silence of Operation The most silent-running effici- ent typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from starting point; also to write on No. 419-5 ‘ Subheads in 12-point Scotch Roman caps and lowercase with 8-points space above and 3-points below. Silence of Operation The most silent-running efici- ent typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in billing and tabulat- ing'. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from starting point; also to write on N 0. 419-3 Subheads in 10-point No.86J Italic caps and lower case with 6-points space above and 3-points below. Silence of Operation The most silent-running effici- ent typewriter. Absolute silence has been very nearly attained. Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. Variable Line Spacer Enables the Operator to start on a given line and Space from starting point; also to write on No. 419-6 Subheads in 12-point Scotch Roman Italic caps and low- ercase with 8-points space above and 3-points below. All examples are Monotype composition. The text is 10-point Scotch Roman, leaded 1 point. The indented paragraphs (one em) em- phasize the flush heads. No. 86J is the Monotype equivalent for Cheltenham Bold. Sherbow’s Type Charts SILENCE OF OPERATION The most silent-running effici- ent typewriter made. Absolute silence very nearly attained. DECIMAL TABULATOR A help in billing and tabulat- ing. There is no extra charge for this convenience. VARIABLE LI NE SPACER Enables the operator to start on a given line and space from starting point; also to write No. 420-1 Subheads in 10-point N o. 86J caps with 8-points space above and 3-points below. SILENCE OF OPERATION The most silent-running effici- ent typewriter made. Absolute silence very nearly attained. DECIMAL TABULATOR A help in billing and tabulat- ing. There is no extra charge for this convenience. VARIABLE LINE SPACER Enables the operator to start on a given line and space from starting point; also to write No. 420-4 Subheads in 10-point Scotch Roman caps with 8-points space above and 3-points below. SILENCE or OPERATION The most silent-running effici- ent typewriter made. Absolute silence very nearly attained. DECIMAL TABULATOR A help in billing and tabulat- ing. There is no extra charge for this convenience. VARIABLE LINE SPACER Enables the operator to start on a given line and space from starting point; also to write No. 420-7 Subheads in 10-point Scotch Roman caps and small caps with 6-points space above and 3-points below. Volume IV Copyright 1917, 1919, by Benjamin Sherbow Chart 420 Emphasis—Subheads—Hanging Indention Silence of Operation The most silent-running effici- ent typewriter made. Absolute silence very nearly attained. Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from starting point; also to write No. 420-2 Subheads in 10-point N o. 86J caps and lower case with 6-points space above and 3-points below. Silence of Operation The most silent-running effici- ent typewriter made. Absolute silence very nearly attained. Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from starting point; also to write No. 420-5 Subheads in 12-point Scotch Roman caps and lowercase with 8-points Space above and 3-points below. Silence of Operation The most silent-running effici- ent typewriter made. Absolute silence very nearly attained. Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from starting point; also to write No. 420-3 Subheads in 10-point No.86J Italic caps and lower case with 6-points space above and 3-points below. Silence of Operation The most silent-running effici- ent typewriter made. Absolute silence very nearly attained. Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. Variable Line Spacer Enables the operator to start on a given line and space from starting point; also to write N 0. 420-6 Subheads in 12-point Scotch Roman Italic caps and low— ercase with 8-points space above and 3-points below. All examples are Monotype composition. The text is 10-point Scotch Roman, leaded 1 point. The hanging indention of one em emphasizes the heads. No. 86J is the Monotype equivalent for Cheltenham Bold. Sherhow’s Type Charts Volume IV Copyright 1917, 1919. by Benjamin Sherbow 1 SILENT OPERATION The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 DECIMAL TABULATOR A help in billing and tabulating. There is no extra charge for this convenience. 3 THE LINE SPACER Enables the Operator to start on a given line and space from start- No. 421-1 Subheads and figures in 10-point 86.1 I SILENT OPERATION The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 DECIMAL TABULATOR A help in billing and tabulating. There is no extra charge for this convenience. 3 THE LINE SPACER Enables the operator to start on a given line and space from start- No. 421-4 Subheads in 10-point Scotch Roman, figures in Bold l SILENCE or OPERATION The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 DECIMAL TABULATOR A help in billing and tabulating. There is no extra charge for this convenience. 3 VARIABLE LINE SPACER Enables the operator to start on a given line and space from start- No. 421-7 Subheads in 10-point Scotch Roman caps and small caps; figures in same face. 1 Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. 3 Variable Line Spacer Enables the operator to start on a given line and space from start- No. 421-2 Subheads and figures in 10-point 86.1 1 Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. 3 Variable Line Spacer Enables the operator to start on a given line and space from start- No. 421-5 Subheads and figures in 12-point Scotch Roman l Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. 3 Variable Line Spacer Enables the operator to start on a given line and space from start- No. 421-8 Subheads in 10-point 86.1; figures in Scotch Roman Characters of reference, such as the figures used in this chart, do not often require the period, parenthesis or dash. The extra white space after the figures marks them off clearly enough. Chart 421 Emphasis—Subheads with Figures 1 Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. 3 Variable Line Spacer Enables the operator to start on a given line and space from start- N 0. 421-3 Subheads in 10-point 86J Italic; figures in 86.! Roman l Silence of Operation The most silent-running efficient typewriter. Absolute silence has been very nearly attained. 2 Decimal Tabulator A help in billing and tabulating. There is no extra charge for this convenience. 3 Variable Line Spacer Enables the operator to start on a given line and space from start- No. 421-6 Subheads in 12-point Scotch Roman Italic; figures in the Roman. I Silence of Operation The most silent-running eflici- ent typewriter made. Absolute silence very nearly attained. 2 Decimal Tabulator A help in billing and tabulat- ing. There is no extra charge for this convenience. 3 Variable Line Spacer Enables the operator to start on a given line and space from No. 421-9 Set 1 em hanging indention. Subheads and figures in 10-point 86.1 Sherhow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sher-how SILENCE OF OPERATION. The most si- lent-running efficient typewriter made. Absolute silence very nearly attained. THE DECIMAL TABULATOR is a help in billing and tabulating. There is no extra charge for this convenience. THE VARIABLE LINE SPACER enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing No. 422-1 Side-heads set in caps and small caps of the text type. Flush paragraphs with 4-pts. space between. SILENCE OF OPERATION. The most si- lent-running efficient typewriter made. Absolute silence very nearly attained. THE DECIMAL TABULATOR is a help in billing and tabulating. There is no extra charge for this convenience. THE VARIABLE LINE SPACER enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing No. 422-2 Side-heads set in caps and small caps of the text type. Paragraphs one em indented with 3-pts. space between. Chart 422 Emphasis—Side-heads SILENCE OF OPERATION. The most si- lent - running eflicient typewriter made. Absolute silence very nearly attained. THE DECIMAL TABULATOR is a help in billing and tabulating. There is no extra charge for this convenience. THE VARIABLE LINE SPACER enables the operator to start on 'a given line and space from starting point; also to write on ruled lines whose N 0. 422-3 Side-heads set in caps and small caps of the text type. Paragraphs set one em hang- ing indention with 3-points space between. SILENCE of operation—the most si- lent-running efficient typewriter made. Absolute silence very nearly attained. TABULATOR. The Decimal Tabula- tor is a help in billing and tabulating. N 0 extra charge for this convenience. SPACER. The Variable Line Spacer enables the Operator to start on a given line and space from starting point; also to write on ruled lines whose No. 422-4 Side-heads set in cape of the text type. Flush paragraphs with 4-pts. space between. SILENCE of operation—the most si- lent-running efficient typewriter made. Absolute silence very nearly attained. TABULATOR. The Decimal Tabula- tor is a help in billing and tabulating. N 0 extra charge for this convenience. SPACER. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose No. 422-5 Side-heads set in 86.1 caps. Flush paragraphs with 4-pts. space between. NOTE The side-head in caps of the body or in bold caps cannot be used to good advantage unless it consists of one or two short words. If you want a head in caps, (never so good as lower case) choose one of the subhead arrangements shown on preceding charts. All examples are Monotype composition. The text is 10-point Scotch Roman, leaded 1 point, set 14 picas wide. Sherhow’s Type Charts Silence of operation. The most silent- running eficient typewriter made. Ab- solute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. No extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing varies. No. 423-1 Side-heads set in italic caps and lower case of the text. Flush paragraphs with 4-pts. space between. Silence of operation. The most si- lent-running efficient typewriter made. Absolute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. No extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing No. 423-4 Side-heads set in 86 J caps and lower case. Flush paragraphs with 4-pts. space between. Silence of operation. The most si- lent-running efficient typewriter made. Absolute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. N 0 extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing No. 423-7 Side-heads set in 86J Italic caps and lower case. Flush paragraphs with 4-pts. space between. Volume IV Copyright 1917, 1919, by Benjamin Sherbow Silence of operation. The most silent- running efficient typewriter made. Ab- solute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. N 0 extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing varies. N 0. 423-2 Side-heads set in italic caps and lower case of the text. Paragraphs one em indented with 3-pts. space between. Silence of operation. The most si- lent-running eflicient typewriter made. Absolute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. No extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing No. 423-5 Side-heads set in 86J caps and lower case. Paragraphs one em indented with 3-pts. space between. Silence of operation. The most si- lent-running efficient typewriter made. Absolute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. No extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing No. 423-8 Side-heads set in 86J Italic caps and lower case. Paragraphs one em indented with 3-pts. space between. All examples are Monotype composition. The text is 10-point Scotch Roman, leaded 1 point, set 14 picas wide. Chart 423 Emphasis—Side-heads Silence of operation. The most silent- running efficient typewriter that is made. Absolute silence very nearly attained. The Decimal Tabulator is a big help in billing and tabulating. No extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spacing No. 423-3 Side-heads set in italic caps and lower case of the text. Text set one em hanging in- dention. 3-pts. space be- tween paragraphs. Silence of Operation. The most si- lent-running efficient typewriter made. Absolute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. No extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting. point; also to write on ruled lines whose spac- No. 423-6 Side-heads set in 86J caps and lower case. Text set one em hanging in- dention. 3-pts. space be- tween paragraphs. Silence of operation. The most si- lent- running efficient typewriter made. Absolute silence very nearly attained. The Decimal Tabulator is a help in billing and tabulating. No extra charge for this convenience. The Variable Line Spacer enables the operator to start on a given line and space from starting point; also to write on ruled lines whose spac- No. 423-9 Side-heads set in 86J Italic caps and lower case. Text set one em hanging in- dention. 3-pts. space be- tween paragraphs. Sherhow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow 8 The Vision of a Blind Man direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the 8 The Vision of a Blind Man direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the Volume IV —~—————~—_~——-——_-———— Chart 424 Emphasis—Running heads _—__——_—————-.---a-nut—-——-------—-—-—-~-nnn—-------———__..-—.-—-.—————-———————————.——~ The Vision of a Blind Man 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news Popular Science Monthly 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news -_-_————_——___--——___.J 8 The Vision of a Blind Man direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the Forty-four Years After 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8 Making the idea work direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the It must be interesting 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8 The Vision direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the of a Blind Man 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8 The Vision direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the of a Blind Man 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news Each example shows the top of two facing booklet pages The running head is not used on the first Running heads look best when shorter text page of a booklet. Also when a than measure in which the text is set. chapter 01‘ section heading comes at The folio (page number) may be either the 1301) Of a page, it is best to omit a part of the running head or placed running head. at the foot of the page (see Chart 100). All running heads on this chart set in 12-point Monotype Scotch, caps and lower case; 6-pts. space below head. Text under runningheads is set in 10-pt. Mono- type Scotch, leaded 1pt. No. 424-1 Title of the booklet used throughout. . No. 424-2 Title on left hand page. Name of author or ad- vertiser on right hand page. No. 424-3 Title on left hand page. Chapter head on right hand page. No. 424-4 On each page, a running head summarizing the chief thought of the page. No. 424-5 Breaking the title over the two facing pages. No. 424-6 As above, but setting each head flush at bind as shown. Sherhow’s Type Charts Copyright 1917, 1919, by Benjamin Sherhow ——_--—__—————__—_————— Volume IV Chart 425 Emphasis—Running heads 8 THE VISION direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the THE VISION direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the POPULAR SCIENCE 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news POPULAR SCIENCE when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news VISION OF A BLIND MAN direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the POPULAR SCIENCE when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news _......-—_——______.__.._..——~——_ -___-___—-~--________~ 8 THE VISION OF A BLIND MAN direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the POPULAR SCIENCE MONTHLY 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8 VISION OF A BLIND MAN direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the POPULAR SCIENCE 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news -—-_———————__..__..__—_— ———._—__——______.—..____- 8 THE VISION OF A BLIND MAN direction of an editor who is himself a scientist. He must have full knowl- edfi complete understanding of the POPULAR SCIENCE MONTHLY 9 when Youmans was a student. Instead of a propaganda for laboratories, the P0pular Science Monthly gives news Each example shows the top of two facing booklet pages All running heads on this chart set in Monotype Scotch. 6.pts. space below head. No. 425-1 10-pt. caps, solid No. 425-2 10-pt. caps, letter-spaced 1 pt. No. 425-3 10-pt. caps, solid No. 425-4 8-pt. caps, solid No. 425-5 8-pt. caps, letter-spaced 1 pt. No. 425-6 8-pt. Italic caps, solid Sherhow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Chart 426 Emphasis—Running heads 8 THE VISION OF A BLIND MAN direction of an editor who is himself a scientist. He must have full knowl- edgeLcomplete understanding of the —————-----—_———-———- POPULAR SCIENCE MONTHLY 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8 THE VISION OF A. BLIND MAN direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the POPULAR SCIENCE MONTHLY 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8] The Vision of a Blind Man direction of an editor who is himself a scientist. He must have full knowl- edge, complete understandingfiof the Popular Science Monthly [9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8 Making the idea work direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding Of the It must be interesting 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news Correct TELEPHONE Habits direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the NEW YORK TELEPHONE 00 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news Correct TELEPHONE Habits direction of an editor who is himself a scientist. He must have full knowl- edge, complete understandingof the New York Telephone Company when Youmans was a student. Instead Of a propaganda for laboratories, the Popular Science Monthly gives news Each example shows the top of two facing booklet pages All running heads on this chart set in Monotype Scotch. 6-pts. space below head. No. 426-1 ll-pt. caps and small caps N 0. 426-2 10-pt. caps and small caps No. 426-3 Title in 12-pt. Italic, caps and lower case; folio in Roman. Name of author or adver- tiser in 12-pt. Roman. No. 426-4 12-pt. Italic, caps and low- er case; folios in Roman No. 426-5 Left hand page: head in ll-pt. ; the small ca in “Telephone" arel -pt. Right hand page: head in 12-pt. small caps. No. 426-6 Left hand page: head in Ill-pt. Italic; the word “ elephone ’ same as in No. 426-5. Sherhow’s Type Charts Copyright 1917, 1919, by Benjamin Sherbow Volume IV Chart 427 Emphasis—Running heads 8 Making the idea work direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the It must be interesting 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news THE VISION direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the POPULAR SCIENCE when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news 8 The Vision of a Blind Man direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the Popular Science Monthly 9 when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news ____.._—_—._————-.__.__-_..__... 8 The Vision direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the POpular Science 9 when Youmans was a student. Instead of a prepaganda for laboratories, the Popular Science Monthly gives news The Vision direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the Popular Science when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news [ 8 ] direction of an editor who is himself a scientist. He must have full knowl- edge, complete understanding of the [9] when Youmans was a student. Instead of a propaganda for laboratories, the Popular Science Monthly gives news Each example shows the top of two facing booklet pages All running heads on this chart set in Monotype Scotch. 6-pts. s ace between rule and rat line of text. No. 427-1 12-pt. Italic, caps and low- er case; folios in Roman % point rule above and below No. 427-2 10-pt. caps, letter-spaced 1 pt. % pt. rule above and double IA pt. rule below N 0. 427-3 12-pt. caps and lower case 2 pt. and 1/2 pt. rule above and 1/2 pt. rule below No. 427-4 12-pt. caps and lower case IA pt. rule below head No. 427-5 14-pt. Italic, caps and low- er case. 1/2 pt. and 11/; pt. rule below No. 427-6 10-pt. folios in brackets Sherhow’s Type Charts Initials IHE following examples show proper methods of setting initials with text. ET me ask you to note alignment ' of initials with the text. Initials should fit the text snugly. They should never appear to be floating in space. When the metal shoulder at the bottom of the initial letter pre- vents a snug setting of the line of type below it, cut OR the shoulder— as has been done in the examples that follow. WORD of which the initial is the first letter is usually set in caps, sometimes in small caps, in both cases aligned with the top of initial. S FAR as possible use an initial letter of the same face as the text type, or as close a match as you can get. Do not use a bold initial with a lightface text type. UTSIDE of the two examples ' in 11-point Scotch, CASLON O. S. is used for both initials and text. Volume IV Copyright 1917. 1919, by Benjamin Sherbow 8 point solid YPE is merely the medium thru which an advertising idea is given the. physical form that will enable the reader to grasp with the least expenditure of time and effort what No. 428-1 2-line initial 18 point YPE is merely the medium through which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and effort what is being said to him. No. 428-2 3—line initial 30 point Use same initial for 8 point, leaded 1 point 8 point leaded 1 point YPE is merely the medium thru which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and effort what N 0. 428.3 2-line initial 20 point 10 point solid YPE is merely the medium thru which an advertising idea is given the physical form that will enable the reader to grasp with the least expendi- No. 428-4 2-line initial 24 point Use same initial for 10 point, leaded 1 point YPE is merely the medium through which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and No. 428-5 3-line initial 36 point Use same initial for 10 point, leaded 1 point- 10 point leaded 2 points YPE is merely the medium thru which an advertising idea is given the physical form that will enable the reader to grasp with the least expendi- N 0. 428-6 2-line initial 30 point YPE is merely the medium through which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and effort No. 428-7 3-line initial 42 point Chart 428 Emphasis—Initials 11 point ' leaded 1 point YPE is merely the medium through which an advertis- ing idea is given the physical form that will enable the reader to grasp N 0. 428-8 2-line initial 30 point Use same initial for 11 pt. leaded 2 or 3 pts. YPE is merely the me- dium through which an advertising idea is given the physical form that will enable the reader to grasp with the least No. 428-9 3-line initial 42 point 11 point leaded 2 points YPE is merely the me- dium through which an advertising idea is given the physical form that will enable the reader to grasp with the least No. 428-10 3-line initial 48 point Use same initial for 11 point, leaded 3 points 11-point SCOTCH solid YPE is the medium thru which an advertising idea is given the physical form that will enable the reader to grasp with the least expen- No. 428-11 2~line initial 24 point YPE is merely the medium thru l I .which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and No. 428-12 3-line initial 36 point aligned with small caps Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow 12 point leaded 2 points YPE is merely the medium through which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time N 0. 429-1 2-line initial 30 point I YPE is the medium thru which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and effort what is being said to No. 429-2 3-line initial 48 point Use same initial for 12 point, leaded 3 or 4 points 12 point leaded 3 points YPE is merely the medium through which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure No. 429-3 2-line initial 36 point Use same initial for 12 point, leaded 4 points 12 point leaded 6 points YPE is merely the medium thru which an advertising idea is given the physical form that will enable the . reader to grasp with the least expenditure No. 429-4 2-line initial 42 point YPE is merely the medium through which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and effort No. 429-5 3-line initial 60 point Chart 429 Emphasis—Initials 14 point leaded 3 points YPE is merely the medium thru which an advertising idea is given the physical form that will enable the reader to grasp with the least expendi- No. 429-6 2-line initial 42 point Use same initial with 14 point, leaded 4 or 6 points YPE is merely the medium through which an advertising idea is given the physical form that will enable the reader to grasp with the least expenditure of time and No. 429-7 3-line initial 60 point Use same initial with 14 point, leaded 4 or 6 points YPE is merely the medium I through which an advertis- ing idea is given the physical form that Will enable the reader to grasp with the least expendi- ture of time and eilort what is being No. 429-8 4-line initial 72 point Use same initial with 14 point, leaded 4 or 6 points 14 point leaded 8 points YPE IS merely the medium Tthru which an advertising idea is given the physical form that will en- able the reader to grasp with the least No. 429-9 2—line initial 48 point YPE is merely the medium through which an advertis- ing idea is given the physical form that will enable the reader to grasp with least expenditure of time No. 429-10 3-line initial 72 point Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow 18 point leaded 6 points YPE IS merely the medium thru which an advertising idea is given the physical form that will enable the reader to grasp with the No. 430-1 2-line initial 48 point YPE is the medium through which an advertising idea is given the physical form that will enable the reader to grasp with least expenditure of time and effort No. 430-2 3-line initial 72 point Decorative initial @m IE mereliy themedium through 1%,? , W 1c an a vertlsing idea 18 glven V“? 3r) the physical form that will enable eat-507$?“ the reader to grasp with the least expenditure of time and effort what is being said to him. It must furnish the quickest, clear- No. 430-3 60 point Cloister initial, aligned with 11-point caps Text type 14 point, leaded 3 points Chart 430 Emphasis—Initials Roman initial with Italic text YPE is merely Me medium Mru Twlzie/z an advertising idea is given Me p/zysical farm Mat will enaale Me reader 1‘0 grasp wiM Me least expendi- No. 430—4 2-line initial 36 point aligned with Roman caps YPE is merely Me medium Mraug/z w/zic/z an advertising idea is given Me p/zysieal form Mat will enaale Me reader to grasp wiM Me least expendi- No 430-5 2—line initial 30 point aligned with Roman small caps , Italic initial with Italic text YPE is merely Me medium Mru w/zie/z an advertising idea is given Me p/zysical form Mat will enaale Me reader to grasp wiM Me least expendi- No. 430-6 2-line initial 36-point aligned with italic caps Text type of the three examples shown above is 12-point, leaded 3 points. Sherbow’s Type Charts The Secondary Schools Synopsis I The School Material 1 Children of Secondary School Age 2 Children now in Secondary Schools 3 Children not in School II The Schools Number and Size Differentiation Distribution Physical Equipment Personnel of Administration and Instruction (1) The School Committee 01.5me (2) The Superintendent (3) The Principal (a) Training and Qualifica- tions (b) Conditions of Serv-ice (c) Supervision (4) The Teachers (a) Training and Experi- ence (b) Conditions of Service (0) Instruction 6 The Curriculum (1) Educational Aspects (2) Financial Aspects III The Product No. 500-1 This and the two following examples are set in the Linotype Century Expanded series; the heavy type is Linotype Century Bold Volume IV Copyright 1917, 1919, by Benjamin Sherbow VANDYKE Solar Paper For its distinctness of outline,clearness of copy, and permanency of results it is unsurpassed, besides possessing all the following essential qualities: 1 Is easily manipulated 2 Keeps exceedingly well 3 Does not become brittle 4 Prints rapidly 5 Saves original tracing The Vandyke Solar Paper was first in- troduced and perfected by us. Though several imitations have appeared upon the market, it still retains its title to being the leading paper of its kind. Description of its use and manner of printing From the original tracing a negative copy is made on thin Vandyke paper with white transparent lines on an opaque dark brown background. This negative copy is used in place of the original tracing to produce: POSITIVE COPIES, as many as are required, either ( 1) Black Line Prints with a White Background, by printing on Van- dyke paper with an exposure of five minutes in good sunlight, or (2) Blue Line Prints with a White Background, by printing on reg- ular blue print paper, with about seven minutes’ exposure in good sunlight, or on rapid blue print paper, with about two minutes’ exposure in good sunlight. Similar results obtained on Cloth by using either prepared Blue print cloth No. 500-2 Chart 500 Cataloging—Tabulation THE CORN INDUSTRY Uses of Com: Fattening cattle feeding dairy cattle (usually in silos) hogs poultry canning making liquor breakfast foods meal pop corn hominy fodder starch mattresses syrup paper Location of Industry: Leading states in the United States. Some corn raised in every state in the Union. Surface Features: 1 LAND: valleys and plains; level coun- try mostly and mountain sides. 2 SOIL: fertile, fine, dark, rich, brought down by rivers, limestone soil; gla- cial soil. 3 DRAINAGE: toward Mississippi River. Climate: favorable to Corn Raising. 1 TEMPERATURE: hot days and warm nights; long growing season. 2 RAINFALL is abundant between the last killing frost in spring and the first one in the fall. Man’s Work (human factors) : 1 CHOICE OF SEED; helped by: (a) State agriculture colleges (b) U. S. Agriculture Department (c) Corn clubs (farmers’) Results—— (1) Increased number of bushels (2) Better grade of corn (3) Increase in profits N 0. 500-3 The Arrangement of Catalog Material Catalog material is well arranged in pro- portion to the quickness and ease with which it gives up its store of informa- tion. By clear and deft arrangement we must enable the reader to get at a glance the particular piece of information he wants. As aids to comprehension we have: Bold Type CAPS OF THE BODY TYPE CAPS AND SMALL CAPS Italic Indention White space between items Bold Type. Note how in No. 500-3 the bold side-heads clearly mark off each division of the subject matter, so that you can pick out the particular item you want quickly. Note also the use of bold type for the same purpose in 502-4. CAPS OF THE BODY TYPE. The use of caps for quick identification of items is illustrated by 502-6, 503-1, 503-2. CAPS AND SMALL CAPS. In 501-7 you will see that the caps and small caps are used as a secondary form of emphasis. The main heads are brought out in full caps and the subheads in caps and small caps. In 5500-3 the caps and small caps are again used as a secondary form of em- phasis to the bold heads. Italic. In 500-1 (a, b, c) where it is necessary to show a subdivision of the subject matter, Italic of the same size as the main head, is used in preference to a smaller size of the Roman. In 501-5 the Italic is used as a second- ary form of emphasis to the caps and small caps. In 502-3 Italic is used for emphasis as a variant of the Bold shown in 502-2. In 502-4 Italic is used as a subhead to the Bold type. Indention is useful to bring out subheads and to mark off items clearly. The use of indention is illustrated in various ways in almost all of the cataloging examples. White Space between items is used for the same reason as indention, in that it helps the eye to separate more readily different pieces of information. Its use can be noted in many of the cataloging examples. Since the examples in this division are intended as pictures or diagrams of ar- rangements, rather than as specific sug- gestions for the kind or size of type to use, or the measure in which to set it, I did not believe it advisable to provide definite specifications for each example. The examples themselves show clearly enough what is intended. All examples in the cataloging division are Linotype composition. Sherbow’s Type Charts Volume IV Copyright 1917, 1919. by Benjamin Sherbow Chart 50] Cataloging—Listing Products—Specifications WESTINGHOUSE Electrical Products For the Home Electric Ware: Toaster-stoves curling-irons irons cofl‘ee-percolators Electric Ranges Motors for Driving: Coffee-grinders washing-machines ice-cream freezers vacuum-cleaners ironing-machines sewing-machines For Automobiles ELECTRICAL Battery-Charging Outfits Charging-Plugs and Receptacles Meters Motors and Controllers GASOLINE Battery-Charging Outfits Meters Starting Lighting Systems embracing: Ignition Starting-motors lamps generators headlights ignition-units switches, etc. Tire-Vulcanizers For Industrial Uses Motors and Controllers for every ap- plication, important among them: Textile mills flour mills ' steel mills printing plants Locomotives No. 501-1 A suggestion for listing products. The heavyface is Linoty Antique N o. 1 and the lightface is 'notype Caslon. 3480 SAFEPACK Paper: 80-lb No. 1 FIBRE Cloth: 16 x 16 yarns to the inch Weight: 41 lbs per 100 square yards Quality: The 80-lb FIBRE paper is not as strong as the 60-lb Kraft paper in grade 3665K. The gray color is preferred for some uses In rolls: 100 lineal yards 36, 40 and 48 inches wide No. 501-3 Set in Linotype Antique No. 1. Rim Night Latches NO. 42 series Old copper finished iron case 23/8 x 31/2 x 1 inches Backset 2% inches Bronze cylinder, bolt, turn knob and stop. Keys: Three paracentric, nickel-bronze, coined, gold plated bows, from No. 8 blank. Five Pin-tumblers. Changes practically unlimited. Operation and finish 42 By key from outside, by turn knob from inside. Bolt may be held back by stop. Bufl’ed bronze cylinder and turn knob. 42A By key from outside, by turn knob from inside. No. 501.4 Saarbruck Design LOCKS IN SETS WSI 789 Inside doors Lock I620 (page I99) Knobs W535 2 escutcheons W590 W52 l 89 Lock I500 (page 202) Knobs W535 2 escutcheons W590 W53 289 Communicating doors Lock I535 (page I92) Knobs W53 5 l esc. each W590 and W590 V2 N0. 501.6 Set in Linotype Cheltenham Wide with Cheltenham Bold BEECH-N UT PACKING CO. Canajoharie, New York MAKERs or Famous Beech-Nut Bacon Beech-Nut Tomato Catsup Beech-Nut Peanut Butter Beech-Nut Chili Sauce Beech-Nut Mustard Also the Beech-Nut Jams, Jellies and Marmalades: Jams: Strawberry, Red Raspberry, Blackberry, Damson Plum and Peach Jellies : Grape, Crab-apple,Red Currant Marmalade: Orange Beech-Nut Confections—Chewing Gum and Mints No. 501-2 STANDARD BOOKCASES are furnished in: PLAIN OAK CARRIED IN STOCK 198 Antique, medium dark, gloss fin- ish; copper oxidized trimmings. NOT CARRIED IN STOCK but furnished to order without extra charge: 197 Weathered 199 Golden, oil rubbed QUARTER SAWED OAK CARRIED IN STOCK 298 Antique Oak, polish finish; other- wise same as 198. 298i Antique Oak, dead finish; dull brush finish brass trimmings. No. 501-5 All examples unless otherwise specified, are set in the Linotype Century Expanded series with Century Bold Engineers’ Transit Theodolite ' Specifications TELESCOPE. Length, 11%. inches; magnifying power, 26 diameters; achromatic terrestrial, powerful, of best definition; balanced, and reversible through standards and over bearings; line of collimation true for all distances; Object slide and eye-piece provided with dust protectors; fixed stadia hairs. OBJECT GLASS. Diameter, 1%. inches, used to its full value. EYE-PIECE. Improved achromatic-- abundance of light, giving a large, flat field. HORIZONTAL AXIS. Length, 6 inches; hardest bell metal, cast hollow to reduce weight; center point on top to permit accurate centering from above. VERTICAL CIRCLE. Diameter, 5 in.; graduated on solid silver, verniers reading to single minutes; cloth- No. 501-7 Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Shes-bow Superior Instruments Second best grade: of rolled German silver and steel. Each instrument is stamped with quality mark. 830 Ruling Pen, 5%. inches; Opens and closes by turning thumb- screw at upper end of handle. . ' Each $1.50 832 Curve Pen, 4% inches; blades fastened to a rod in a hollow handle, with screw at upper end to set pen firm or loose Superior Instruments Second best grade: of rolled German silver and steel. Each instrument is stamped with quality mark. 830 Ruling Pen, 5% inches; opens ,. and closes by turning thumb- screw at upper end of handle. Each $1.50 832 Curve Pen, 4% inches; blades fastened to a rod in a hollow handle, with screw at upper end to set pen firm or loose Chart 502 Cataloging—Price Lists Superior Instruments Second best grade: of rolled German silver and steel. Each instrument is stamped with quality mark. 830 Ruling Pen, 5%. inches; opens and closes by turning thumbscrew at upper end of handle. Each $1.50 832 Curve Pen, 4%, inches; blades fas- tened to a rod in a hollow handle, with screw at upper end to set pen firm or loose to follow smallest curve with pre- to follow smallest curve with to follow smallest curve with c1810n. Each 31°50 precision. Each $1.50 precision. Each $1.50 No. 502-1 N 0. 502-2 N 0. 502-3 Blanks, Blank Business Forms ANEROID BAROMETERS The Business Phonograph and School Currency For Measuring For use with Moore and Miner’s “Accounting and Business Practice" BLANKS to accompany Text-book Part I Introductory Two blanks (Nos. 1 and 2) prepared for Sets 1, II, III, and IV of the text-book, 20 cents Part II Intermediate A series of three sets of blanks (prepared for Sets V, VI, and VII of the text-book) for the Jobbing Furniture Business, the Wholesale Grocery Business, and the Dry Goods Business, 25 cents Jobbing Furniture Business Three blanks (Nos. 1, 2, and 3) prepared for Set V of the text-book. Blank N o. 1 contains 20 pages, ruled for Journal, Sales Book, Cash Book, Bill Book, Trial Balances, and Statements. Blank No. 2 contains 16 pages, ruled for Ledger. Blank N o. 3 contains 4 pages, ruled for Invoice Book. Part III Advanced A series of three sets of blanks—single en- try, manufacturing, and banking. No. 502-4 The hea face is Linotype Antique No. 1 The ightface is Linotype Caslon Heights and Atmospheric Pressure 6760 SURVEYING BAROMETER, bronzed case, .3 in. diam., the best engraved silvered dial, graduations on raised ring, fixed altitude scale 5,000 feet, vemier scale moved by rackwork mo- tion, reading to 1 foot, compensated for temper- ature, adjustable reading lens, in leather sling case Each $63 00 6761 Like 6760, but altitude scale 10,000 feet, with vernier reading to 2 feet Each 65 '70 6762 Like 6760, but altitude scale 16,000 feet, with vernier reading to 2 feet ' Each 69 40 No. 502-5 All examples unless otherwise specified, are set in the Linotype Century Expanded series with Century Bold Standard Outfit Prices ELECTRICAL MACHINE S,including Type B. C. (Battery Current) A. C. (Alternating Current) D. C. (Direct Current) each $75.00 SPRING MOTOR MACHINE (Type S. M.) 60.00 ACCESSORIES. With each machine ' are included the following accesso- ries, which form a complete outfit for dictating and transcribing: Speaking Tube Record Rack Hearing Tube Oil Can Foot-Tri , com lete Chip Brush Iron Des Brac et Attachment Cord 12 Six-inch Shaved Storage Battery, Blanks when required SHAVED BLANKS are furnished singly @ .30 in lots of 100 @ .25 500 @ .22 10,000 @ .20 Orders for blanks placed for yearly consumption will be billed at regular prices, according to lots delivered, and rebated according to the price for yearly consumption. Wax shav- ings and the remnants of cylinders may be saved and returned for a credit of 6 cents per pound. HAND SHAVING MACHINE 35.00 ELECTRICAL SHAVING MACHINE, complete with motor 50.00 No.502-6 Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow Colonial Mahogany Bedsteads Our Beds and Bedding Accessories are of the same high quality stand- ard as McGibbon Linens have been for over half a century. MODEL 1602. Four Post Mahogany Bed of graceful design, can be supplied arranged for springs to rest on rails or on angle irons if it is preferred to have springs fit inside rails. In latter case there is an extra charge of $1.50 for angle irons. Height at head, 57 inches; at foot, 48 inches. , 3 ft. 3 in. wide $30.00 4 ft. 6 in. wide 35.00 BED SET is the old-fashioned seer- sucker scalloped spread, cut at cor- ners to fit bed; separate bolster roll cover; all white. Single bed size, per set $3.50 Double bed size, per set 4.00 Upholstered Box Springs each $18.00 and $25.00 Stitched Edge Hair Mattresses each $24.00 and $30.00 No. 503-1 Chart 503 Cataloging—Price Lists Finest Down Pillows F3922 MICHIGAN. Crushed chicken feathers, five pounds per pair. Size, 19x25. Price, per pair, $1.25 F3924 EUREKA. Crushed chicken fea- thers, six pounds per pair. Best plain or fancy tickings. Sizes, 20x26. Price, $1.55 No. 503-3 2395G Bar Pin $7.50 The long slim style of an all diamond bar pin is here reproduced with our wonderful quality of rhinestones, each stone being set to give it the appear- ance of an individual square cut stone. Inexpensive, graceful and durable. 536 Sterling Silver Ring $5.50 Our well known “Fishson” pearls are mounted in the center of a cluster of rhinestones and show OR to remarkable advantage in this attractive setting. No. 503-4 Note that while the name of the article is set in italic, stock number and price are in roman. If you have $15 to spend for your fall and winter outfit follow this table of costs: EVERYDAY DRESS made from Nos. 2846 and 2847 5 yds. 36-inch Albatross @ $ .49 $2.45 94 yd. 36-inch Satin .89 .67 2 W. H. C. patterns .10 .20 $3.32 AFTERNOON AND EVENING DRESS made from Nos. 2848 and 2849 3% yds. 40-inch crepe de chine @ $1.29 $5.00 2 “ 40-inch chiffon .99 1.98 '56 yd. shadow lace .49 .31 2 W. H. C. patterns .10 .20 7.49 COAT made from No. 2850 3 yds. 54-inch serge @ $ .98 $2.94 1% “ 36-inch satin .89 1.12 1 W. H. C. pattern . .10 4.16 TOTAL $14.97 No. 503-2 Take Advantage of this Book Sale A Special Sale of publishers’ re- mainders, list of which was pub- lished in last Saturday’s papers. Many of these items are still ob- tainable. Special Cook Books 365 Dinner Dishes 365 Desserts 365 Breakfast Dishes regularly 50¢, for 25¢ Your Health A book of toasts—compiled by Idelle Phelps, drawings by Helen Knipe published at 75¢, special 25¢ The Works of Ivan Turgeniefi‘ Translated from the Russian by Isabel F. Hapgood, published by Scribners 7 vols., $6.75 Croscup’s Synchronic Chart of United States History A book especially interesting to teachers and students of history published at $1.50, special at 50¢ No. 503-5 All examples are set in the Linotype Century Expanded series with Century Bold Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow __.________.___..___.____._._-.-~.-~.._ C 0 N TE N T S Why you need Holmes Protection Chart 504 Cataloging—Contents Contents Why you need Holmes Protection, 1 -—.—_—__...—_._._____._.____...——-———— What the Holmes System does 5 What the Holmes System does, 5 Rates and Installation 12 L Rates and Installation, 12 No.504-l No. 504-2 Table of Contents Why you need Holmes Protection What the Holmes System does 5 j Rates and Installation 12 i No. 504-3 The Contents of this Book A Table of Contents Why you need Holmes Protection 1 Stop the small losses, 1 Real protection is available, 2 An individual alarm, 4 What the Holmes System does 5 It protects against burglary, 5 a-—--.u—————------a———.—._.—_—..—._____—-——- No. 504-4 The Contents of this Book n—n—u——--——----‘Qu--_—-—--—”-‘------———— It protects against burglary, against What the Holmes System does see page 5 I I Why you need Holmes Protection Why you need Holmes Protection 1 Stop the small 105333 1 Real protection is available II An individual alarm 4 What the Holmes System does 5 II What the Holmes System does In ' It protects against the improper use of E Rates and Installation 12 i duplicate keys 7 No. 504-5 No. 504-6 CONTENTS If you are interested to know why E Why you need Holmes Protection 1 Yousneetholxpleis Protection see page 1 l The ordinary methods of guarding top t esma osses , page I E against losses and trouble are not Real protection 15 available page 2 ; suflicient. An 1nd1v1dual alarm page 4 : What the Holmes System does 5 If you would like to know i the improper use of duplicate keys, No. 504-7 It protects against burglary page 5 No. 504-8 All examples are set in the Linotype Scotch Roman series SHNflflNflWfiinqMBCEHH¢s ‘VohmnuaIV' Copyright 1917, 1919, by Benjamin Sherbow INDEX Accidents, as affected by daylight, 140 in industrial plants, 144, 145 on railroads of United States, 134, 135 Accountants, viewpoint of, 300 American Society of Mechanical En- gineers, 31, 52, 54, 122, 363 Automobiles, comparison of, 347 , 348 Bald Eagle Valley Railroad, 67 Bars combined with a curve, 54 certain made prominent, 29, 30 horizontal, 4 horizontal, representing time, 53 Bead maps, 251 Cards for blue-printing, 259, 261 for curve-plotting, 256 for curves, 275 Cards, information, 287 Carson, John M., 326 No. 505-1 The alphabetical divisions in this index are readily indicated to the eye by a full blank line between. Index Accidents, as affected by daylight, 140 in industrial plants, 144, 145 on railroads of United States, 134, 135 Accountants, viewpoint of, 300 American Society of Mechanical En- gineers, 31, 52, 54, 122, 363 Automobiles, comparison of, 347, 348 Bald Eagle Valley Railroad, 67 Bars combined with a curve, 54 certain made prominent, 29, 30 horizontal, 4 horizontal, representing time, 53 Bead maps, 251 Cards for blue-printing, 259, 261 for curve-plotting, 256 for curves, 275 Cards, information, 287 Carson, John M., 326 No. 505-2 The a1 habetical divisions are empha- sizedp by the use of initials (aligned at bottom) and by white space above the initials. Chart 505 Cataloging—Indexes INDEX A Accidents, as affected by daylight, 140 in industrial plants, 144, 145 on railroads of United States, 134, 135 Accountants, viewpoint of, 300 American Society of Mechanical En- gineers, 31, 52, 54, 122, 363 Automobiles, comparison of, 347 , 348 B Bald Eagle Valley Railroad, 67 Bars combined with a curve, 54 certain made prominent, 29, 30 horizontal, 4 horizontal, representing time, 53 Bead maps, 251 C Cards for blue-printing, 259, 261 for curve-plotting, 256 N 0. 505-3 Here the alphabetical divisions are made still more prominent by placing the index letter in the center of the column with white space above. Indav PAGE Angles, Lettering 252, 253 Apprentice Drawing Outfits 192, 193 Architects’ Blanks 60 Certificate Books 60 Contracts 60 Leveling Rods 392, 393 Levels 419-422, 462, 463 Pocket Tape 370 Scales 195-207 Argus Drawing Tables 297 Blanks for Building Trades 60 Blocks, Cross-Section 51 Blue Print Bath Trays 39 Clips 34 Cloth 26, 28 Frames 35—37, 40, 41 Machines 42, 43 Blue Printing Departments 23 No. 505-4 Imgortant divisions are emphasized by t e use of bold type and b a two-em indention of the items un erneath. Notebooks and Supplies ENGLISH List price Page English Composition Notebook (Greenough, Nutter & Hersey) $ .50 11 - in Biflex Binder .75 11 Literary Map of England (Phelps) .10 77 Rhetoric Tablet ( Scott and Denny) two numbers, each .15 20 HISTORY An Outline of English History ( Trenholme) No. 505-5 .50 253 Combination price list and index All examples are set in the Linotype Century Expanded series with Century Bold Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherhow Chicago 70 East Monroe Street Cleveland 1006 Euclid Avenue Detroit Graham Avenue & Broadway N 0. 5%‘1 Chicago Bohannan Floral Company 70 East Monroe Street Cleveland J. M. Gasser Company 1006 Euclid Avenue Detroit John Breitmeyers’ Sons Graham Avenue & Broadway No. 506-2 Chicago Bohannan Floral Company 70 East Monroe Street Cleveland J. M. Gasser Company ‘ 1006 Euclid Avenue Detroit John Breitmeyers’ Sons Graham Avenue & Broadway N 0. 506-3 CHICAGO Bohannan Floral Company 70 East Monroe Street CLEVELAND J. M. Gasser Company 1006 Euclid Avenue DETROIT John Breitmeyers’ Sons Graham Avenue & Broadway No. 506-4 CHICAGO BOHANNAN FLORAL COMPANY 70 East Monroe Street CLEVELAND J. M. GASSER COMPANY 1006 Euclid Avenue DETROIT JOHN BREITMEYERS’ SONS Graham Avenue & Broadway No. 506-5 Chart 506 Cataloging—Listing Addresses CHICAGO Bohannan Floral Company 70 East Monroe Street CLEVELAND J. M. Gasser Company 1006 Euclid Avenue DETROIT John Breitmeyers’ Sons Graham Avenue & Broadway No. 506-6 CHICAGO Bohannan Floral Company 70 East Monroe Street CLEVELAND J. M. Gasser Company 1006 Euclid Avenue DETROIT John Breitmeyers’ Sons Graham Avenue & Broadway No. 506-7 CHICAGO: 70 East Monroe Street Bohannan Floral Company CLEVELAND: 1006 Euclid Avenue J. M. Gasser Company DETROIT: Graham Avenue & Broadway John Breitmeyers’ Sons No. 506-8 BOHANNAN FLORAL COMPANY Chicago 70 East Monroe Street J. M. GASSER COMPANY Cleveland 1006 Euclid Avenue J OHN BREITMEYERS’ Sons Detroit Graham Avenue &. Broadway No. 506-9 BOHANNAN FLORAL COMPANY CHICAGO: 70 East Monroe Street J. M. GASSER COMPANY CLEVELAND: 1006 Euclid Avenue JOHN BREITMEYERS’ SONS DETROIT: Graham Avenue & Broadway No. 506-10 All examples are set in the Linotype Century Expanded series Sherhow’s Type Charts Volume IV Copyright 1917, 1919. by Benjamin Sherhow Officers C. Louis Allen President Douglas Barnes V ice-President Oscar Coolican Secretary Board of Directors 0. S. Rogers Chairman John C. Hegeman Vice-Chairman Burton Collver Secretary of the Board R. T. Conley Charles Lee Scoville Executive Committee John T. Groves, ea: oflicio Thomas Crane Joseph P. Day No. 507-1 OFFICERS C. LOUIS ALLEN President DOUGLAS BARNES V ice-President OSCAR COOLICAN Secretary BOARD OF DIRECTORS O. S. ROGERS Chairman Manager Phoenix Mutual Life Ins. CO. JOHN C. HEGEMAN V ice-Chairman Vice-President Hedden Construction CO. BURTON COLLvER Secretary of the Board Manager Ampico Div. Knabe Piano Co. R. T. CONLEY Manager Pittsburgh Plate Glass Co. CHARLES LEE SCOVILLE Sales Manager Spencer Trask Company EXECUTIVE COMMITTEE JOHN T. GROVES, ea: ofl’icio Efficiency Manager The Texas Company No. 507-3 Chart 507 Cataloging—Listing Oflicers Ofl‘icers C. LOUIS ALLEN PRESIDENT DOUGLAS BARNES VICE-PRESIDENT OSCAR COOLICAN SECRETARY Board of Directors 0. S. ROGERS CHAIRMAN JOHN C. HEGEMAN VICE-CHAIRMAN BURTON COLLYER SECRETARY or THE BOARD R. T. CONLEY CHARLES LEE SCOVILLE Executive Committee JOHN T. GROVES, ea: oflicio THOMAS CRANE JOSEPH P. DAY No. 507-2 C. Louis Allen PRESIDENT Douglas Barnes VICE-PRESIDENT Oscar Coolican SECRETARY No. 507-4 C. LOUIS ALLEN President DOUGLAS BARNES Vice-President OSCAR COOLICAN Secretary No. 507-5 All examples are set in the Linotype Scotch Roman series Sherbow’s Type Charts Volume IV Copyright 1917, 1919. by Benjamin Sher-bow ‘26 point 1 point 1V2 point 2 point 3 point 4 point 5 point 6 point 8 point 10 point 12 point 18 point Chart 600 Brass Rule and Borders 1/2 point NO. 600']. Double rule with 1 point between No. 600-2 Triple rule with 1 point between rules No. 600-3 1 point between double rule; 4 points between second and third rule No. 600-4 As above, reversed Sherbow’s Type Charts Volume IV Chart 601 Co ' ht 1917, 1919. b B ' ' Sh ho was y en’mm er " Brass Rule and Borders 1/; pomt (Continued) 1 point (Continued) 1 1A2 130th No. 601-1 No. 601—5 1 point between double rule; 2points between double rule; N 0' 601-9 8 points between second and 6 points between second and Double rule with third rule third rule 2 points between N 0. 601-2 As above, reversed 1 point N 0. 601—3 Double rule with 1 point between No. 601-6 As above, reversed No. 601-10 Triple rule with 2 points between rules No. 601-7 2 points between double rule; 8 points between second and third rule No. 601-11 2 points between double rule; 10 points between second and third rule No. 601-4 Triple rule with 2 points between rules No. 601-8 As above, reversed No. 601-12 As above, reversed Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow Chart 602 Brass Rule and Borders 2 and 1/2 point 1 1/2 point (Continued) 2 point (Continued) N 0. 602-1 N 0. 602-5 2 points between double rule; 2 points between double rule; 14 points between second and 12 points between second and third rule third rule 11/2 and 1/2 point No. 602—6 As above, reversed No. 602-2 . 1 point between rules No. 602-9 2 points between rules No. 602-10 1 point between first and second rule; 8 points between second and third rule 2 point N 0. 602-7 2 points between double rule; 18 points between second and third rule No. 6023 Double rule with 2 points between No. 602-8 As above, reversed No. 602-4 Triple rule with 2 points between rules No. 602-11 As above, reversed No. 602-12 1 point between first and second rule; 6 points between second and third rule Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow 3 point N 0. 603-1 Double rule with 3 points between 3 and 1 point No. 603-5 2 points between rules No. 603-2 Triple rule with 3 points between rules No. 603-3 12 points between first and second rule; 3 points between second and third rule 3 and 1/2 point No. 603-6 3 points between double rule; 12 points between second and third mile 4 and 1/2 point No. 603-7 1 point between rules No. 603-4 2 points between rules No. 603-8 2 points between first and second rule; 8 points between second and third rule Chart 603 Brass Rule and Borders 4 and 1/2 point (Continued) T———_———— No. 603-9 8 points between first and second rule; 2 points between second and third rule N 0. 603-10 6 points between first and second rule; 2 points between second and third rule 4 and 1 point N 0. 603-11 1 point between rules No. 603-12 1 point between first and second rule; 10 pts between second and third rule Sherbow’s Type Charts Volume IV Chart 604- Copyright 1917, 1919, by Benjamin Sherbow Brass Rule and Borders 5 and 1 point 6 and 2 point 6, 2 and 1 point No. 604-7 10 points between first and second rule ; 2 points between 2 points between rules 2 points between rules second and third rule No. 604-1 N 0. 604-4 6 and 1 point 8 and 2 point N 0. 604-5 2 points between rules No. 604-2 No. 604-8 2 points between rules 2 points between rules 10 and 2 point N 0. 604-6 12 points between first and No. 604-3 secondrule; 2points between , second and third rule 2 pomts between first and second rule; 10 pts. between second and third rule No. 604-9 2 points between rules Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sher-bow A caption set in the same face as the text but in a smaller size and it was shrewd business on the part of manufacturer and sales agent. Both seller and purchasers of these automobiles profited by their speedy N 0. 700-1 Caption is 10-point Scotch Roman, leaded 1 point. 6 points above caption and 12 points below. Text is 12 point, leaded 4 points. HIS shows how an initial may be used to trim up a caption. Set in the same face as text but in a smaller size. This is 10 point, leaded 1 point. in the building of your sales? Manu- facturer, jobber, mail order house or retailer—it makes no difference what your business, you owe it to yourself to examine the possibilities of the ex- Chart700 Miscellaneous -— Captions for illustrations A caption in italic of same face as text but in a smaller size and it was shrewd business on the part of manufacturer and sales agent. Both seller and purchasers of these automobiles profited by their speedy No. 700-2 Caption is 10-point Scotch Roman Italic leaded 1 point. 6 points above caption and 12 points below. Text is 12 point, leaded 4 points. ms shows how an initial may be used to trim up a caption. Set to the full measure of cut and text, in italic of the same face as the text but in a smaller size—10 pt., leaded 2 pts. in the building of your sales? Manu- facturer, jobber, mail order house or retailer—it makes no difference what your business, you owe it to yourself to examine the possibilities of the ex- No. 700-3 Captionile-pointScotch Roman, leaded 1 point. The initial is 24-point Scotch Roman. 6 points above caption and 14 points below. Text is 12 point, leaded 4 points. In this style of caption break lines by the sense of the words whenever possible and it was shrewd business on the part of manufacturer and sales agent. Both seller and purchasers of these automobiles profited by the speedy service of the express. How about jour own relations with cus- No. 700-5 Caption is 8-point Scotch Roman Italic leaded 1 pomt. 4 ints above caption and 10 points he ow. Text is 10 point, leaded 2 points. No. 700-4 Caption is 10-point Scotch Roman Italic leaded 2 mints. The initial is 24-point Scotch man aligned with small caps. 6 points above caption and 14 points below. Text is 12 point, leaded 4 points. This caption is Bodoni Italic, eight point, and it is leaded one point and it was shrewd business on the part of manufacturer and sales agent. I'Both seller and purchasers of these automobiles profited by the speedy service of the express. How about your own relations with cus- No. 700-6 4 ilnts above caption and 10 points ow. Text is 10 point, leaded 2 points. All examples except the two Bodoni cap- tions are Monotype composition. The illustration is indicated in each ex- ample by the dotted rule above the caption. Note how closely the caption is set to this rule. The caption should always be closely tied up to the illus- tration it describes. Note also that there is considerably more space between the caption and the text, which is necessary to mark the caption off clearly. When you order cuts instruct the en- graver to trim them flush at bottom so that the caption can be set close up. The lines that indicate running text matter under the captions are set in Monotype Scotch Roman. Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sherbow a---—-¢ u———---- The picture caption set in type larger than the text emphasizes important points of your story can speed play any part in the building up of sales? Manufacturer, jobber, mail order house or retailer—it makes no difference what your business, you owe it to yourself to examine the possibilities of the express No. 701-1 Caption is 12-point Scotch Roman, leaded 2 points. 6 ints above caption and 14 points be ow. Text is 10-point, leaded 2 points. |.._....__. .L------ SETTING A LARGE TYPE caption in the full measure of the cut and text, with a one-em hanging indention and it was shrewd business on the part of manufacturer and sales agent. Both sellers and purchasers of these automobiles profited by the speedy service of the express. How about your own relations with these No. 701-2 Caption is 12-point Scotch Roman Italic leaded 3 pomts. First 4 words are set in Roman small caps. 6 ints above caption and 12 points be ow. Text is 10-point, leaded 2 points. This short heading Followed by a subhead in smaller type to add information not supplied by the main heading facturer, jobber, mail order house or retailer—it makes no difference what your business, you owe it to yourself to examine the possibilities of these Chart 701 Miscellaneous—Captions for illustrations L------- h——-----—————-—¢--- This caption is set in Bodoni Italic The size of it is twelve point and it was shrewd business on the part of manufacturer and sales agent. Both sellers and purchasers of these automobiles profited by the service No. 701-4 Caption leaded 3 points. 6 ints above caption and 12 points be ow. Text is 12-point, leaded 4 points. Drawing by Frank Williams Copyright, 1917. by White Bros. A HEADING IN TEN POINT CAPS Followed by a lower case subhead of same size, to tell a longer story facturer, jobber, mail order house or retailer—it makes no difference what your business, you owe it to yourself to examine the possibilities of these No. 701-5 Credit and Copyright are 6-point Scotch with 2 points above and 8 points below. Head has 4 points below. Subhead is leaded 1 pomt. 14 points below caption. Text is 12-point, leaded 4 points. Comm'ght, 1917. by White Bros. THIS HEADING SET IN EIGHT POINT CAPS Followed by a subhead in lower case italic (10 pt.) to tell more of the story and it was shrewd business on the part of manufacturer and of sales agent. Both seller and purchasers of these automo- biles profited by the speedy service of the express. How about your relations No. 701-3 Heading is 12-point Scotch Roman Italic, 6 points above and 4 points below. Subhead is in 10-point Scotch, leaded 1 point. 12 points below caption. Text is 12-point, leaded 4 points. No. 701-6 Copyright line is 6-point Scotch Roman Italic; 2 points above, 6 points below. Heading has 4 points below; subhead is leaded 1 point. 12 points below the caption. Text is 11-point, leaded 2 points. Sherbow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Sher-bow r...._.__._.. This caption set in the Monotype equiva- lent for Bookman. The size is 8 point,leaded 1 point. It is an excellent caption type, par- ticularly when a small size must be used and it was shrewd business on the part of manufacturer and sales agent. Both sellers and purchasers of automobiles profited by the service of the express. How about your own relations with customers? Can speed play any part in No. 702-1 Caption set in 8-point Monotype 98J; leaded 1 point. 6 points above and 12 points below. Text is 11 point, leaded 2 points. Photograph by Frank Williams © WHITE BROS. Figure 7 02-3 This heading serves to bring out the most important point in the illustration Followed by a subhead of the same face as text, but several sizes smaller, which describes further details of the illustration and it was shrewd business on the part of manufacturer and sales agent. Both sellers and purchasers of automobiles profited by the service of the express. How about your own relations with customers? Can speed play any part in the building of your sales? Manufactur- Chart 702 Miscellaneous—Captions for illustrations —————__- -.—._._.___ THIS HEADING IN EIGHT POINT CAPS Followed by a subhead in lower case of the same size, to tell a more complete story than is possible with the heading in the building of your sales? Manufac- turer, jobber, mail order house or retailer ——it makes no difference what your busi— ness, you owe it to yourself to examine the possibilities of the express as an ex- tender of your sales. Both the seller and No. 702-2 Caption set in 8-point Monotype 98J; 6 points above the cap heading and 3 points below. Subhead is solid with 12 points below. Text is 11 point, leaded 2 points. Fig. 702-4. Setting the figure number in the same size as the rest of the caption, one-em hanging indention in the building of your sales? Manu— facturer, jobber, mail order house or retailer—it makes no difference what your business, you owe it to yourself to examine the possibilities of the ex- No. 702-3 Credit line is 8-point Scotch Roman Italic with 2 points above. Name next to copyright mark, 6-point small caps. Figure line is 10-point Monotype 98.]; 6 points above and 3 points below. Caption head is 10-point Monotype 98J; leaded 2 points, with 3 points below. Subhead is 8—point Scotch Monotype solid, with 12 points below. Text is 11 point, leaded 2 points. N 0. 702-4 Caption set in 10-point Monotype 98J; leaded 1 point. 6 points above and 14 points below. Text is 12 point, leaded 4 points. Chart 703 Miscellaneous—Quotations Copyright 1917, 1919. by Benjamin Sherbow Sherbow’s Type Charts Volume IV 00005000 00050 5 08050 00 .3300 600 00600 00000 0053 000 00 0003 0000 000000 0008—0 000005 6000005 000005 60000600 m530200 5000060550 050000 -0000 .5050 000 00 05000006 0.00800 mm 0H 000000600 000 H 5000 050 055 00000.00 -000 00500 :0 0050 0000 .050 0050 0050005 000000000 050 500.0 500000 to 0m 5005 00 0650 00000 0053 550000 005 00 0000005 005000 0000000600 5000000000 60000 050 6000 000 0006 030 -0005. 5000 00600 50050000 0000.0 05H. 000000 0000 050 500m 000 5050 0.86 8 0.80 020 800.0000. 20 :0 003w 0050.0 00000 0053 050 0000000 00000065 50050000 00000 050 005000 000 06 0058 0055000 :0 5 050000 -0000 0005 5003 0505 003000000 059 50005065 Amunwgh 50 00002 .0030 .8000 B200 600 0>000 00500 0H .0030 A000 00 005 H 6000065 000 0000000000 058 .0020 0 00080 00020 3 003 050 50 000550 0000 0 000 0000000000 05H. «.02. .02 00000000 05 000 5000mm 053-0058 050 00 000500 05H. .0000 00m 00 0.0H 0000000000 m050000000 0m 0000 00000053. B00 05H. ...00w0w 60050 00 w050050 000 0000 300 0 005005 050 00 00000 5050 .52 M00006 .H 0050 6050005 05 00005: $000000 009m 5000 005005 00 060655 6030000 H 00 0300—0000000 5000000600000 0050000 00w0w 60050 00 «050050 000 0605005 600 2000 m0m600M00 000000— 000% 003m 9005. H: $500505 0005 0m 000000505 .02 5000 000000 600000 5655000 05HL 0000000 60006000 000005005 0000005404 50000 00000005 00 060.655 00m ...0050000 :00: 000000 50500 00 0>05 EB 00 005 503 000005 0 0>05 H .330 005 I03 08 0 80.000 200-0200. 20... ”000m 00 0000? 00000053. .02 000.500 050 00 006.05 .0005 5050 00 0500000 00 6060005 03 0050 60010605005 000005 0051.50000m 000050058 050 000 000 0006 .0500 05 00005 0050 5009mm w5m0w 0300560003 0000000000 30—00 600 00500 3520 2 .3520 0 0.080 00 .080 003 050 0:53 0500 H 500 606000 000 0000000000 .0505 050 5 60003 000 000000 050 0050 000 Z .0600 5005 00 003 H 6000065 050 .0000 050 00 0.30 00 0000 0500 050 5 000 0000000000 05H. mower .02 00000000 05 000 5009mm 055.0000;L 050 00 000500 05H. $03 000 00 0.0H 0000000000 00050000000 00 0000 00000050H. B00 05H. :00w0w 60050 «0 M05850 000 H000 B00 0 005005 050 00 000E H0050 .nHmH M5006 . H 0050 6050005 05 0000i: $000000 000% 5000 0000505 00 0600655 6050000 H 00 500000000000 500000060000 0050000 00m0w 60050 00 m50050 000 0605005 600 3000 M00600w00 0000000 000% 003m 025 H: $555000 0005 00 00000053. .02 5000 000000 600000 w06$0=8 05H. 0060000 60006000 00505005 000000540 500.0 005005 00 0600655 00m anoHQJtH—M :00: 000000 50500 00 0>05 :66 00 005 0?? 000005 0 0>05 H .3000 005.! 605 000 00 5000mm 00$?005HL 05H... "000m 00 00003 00000053. .02 000.500 050 00 000005 -0005 5050 00 0300000 Hm 6060005 0.3 0050 600II0605005 000005 005l5000hm 000050058 050 000 000 0006 .0500 05 00005 0050 500005 m5m0mv 000005-300? .30 0 0.00.81.00.00 0380 0008.80 a 060. 0000000000 30—05 600 0.0000 00500 0H 5003 .0000 050 00 0000005 0500 050 5 600 0050 «0 0000 0500 050. 5 000 00000000000 05H. 7mg .oz 00000000 05 000 5000mm 000050058 050 00 000500 05H. $03 000 00 0.0H 0000000000 ”0550000000 00 H000 00000053. 300 05H. ...00w0w 60050 00 00050050 000 _000 B00 0 005005 050 00 0003 00050 . bHaH m5006 .H 0050 60500.05 05 0000a: $005000 000% 5000 005005 00 060655 6030000 H 00 500600000000 500000060000 0050000 00w0w 60050 00 w050050 000 0605005 600 £000 M5600w00 0000000 000% 005% 055 H: $500505 0005 00 00000053. .02 5000 00000— 600000 w06$0=00 05H. 0060000 60006000 00055005 00000054 5000 00005005 «0 0600655 00m :005005 6000 000000 50500 00 00:5 EB 00 005 00? 000005 0 00005 H .3000 005 I605 000 00 5009mm 0.53.0058 05H... ”000m 00 00003 00000053. .02 000.500 050 00 000005 -0005 5050 00 6300000 00 6060005 03 0050 600.!0605005 000005 0051500003. 05500058 050 000 000 0006 .0500 05 00005 0050 5009mm M0500 005005-200? Sherbow’s Type Charts Volume IV Copyright 1917,1919, by Benjamin Sherbow “M y advancement is, to a very great extent, due to the knowledge of modern business which I have ob- tained through your good Course.” F. H. H ollenbeck President Lumbermens Trust Co., Portland, Oregon No. 704-1 First two words of the testimonial and signature in italic of text type. Company line in 8 point of text type. -......--..-____——--_____-———- “My advancement to a very great extent, is due to the knowledge of modern business which I have ob- tained through your good Course.” F. H. Hollenbeck Lumbermens Trust Co., Portland, Oregon N 0. 704-2 First two words of testimonial and signature in 25J. Company line in 8 point of text type. “MY ADVANCEMENT is, to a very great extent, due to the knowledge of modern business which I have ob- tained through your good Course.” F. H. HOLLENBECK Lumbermens Trust Co., Portland, Oregon No. 704—3 First two words of testimonial in caps and small caps. Signature and company line in 81:12. F. H. HOLLEN BECK PRESIDENT, LUMBERMENs TRUST Co., PORTLAND, OREGON MY ADVANCEMENT is, to a very great extent, due to the knowl— edge of modern business which I have obtained through your good Course. Chart 704 Miscellaneous—Quotations F. H. HOLLEN BECK, President, Lumbermens Trust Co., Port- land, Oregon: “My advancement is, to a very great extent, due to the knowledge of modern busi- ness which I have obtained thru your good Course.” —. ( ._..-_-..-—.._._——______-_-——-o “My advancement is, to a very great extent, due to the knowledge of modern business which I have ob- tained through your good Course.” F. H. HOLLENBECK President Lumbermens Trust 00., Portland, Oregon No. 704-4 Signature in caps and small caps and President in italic of text type. Company line in 8-point italic. No. 704—5 Name in caps of text; 2 pts. below. The two lines below in 8—point caps and small caps of the text type, indented one cm, with 1 point be- tween lines and 4 points below. Two-line initial (24-point Scotch) aligned at top with the small caps. Text is leaded 2 points. F. H. HOLLENBECK President, Lumbermens Trust Co. MY ADVANCEMENT is, to a very great extent, due to the knowl- edge of modern business which I have obtained through your good Course. No. 704-6 Name in caps and small caps of the text type with 1 point below. Line below in 8-point, indented 1 em, with 5 points below. Mr. F. H. Hollenbeck, President, Lumbermens Trust Co., Portland, Oregon: “My advancement is, to a very great extent, due to the knowl— edge of modern business which I have obtained through your good Course.” N 0. 704-9 l-em hanging indention. ’Name in caps. Portland, Oregon Date here MY ADVANCEMENT is, to a very great extent, due to the knowledge of modern business which I have obtained through your good Course. F. H. HOLLENBECK PRESIDENT, LUMBERMENS TRUST CO. No. 704-10 Address and date line in italic of the text type with 3 points be- tween and 1 point below. Initial is 14-point Scotch. Signature in caps and small caps (indented 1% ems from back) and company line in small caps. . ~—-_._——.-—_-.——____--———-_.__-..--..--- No. 704-7 Name in 25 J, size of the text type. __—-—-_--—______-_._——_.—.—__..._,. Mr. F. H. Hollenbeck, President, Lumbermens Trust Co., Portland, Oregon: “My advancement is, to a very great extent, due to the knowl- edge of modern business which I have obtained through your good Course.” LETTER 7 This one is from the President of a Bank in Oregon My advancement is, to a very great extent, due to the knowledge of modern business which I have ob— tained through your good Course. F. H. HOLLENBECK President, Lumbermens Trust Co. Portland, Oregon No. 704-8 Name, company and address in 25J. No. 704-11 First line of heading is 12-pt. caps and small caps (letter-spaced 1 pt.) with 6 pts. below. Next three lines are 12-pt italic; 4 pts. between lines and 8 pts. below. Text is leaded 2 pts. Signature is 8 pt. italic caps; 4 pts. above. Lines below are 8 pt. Roman. _..—__._-.._.--__.__.____.._..._...___ All examples are Monotype composition. The dotted rules around each example are not intended to suggest the use of panels. Text is Monotype Scotch Roman 10-pt., leaded 1 pt., unless otherwise specified. 3-points space above signature, unless otherwise specified. Sherhow’s Type Charts Volume IV Copyright 1917, 1919, by Benjamin Shel-bow —._——__-....-- ____-a--——.—. Chart 705 Miscellaneous—Title Pages First two lines are 14 point, leaded 6 points with 6 points below. Following three lines are 11-point italic, leaded 3 points, with 6 points below. Publisher’s imprint is 10 point, leaded 2 points. First two lines are 12-point italic, leaded 6 points, with 5 points below. Fol- lowing three lines are 11-point roman, leaded 3 points. Publisher’s imprint is 10-point leaded 2 points. First line in roman caps and small caps, second line in italic, third line in roman. First two lines are 11-point caps, leaded 6 points, with 4 points below. Third line in 11-point small caps with 3 points below. Next two lines are 12- point small caps, leaded 3 points with 6 points below. Publisher’s imprint is 10-point, leaded 2 points. First line in caps and small caps. Second line in small caps alone. All examples on Charts 705 and 706 are set in Scotch Roman. The floret used is a unit of “Old English” border No. 19. The Vision The V z'sz'on THE v1 SION of a Blind Man ofa Blind Man OF A BLIND MAN 4 i L._ ____________________________________________________ No. 705-1 N 0. 705-2 No. 705—3 Two lines of 12 point, leaded 6 points Two lines of 14-point italic, leaded Two lines of 10-point caps, letter spaced 6 points. Both lines flush at left. 1 point, and leaded 7 points. 1 l The Vision The Vm‘on 5 THE VISION of a Blind Man = ofa Blind Man 5 OF A BLIND MAN I ' : AND and what came qu't ! and what came of it E WHAT C ME OF IT forty four years E forty-four years 5 A after 5 aftep E I YEARS Al‘ TER 1917 E NEW YORK i . Popular Science Monthly E Popular Science Monthly E POPULAR SCIENCE MONTHLY E New York 5 191 7 E NEW YORK i i i _ i L____-____ _________i L _________________________ J No. 705-4 No. 705-5 No. 705-6 ‘Sherhow’s Type Charts Volume IV Copyright 1911, 1919. by BenjaminShu-bow The Vision and Forty-four years after Chart 706 Miscellaneous—Title Pages The Vision and what came of it forty-four years The Vision of a Blind Man and what grew out of it in forty-four years By after Frank Thompson ' FRANK THOMPSON Printed by the Author Issued by the POPULAR SCIENCE f or his fr‘m PRINTED BY THE AUTHOR MONTHLY at 239 Fourth Avenue 1917 FOR ms FRIENDS New York: 1917 No. 706-1 No. 706-2 No. 706-3 First and third lines are 12 point. Second line is 10 point with 2 points above and 2 points below. - By is 8 point with 10 points above and 3 points below. Name is 10-point. First two lines of imprint are 8-point Italic, leaded 3 oints with 4 points below. Date in man. First line is 14 point, with 5 points be- low. Following 3 lines are 11 point, leaded 2 points, with 3 points below. The decoration is made up of 8-point riods,with4points below. Following ine is 10-point caps and small caps. Imprint is 10-point small caps, solid. The Vision qfa Blind Man and what grew out of it in the course of forty-four years Issued by Popular Science Monthly 239 Fourth Avenue, New York: 1917 -__—_——— No. 706-4 First line is 12-point Italic with 2 points below. Following two lines are 11- point, leaded 2 points. Intgrint is 8 point, leaded 2 oints with e first two words in Its ic. The Vision of a Blind Man The progress due to science and invention in America which makes this Twenti- eth Century so wonderful and so rich, is a tribute to the vision of a blind man Modern Publishing Company New York Three lines of 12 point, leaded 4 points. In rint is 10 point, leaded 2 points with e name in caps and small caps. No. 706-5 The first two lines are 14-point Italic, leaded 6 points with 12 points below. Following paragraph is 6 point, leaded 1 point. Imprint is 8 point, leaded 3 points. THE VISION OF A BLIND MAN 3‘ The progress due to science and invention in America which makes the Twenti- eth Century so wonderful. so rich, is a tribute to the vision of a blind man Issued by Modern Publishing Company 239 Fourth Ave., NewYork No. 706-6 The first two lines are 12-point caps, leaded 6 points with 6 points below. 6 points below the floret. Following paragraph is 6 point, leaded 1 point. Imprint: First andthird lines are 8 point; second line is 10 point with 3 points above and 8 points below.