the designer.

[Illustration: Fig. 36. Forum, a Classic Roman type, designed by Mr. F.
W. Goudy.]

[Illustration: Fig. 37. Title page, much reduced, of a Shakespeare first
folio, showing the Georgian style of typography. The types were poorly
fitted and of uncertain alignment. The "stock" ornaments, cut on wood,
were often bruised and worn. Yet there is undeniable charm in the
result.]

[Illustration: Fig. 38. An early American page, dated 1685, showing the
influence of the Georgian style upon the Colonial printers. An
improvement in mechanical quality may be noted. Large capitals, a
profusion of italics, and frequent use of cross rules mark this period
of printing.]

Design in printing has suffered through the marvelous mechanical
development of machines and devices whose sole purpose has been to
multiply gross output. Necessary as sheer volume of production has been,
it has remained for very recent years to witness a renewal of interest
in the beauty of printing, as determined by the principles of design.

William Morris, in England, devoted a very few years, toward the end of
his life, to a protest against the commonplace and mechanical qualities
which had dominated printing previously. He revived many of the old
traditions and marked his books with his strong personality. We owe much
of our present wide-spread reverence for good design in printing to his
influence, even as we are similarly indebted to him for the
well-designed and useful appurtenances of our daily life which have
supplanted twisted and distorted furniture, stuffed birds under glass
jars, and all the atrocities of a generation or two ago. See Figs.

Among the present-day designers of printing whose work shows an intimate
study of the principles and the traditions of the craft are such men as
Rogers, Updike, Goudy, Cleland, and Currier. The product of their work
may frequently be seen in reproductions in the trade publications. It
should be studied by younger designers, for it shows the results of
earnest and understanding effort to make modern printing reach and even
pass the artistic standards which were established nearly five hundred
years ago.

[Illustration: Fig. 39. Page from Poor Richard's Almanack, one of the
best known of the Colonial publications. Its style is typical of that
period.]

[Illustration: Fig. 40. Illustrating the period of transition from the
true Colonial style. Type and material are obviously improved in
mec