SHOW METHOD OF ENLARGING A PANEL]

If it is desirable to make two lines of lettering of the same length,
although they contain an unequal number of letters, this may be
effected--provided, of course, that the number of letters does not vary too
greatly--by broadening or narrowing the letters that occur in one line but
not in the other, and by varying the spacings about the I's and the open
letters. Note, for example, the spacing of the upper lines in the poster by
Mr. Crane, 87. It is by no means essential to draw the same letter always
exactly alike even in the same line; in fact, variation is generally
demanded by the different surroundings and neighboring letters. So long as
the general character of the letter remains unchanged in its distinctive
features, such as weight, [206] treatment of serifs, angles, height of
waist and cross lines, etc., its width and outlines may be varied and
arranged to help out the spacing without interfering, to any noticeable
extent, with the uniform appearance of the line.

In Roman lettering emphasis may be obtained for any special word by spacing
its letters farther apart. This has something of the same emphasizing
effect as the use of Italic, without so greatly breaking the harmony of the
line. Much of the lettering of the Italian Renaissance shows a very subtle
appreciation of this use, and in some of the most beautiful inscriptions
the important words are often so differentiated, while others are
emphasized by slightly larger characters.

As a general rule, and within certain limits, the wider a letter the more
legible it is likely to be. Blackness and boldness of stem alone will not
make a letter readable. Width, boldness of hair lines and serifs, and a
proper amount of surrounding white space are more essential. The Roman
letter is more legible than the Blackletter mainly because it is black
against a roomy white ground; while Blackletter, on the contrary, is really
defined by small interrupted areas of whites upon a black ground.

A common limitation of many draughtsmen is that they become accomplished in
the rendering of but one style of letter, and find themselves obliged to
use it on all occasions, whether it be suited to the work in hand or not,
because they can command no other. In the case of certain designers, of
course, the individuality of their work is strong enough to bind both
lettering and design so closely together that they can never seem at
dissonance; but, spe