dication of the medium employed.
Figure 92 shows Mr. Nicholson's favorite type of letter [96] fairly, and
the style of Mr. Craig's work is suggested by the title for a book cover in
94.

The book cover, 97, by Mr. Edmund H. New, shows variants of the Roman
capital and minuscule forms, which closely adhere to classic models.

Mr. Robert Anning Bell has done much distinctive lettering in intimate
association with design. Figure 96 is fairly representative of his style of
work.

[Illustration: 95. MODERN ENGLISH CAPITALS. LEWIS F. DAY]

[Illustration: 96. MODERN ENGLISH TITLE. ROBERT ANNING BELL]

[Illustration: 97. MODERN ENGLISH COVER. EDMUND H. NEW]

[Illustration: 98. MODERN ENGLISH COVER. SELWYN IMAGE]

Such other British artists as Messrs. Alfred Parsons, James F. Sullivan,
Hugh Thompson, Herbert Railton, Byam Shaw, H. Granville Fell and A. Garth
Jones, although much better known for their designs than for their letters,
[97] occasionally give us bits of lettering which are both unusual and
excellent; but these bits are commonly so subordinated to the designs in
which they are used and so involved with them as to be beyond the scope of
the present book.

[Illustration: 99. MODERN ENGLISH CAPITALS. ANONYMOUS]

[Illustration: 100. MODERN ENGLISH CAPITALS. CHARLES RICKETTS]

In illustrating the lettering of American artists it has been unfortunately
found necessary to omit the work of many well-known designers, either
because their usual style of lettering is too similar in fundamental forms
to the work of some other draughtsman, or because the letters they commonly
employ are not distinctive or individual.

[Illustration: 101. MODERN AMERICAN TITLE. EDWIN A. ABBEY]

[Illustration: 102. MODERN AMERICAN TITLE. ANONYMOUS]

[Illustration: 103. MODERN AMERICAN COVER. EDWARD PENFIELD]

Mr. Edwin A. Abbey is a notable example of an artist who has not disdained
to expend both time and practice on such a minor art as lettering [100]
that he might be able to letter his own designs, as the beautiful page,
shown in 153 in the succeeding chapter, will sufficiently prove. The
lettering of the title-page for Herrick's poems, 101, by the same
draughtsman, is likewise excellent, being both original and appropriate.
The letters in both these examples are modeled after old work, and both
display an unusually keen grasp of the limitations and possibilities of the
forms employed, especially in the former, 153, where the use