of capitals to
form words is particularly noteworthy, while in general composition and
spacing the spirit of the letter used (compare 179) has been perfectly
preserved.

[Illustration: 104. MODERN AMERICAN CAPITALS. EDWARD PENFIELD]

[Illustration: 105. MODERN AMERICAN SMALL LETTERS. EDWARD PENFIELD]

[Illustration: 106. MODERN AMERICAN COVER DESIGN. H. VAN B. MAGONIGLE]

[Illustration: 107. MODERN AMERICAN CAPITALS. H. VAN B. MAGONIGLE]

Mr. Edward Penfield's work first attracted attention through the series of
posters which he designed for 'Harper's Magazine' with unfailing fertility
of invention for several years. During this time he evolved a style of
letter which exactly fitted the character of his work. The cover design
shown in 103 displays his characteristic letter in actual use; while the
two interesting pages of large and small letter alphabets by him, 104 and
105, show the latest and best development of these letter forms. The
heading [102] shown in 102 exhibits a slightly different letter, evidently
based upon that used by Mr. Penfield.

The capitals by Mr. H. Van B. Magonigle, shown in 107, are derived from
classic Roman forms but treated with a modern freedom that makes them
unusually attractive. They appear, however, to better advantage in actual
use in conjunction with a design, 106, than when shown in the necessarily
restricted form of an alphabetical page panel.

[Illustration: 108. MODERN AMERICAN CAPITALS. B. G. GOODHUE]

Mr. Bertram G. Goodhue, whose designs for type have already been mentioned,
is a [104] most facile and careful letterer. Although his name is more
intimately associated with Blackletter (examples of his work in that style
are shown in the following chapter), he has devised some very interesting
variations of the Roman forms, such as that used in 108, as an example.

[Illustration: 109. MODERN AMERICAN TITLE. WILL BRADLEY]

Mr. Will Bradley uses a very individual style of the Roman capital, often
marked by a peculiar exaggeration in the width of the round letters,
contrasted with narrow tall forms in such letters as E, F and L. Mr.
Bradley has become more free and unconventional in his later work, but his
specimens have always been noteworthy for beauty of line and spacing; see
111. Figure 109 shows his employment of a brush-made variant of the Roman
form; [107] and 110 shows both capitals and small letters drawn in his
earlier and less distinctive style.

[Illustration: 1