, especially
noteworthy for its freedom of serif treatment; and in the letter-heading,
122, he has employed an attractive capital of still different character.

[Illustration: 121. MODERN AMERICAN TITLE. C. F. BRAGDON]

[Illustration: 122. MODERN AMERICAN LETTER-HEAD. C. F. BRAGDON]

Mr. H. L. Bridwell has originated the singularly excellent letter shown in
124, which is founded upon some of the modern French architectural forms.
He uses it with great freedom and variety in spacing according to the
effect that he desires to produce. In one instance he will jam the letters
together in an oddly crowded line, while in another we find them spread far
apart, but always with excellent results as regards the design as a whole.
Something of this variation of spacing is shown in 123. In the numerous
theatrical posters which Mr. Bridwell has designed--and which too seldom
bear his signature--he employs a great variety of lettering. Sometimes, of
course, the freedom of his work is restricted by the conservatism of
clients; but often the letter forms here illustrated add to the style and
distinction of his designs.

[Illustration: 123. MODERN AMERICAN COVER. H. L. BRIDWELL]

[Illustration: 124. MODERN AMERICAN CAPITALS. H. L. BRIDWELL]

[Illustration: 125. MODERN AMERICAN CAPITALS. FRANK HAZENPLUG]

[Illustration: 126. MODERN AMERICAN CAPITALS. FRANK HAZENPLUG]

[116]

[Illustration: 127. MODERN AMERICAN COVER. FRANK HAZENPLUG]

Mr. Frank Hazenplug, the author of much clever decorative lettering, has
evolved a very black and striking style of capital that still retains
grace. Figures 125 and 126 show two sets of Mr. Hazenplug's capitals. A
book cover on which he has used small letters in an original way is
reproduced in 127. Figure 129 shows the employment of a heavy-faced letter
similar to that exhibited in alphabet 126, but suggestive in its serif
treatment of Mr. Penfield's letter.

[Illustration: 128. MODERN AMERICAN TITLE. EDWARD EDWARDS]

Mr. Edward Edwards employs a letter, 128, which, though rather conventional
in its lines, is noteworthy for its treatment of serifs and its spacing.

Mr. Guernsey Moore's letters shown in 130 are naturally better both in
intrinsic form, spacing and composition than the widely used "Post Old
Style" types which were based upon them. The large and small letters
displayed in 133 show a form that, at the present writing, seems to be in
considerable favor. It is, however, too extreme,