Job printers should be interested in Example 42, as it is a good presentation of the theory of uniform tone. The effect of the open-line illustration is duplicated in the spaced Jenson capitals and cross lines. The result would have been even better had the small groups on both sides of the illustration been slightly letterspaced and the line at the bottom spaced less.
Example 43, on the insert, is a classic interpretation of uniform tone. The architectural design is formed of lines about the same strength as the strokes of the type-face and the massed capital letters admit sufficient light to give them a tone near to that of the open-spaced border.
Example 44 (insert) is a pleasing blend of tone and characteristics. The delicate light-gray tone of the Camelot type-face is closely matched in the decoration and border, and altogether this is an almost perfect exemplification of the subject of this chapter. It is seldom that an artist so carefully considers the characteristics of a type-face and reproduces these characteristics in so admirable a manner as was done in this instance.
In which the tone of the initial and headpiece is lightened to near that of the text portion. Page by Heintzemann Press, Boston ]
Initials and headpieces should approach closely the tone of the type-page of which they are parts. Example 45 shows such a combination, with the tone of the decoration just a trifle darker than that of the text portion. An initial has other duties to perform than merely to look pretty; it must direct the eye to the beginning of the reading matter. In the manuscript books of the Middle Ages, written without paragraphs, the starting point of a new thought was denoted by an initial more or less elaborate. The utilitarian purpose thus served by the initial is reason for making it a trifle darker than the remainder of the page. However, if there is great contrast in tone, the page will be difficult to read because of the initial claiming too much attention. The effect would be much like attempting to listen to one speaker while another is calling and beckoning.
Display lines in tone should match the border ]
Every rule has its exception and I wish to record one in the matter of uniform tone. On a page composed of display lines and a large amount of reading matter it is an offense against legibility to set the reading matter in a type-face of black tone to correspond with the display lines, considerable contrast being necessary in such cases to make reading easy. (Example 48.) Notwithstanding this exception in the case of reading matter, uniform tone should be retained between display lines and border.