Evening star., 1935-11-17

eye of a novice. or an amateur in
printing. 1t has.
An expert, standing by an amateur,
can point out the distinguishing points
of the Bruce Rogers Bible. There
are, for instance, no rivers running
through the type. Rivers of type they
are called because the eye detects
those irregular spacings on the printed
page-for all the world like tracings
of the River Nile on the map Of
Egypt,
Type rivers often wind their way
through pages of poorly printed books.
No such deformities mar the new
Bible. There is also an absence of
rule lines, splitting columns and para
graphs made from each verse Of the
Bible text.
IN THE BEGINNING GOD GRE
ATED THE HEAVENS AND THE
EARTH. Printed in capitals, Bruce
Rogers runs that significant line all
the way across the top Of his first
chapter. The second paragraph fol-
lows along naturally, complete verse
though it be, with merely the numeral
"2" designating its place in the poetic
scheme.
THESE are the touches of the mas
ter. Though use OF the Bible in
church demands guide posts to the
verses, the average reader has need
of no such help. However, the para
graph mark and the numeral pre-
ceding it are of definite help to the
reader at the lectern who must desig-
nate certain verses of the Bible. So.
too, are initial letters at all chapter
headings, where the text is broken.
Those initial letters, by the bye,
are the finest contribution Mr.. Rogers
has made to this artistic typographical
arrangement-if old printers are quail
ified judges of merit.
1t was Frederick w. Goudy, director
of typography for the Lanston Mono
type Machine Co., working with
Rogers, who set down few pertinent
facts about initial letters, their ethics
and estheticS.
Typography" writes Mr.. Goudy,
from the fullness of his experience,
must be thoughtful to be good, its
beauty organic-a development OF its
construction. and not merely the re-
suit of adventurous aids. It requires
more than the tasteful use Of ordinary
materials. Good Typography is usually
simple in construction. 1t does not
follow, however, that simplicity i'm
plies poverty Of invention. Nor does
simplicity preclude the possible use Of
some highly elaborate detail that
contributes to the beauty Of the ar
rangement as whole, such as an Or
namental capital or line of lettering
more decorative than prim type. An
initial letter is seldom absolutely
necessary or essential to any piece OF
printing. It is an item that contrib
utes merely to the appearance Of the
work"
The dictum laid down by Goudy.
the master printer, is simply this:
The use Of initial letters should add
materially to the beauty Of typog-
raphy. Otherwise, they should not be
used.
As a specimen Of what initial let
tiers should contribute to the art Of
printing, authorities now point to the
Bruce Rogers Bible-for by this name
it probably will be called henceforth
and forever. These initial letters were
specially drawn by Mr.. Rogers.
In fact, Mr.. Rogers seems to have
spent his life drawing letters. These
type designers are strange lot. They
are always drawing letters, playing
around with the alphabet, trying to
get out a new type design. And they
work together. This is notably so In
the case Of Bruce Rogers and Fred.
erick w. Goudy and third member
Of the ring, Sol Hess, who spent a lot
Of time In Mr. Rogers English work.
shop In Clifford Inn while the initial
letters in the new Bible were coming
into being. Years ago they all worked
together.
INTO the making Of this Bible went
all the care in the world-with
type face the upperrnost thought. It
seems that Mr.. Rogers was not without
benefit Of type designers. They were
all lowering around him as he worked
for they are a strange breed, these
men who make the type so you and I
may read, in comfort.
To those Of us who know little Of
the process, or Of the deep concern
which accompanies invention In this
branch, Sol Hess explana-
ton is interesting. He says:
"A modern type designer cannot, in
the strict sense of the word, lay claim
to inventing a really new alphabet.
He can introduce whatever creative