EPH PLECNIK]

[Illustration: 74. MODERN GERMAN CAPITALS. AFTER FRANZ STUCK]

[82]

[Illustration: 75. MODERN GERMAN CAPITALS. F. C. B.]

[Illustration: 76. MODERN GERMAN CAPITALS. AFTER BERNHARD PANKOK]

[Illustration: 77. MODERN FRENCH POSTER. THEO. VAN RYSSELBERGHE]

[Illustration: 78. MODERN FRENCH COVER. M. P. VERNEUIL]

The influence of nationality is strongly shown in the modern lettering of
all countries; and it is generally as easy to recognize a specimen as the
work of a German, French, English, or American artist, respectively, no
matter how individual he may be, as it is to tell the difference between
the work of two different designers.

The modern German seems to have an undeniable freshness of outlook on the
Roman alphabet. He treats it with a freedom and variety and a certain
disregard of precedent--induced, perhaps, by his schooling in
Blackletter--that often produces delightful, though sometimes, be it added,
direful results. But if the extreme and bizarre forms be thrown aside the
designer may obtain suggestions of great benefit and value from the more
restrained examples of German work. Many eminent German draughtsmen, whose
work is all too little known in this country, are [84] using letters with
the same distinction that has of late years marked their purely decorative
work, as the specimens shown in 68 to 76 will evidence. Figures 68 and 75
show forms which are perhaps especially representative of the general
modern tendency in German work and many German artists are using letters of
very similar general forms to these although, of course, with individual
variations. Figures 70 and 73 show two very original and pleasing styles,
also markedly German. In spite of the national drift toward the Roman, much
modern German lettering still takes the Gothic and Blackletter forms; and
the specimen reproduced in 71 shows a curious combination of the Gothic,
Uncial and Roman forms pervaded by the German spirit. The beautiful
lettering in 72 seems to have been inspired from a stone-cut Uncial. Figure
74 shows an almost strictly Roman letter, and yet is as unmistakably German
in handling as any of the other examples shown.

[Illustration: 79. MODERN FRENCH LETTERS. AFTER M. P. VERNEUIL]

[Illustration: 80. MODERN FRENCH POSTER. P. BONNARD]

[Illustration: 81. MODERN FRENCH COVER. GEORGE AURIOL]

[Illustration: 82. MODERN FRENCH CAPITALS. ALPHONS M. MUCHA]

[86]

Among the examples of modern French