tion: 88. MODERN ENGLISH CAPITALS. WALTER CRANE]

[Illustration: 89. MODERN ENGLISH LETTERS. WALTER CRANE]

[Illustration: 90. MODERN ENGLISH TITLE. JOSEPH W. SIMPSON]

The strongest personality among modern British letterers is Mr. Walter
Crane. Characteristic examples of his work are shown in 86, 87, 88 and 89.
Although sometimes apparently careless and too often rough, his lettering
has the merit and charm of invariably disclosing the instrument and the
material employed. Mr. Crane is especially fond of an Uncial pen form,
which he varies with masterful freedom. It may be mentioned in passing that
he is perhaps the only designer who has been able to make the wrongly
accented Q seem consistent (compare 86), or who has conquered its swash
tail when the letter is accented in this unusual way.

[93]

Mr. Lewis F. Day has become a recognized authority on lettering, both
through his writings and his handiwork. His great versatility makes it
difficult to select a specimen which may be taken as characteristic of his
work; but perhaps the lettering shown in 95 is as representative as any
that could be chosen. Among his designs the magazine cover, 93, is an
unusually free and effective composition, and its letter forms possess the
variety required to satisfy the eye when so much of the whole effect of the
design depends upon them.

[Illustration: 91. MODERN ENGLISH POSTER. JOSEPH W. SIMPSON]

[Illustration: 92. MODERN ENGLISH COVER. WILLIAM NICHOLSON]

[Illustration: 93. MODERN ENGLISH COVER. LEWIS F. DAY]

[Illustration: 94. MODERN ENGLISH TITLE. GORDON CRAIG]

The style of lettering ordinarily employed by Mr. Selwyn Image--a style of
marked originality and distinction--is well exhibited in the design for a
book cover, 98.

The name of Mr. Charles Ricketts is intimately associated with the Vale
Press. The detail of the title-page reproduced in 100 shows a
characteristic bit of his work.

Mr. J. W. Simpson, one of the younger British draughtsmen, uses a graceful
and interestingly linked Roman form shown in the panel from a title-page,
90. The bizarre [95] letter by the same artist, 91, is fairly
representative of a style recently come into vogue among the younger
British draughtsmen, which is related to a form of letter brought into
fashion by the new English school of designers on wood, among whom may be
mentioned Mr. William Nicholson and Mr. Gordon Craig, both of whom have
done lettering distinguished by its in