10. MODERN AMERICAN CAPITALS AND SMALL LETTERS. WILL
BRADLEY (1896)]

[Illustration: 111. MODERN AMERICAN COVER. WILL BRADLEY]

[Illustration: 112. MODERN AMERICAN TICKET. A. J. IORIO]

The ticket, 112, designed by Mr. A. J. Iorio, suggests what our theatre
tickets might be made. In spacing and general arrangement of the letters
and the freedom of treatment, Mr. Iorio's work may be compared with much of
the [110] work of Mr. Bradley. Figure 113 shows a modern Roman capital form
modeled upon the work of Mr. Bradley.

[Illustration: 113. MODERN AMERICAN CAPITALS. AFTER WILL BRADLEY]

[Illustration: 114. MODERN AMERICAN CAPITALS. MAXFIELD PARRISH]

[Illustration: 115. MODERN AMERICAN TITLE. MAXFIELD PARRISH]

[Illustration: 116. MODERN AMERICAN CAPITALS. A. B. Le BOUTILLIER]

Mr. Maxfield Parrish commonly employs a widely spaced letter, fashioned
closely after the old German models, beautiful in its forms, and displaying
the individuality of the artist in its composition. The form and use of Mr.
Parrish's usual letter is well shown in 114; and the title from a book
cover design, 115, shows yet another example of the letter in service.

The lettering of Mr. A. B. Le Boutillier is always notable for spacing and
composition. Figures 117 and 118 exhibit excellent capital and small-letter
forms (which, by the way, were drawn at the same size as the
reproductions); and [111] the two other specimens of Mr. Le Boutillier's
work, 116 and 119, which are reproduced to show his letters in use, will be
found exemplars for spacing, composition, balance of weight and color, and,
in the latter drawing, for harmony between the lettering and the treatment
of the design.

[Illustration: 117. MODERN AMERICAN CAPITALS. A. B. Le BOUTILLIER]

[Illustration: 118. MODERN AMERICAN SMALL LETTERS. A. B. Le BOUTILLIER]

[Illustration: 119. MODERN AMERICAN POSTER. A. B. LE BOUTTILLIER]

[Illustration: 120. AMERICAN BOOK-PLATE. CLAUDE FAYETTE BRAGDON]

The form of letter preferred by Mr. Claude Fayette Bragdon is represented
by the page of small letters, 59, which, as we have already said, are
closely modeled on the type alphabet designed by Jenson. In Mr. Bragdon's
version they represent an excellently useful and conservative style of
small letter. They are shown in use, with harmonious capitals and italics,
in the 'Literature' cover design, 121. In the small book-plate, reproduced
in 120, Mr. [112] Bragdon has used a very graceful variant