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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..884d0ba --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #63426 (https://www.gutenberg.org/ebooks/63426) diff --git a/old/63426-0.txt b/old/63426-0.txt deleted file mode 100644 index e12cfe1..0000000 --- a/old/63426-0.txt +++ /dev/null @@ -1,2346 +0,0 @@ -The Project Gutenberg eBook, Will Bradley, His Chap Book, by Will Bradley, -Edited by Paul A. Bennett - - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - - - - -Title: Will Bradley, His Chap Book - - -Author: Will Bradley - -Editor: Paul A. Bennett - -Release Date: October 11, 2020 [eBook #63426] - -Language: English - -Character set encoding: UTF-8 - - -***START OF THE PROJECT GUTENBERG EBOOK WILL BRADLEY, HIS CHAP BOOK*** - - -E-text prepared by Tim Lindell, David E. Brown, and the Online Distributed -Proofreading Team (http://www.pgdp.net) from page images digitized by the -Google Books Library Project (http://books.google.com) and generously made -available by HathiTrust Digital Library (https://www.hathitrust.org/) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 63426-h.htm or 63426-h.zip: - (http://www.gutenberg.org/files/63426/63426-h/63426-h.htm) - or - (http://www.gutenberg.org/files/63426/63426-h.zip) - - - Images of the original pages are available through - HathiTrust Digital Library. See - https://hdl.handle.net/2027/mdp.39015014553716 - - -Transcriber’s note: - - Italicized text is surrounded by underscores: _italics_. - - - - - -Typophile Chap Books: 30 - - - - -WILL BRADLEY -HIS CHAP BOOK - - -[Illustration] - - -AN ACCOUNT, IN THE WORDS OF THE -DEAN OF AMERICAN TYPOGRAPHERS, OF -HIS GRAPHIC ARTS ADVENTURES: AS BOY -PRINTER IN ISHPEMING; ART STUDENT -IN CHICAGO; DESIGNER, PRINTER AND -PUBLISHER AT THE WAYSIDE PRESS; THE -YEARS AS ART DIRECTOR IN PERIODICAL -PUBLISHING, AND THE INTERLUDES OF -STAGE, CINEMA AND AUTHORSHIP - - - - - - -New York: The Typophiles -1955 - -The special contents -of this edition are -copyright 1955 -by Paul A. Bennett -for the Typophiles - * * * -Printed in the -United States of America - - - - -[Illustration] - - - - -AN INTRODUCTION - - -THIS IS A DIFFICULT TASK. _I agreed to write an introduction to_ Will -Bradley, His Chap Book _before I had seen the book’s text itself. Now -I have encountered here the gaiety, courage, vitality of this man -who romped like a breeze through American graphic arts for several -decades--and I feel that my part should be little more than the opening -of a door to this perennial springtime freshness._ - -_But still there is something to talk about that he, modest man, -hasn’t even mentioned. And that is the impact of his work on his time. -It should be talked about, because it is hard to realize today, in -our state of emancipation, what a closed and stuffy room Bradley -entered--and opened to the sun and air._ - -_Across the Atlantic, the Nineteenth Century was bursting its seams: -Morris failing to revive medievalism but startling his world with a -revival of fine craftsmanship; Beardsley, the Yellow Book and their_ -avant garde _galaxy startling their world in quite a different way; -Toulouse-Lautrec spreading modern art in the kiosks of Paris when only -a handful knew anything about Cezanne, Van Gogh, Seurat; barriers being -demolished everywhere._ - -_In America, these goings-on were known to a few connoisseurs amid a -vast indifference. It was Bradley in the Nineties who made the American -public stir in its sleep and at least crack an eye. In the next decade -he and the many who followed him were well advanced in the lively -morning of a day that isn’t over yet._ - -_There were derivative traces in Bradley’s early work--and whose -hasn’t?--but when he hit his stride it wasn’t Europe’s leadership he -followed. He discovered American colonial typography, bold and free, -and from that springboard he took off into a career of non-archaic, -non-repetitive, exuberant and exhilarating design. In its way it was -as American as the Declaration of Independence. In this field we have -never had any more indigenous art than Bradley’s._ - -_He was a native, corn-fed American in another way, too. It was a time -when Kelmscott House had set a pattern, and the only pious ambition -for a serious typographic designer was to produce meticulous limited -editions for equally limited collectors. Bradley may have had some -such idea in mind when he started the Wayside Press, but thank God -it didn’t work. There was a lusty, democratic ambition in that slight -body, and it thrilled him to speak to thousands, even millions, instead -of just scores. The turbulent current of American commercial and -industrial life appealed to him more than any exquisite backwater._ - -_So he spread his work over magazines, newspapers, the advertising -of such houses as the Strathmore Paper Company, his own lively -but not limited publications, even the movies. So he enormously -enriched our arts; and he smashed more false fronts and took more -liberties--successfully--than anyone has done before or since._ - -_Now his retirement has lasted almost as long as his active career. -His work has been absorbed into our culture so completely that many of -the young men cavorting brilliantly in his wake today are scarcely -aware of their debt to him--the pioneer and pacemaker. They should -be--he is aware of them: he closes here with chuckling praises of the -fine, free-handed job they are doing. There was always a giant’s spirit -in this powerful little man, and it’s as strong and generous now as -it ever was. My memory is long enough that I can say for all these -latecomers, “Thank you no end for everything, Will Bradley.”_ - - WALTER DORWIN TEAGUE - - _New York - May, 1954_ - - - - -Will Bradley, His Chap Book - - - - -[Illustration] - - - - -THE BOY PRINTER OF ISHPEMING - - -It is graduation day in the little brown schoolhouse on Baltimore -Street in Lynn, Massachusetts, just outside Boston. Miss Parrot is the -teacher--a dear! You are six years old; next month you will be seven. -The blackboard is covered with chalk drawings: sailboats, steamboats, -ferryboats, trains of cars, houses, people and animals. You are the -artist. Your mamma, with other mammas, is sitting on the platform, -proud of her Willie--who is probably plenty proud of himself. - -Lynn is a shoe town. This is 1875. Most of the work is done by hand. -The employees are all natives--Universalists and Unitarians, probably. -Many women work at home, binding uppers and tongues of high, lace -shoes. You have a little express wagon. You carry finished work back to -the factories and return with a supply of unfinished. For each trip you -are paid five cents. With your savings you buy a printing press. It is -the kind you place on a table and slap with the palm of your hand. In -business offices it is used to stamp date lines. Your father is drawing -cartoons for a Lynn daily--perhaps the _Daily Item_. He brings you a -box of pi. When you succeed in finding a few letters of the same font -you file them to fit the type slot in the press. - -Your father is ill, an aftermath of the Civil War. You have moved to -the section called Swampscott. This is too far away for you to attend -the school to which your class has gone. Your mother goes out every -day to do dress-making. A playmate takes you to his school. But most -of the time you remain at home with your father. He tells you he -hasn’t long to live, says you have been a good boy and that when you -grow up you will want to be an artist and there will be no money for -your education. He gives you much fine advice which you never forget. -Then he sends you out to play. You go to Fisherman’s Beach and watch -the fishermen take lobsters out of the boiling pot. They give you the -little ones the law forbids selling. You crack them on a rock, and have -a feast. Sunday mornings, or occasionally on a Saturday night, you go -to the baker’s and get your warm pot of baked beans and buy a loaf of -brown-bread--always an event of delicious anticipation. Between meals, -when you are hungry, there is often a cold cod-fish cake to be found in -the pantry. - -Your mother and you are now alone in the world and you are on the -“Narrow Gauge” on your way to Boston. You are sucking a “picklelime,” -always found in glass jars at the candy counter of every railroad and -ferry waiting room. It will be made to last until you reach Boston and -are at the Park Street corner of the Common watching the Punch and Judy -show while your mother is shopping. At noon you sit in a booth and eat -clam chowder at a restaurant on Corn Hill. After the meal your mother -takes you to a wholesale house where she has a friend. Here you are -bought a suit of clothes. - -“But isn’t it too big, Mamma?” - -“Yes, dear; but children grow very fast and soon it will fit you--and -Mamma can’t afford to buy you a new suit every year.” - - -And now you are on your way to Northern Michigan, where your mother -has a sister whose husband is paymaster at the Lake Superior Iron -Mine. En route you stop at Providence where you are intrigued by the -teams of twenty or more horses that pull freight cars through the -downtown districts. You think it would be fine to be a teamster. At -Thompsonville, Connecticut, you go to school for a few weeks. On circus -day you are allowed to have a vacation. You ride a pony in the parade -and ask your mother if you can’t join the circus and ride in the -parades every day. - -It is your first day in the little mining town of Ishpeming. You are -standing in the middle of the road watching children going home from -school; the girls giggle, the boys laugh at the new boy in a too-big -suit. One little girl has cute pigtails. You like her. You are now -quite grown up, nearly ten. At a Sunday-school picnic you tell the -little girl you are someday going back to Boston and learn to be an -artist. You ask her to wait for you. She promises. With this important -problem settled you can now give all of your attention to the question -of how you are to get an art education. - -In the fall you go to school and somehow manage to pull through. Your -uncle and aunt go for a visit “back East.” Your mother keeps house for -your cousins. Every night when you go to bed you kneel down and ask -God to tell your uncle to bring you a printing press, the kind with -a lever, like the ones shown in the _Youth’s Companion_. Your uncle -brings you an Ingersoll dollar watch. - -It is your second year in school. You now have a step-father. He is a -fine man and you like him and he likes you--but of course you can’t -expect him to pay for your art education. You are having trouble with -arithmetic--something in division. Teacher says, “Take your books and -go home, Willie, and remain until you have the correct answer.” - -You don’t like arithmetic, anyway. - -“Mother,” you ask, “may I go to work and earn money so I can learn to -be an artist?” - -Your mother is troubled. Finally she says, “Perhaps it will be for the -best.” - - -You go to the office of the _Iron Agitator_, that later became _Iron -Ore_. George A. Newett is the owner and editor. This is the George A. -Newett and the newspaper that were later sued for libel by Theodore -Roosevelt. The trial took place in Marquette, Michigan, and Mr. -Roosevelt won a verdict of six cents. - -You are put to work washing-up a Gordon press. Then you receive your -first lesson in feeding. There is power, a small engine mounted on an -upright boiler, for the newspaper press. The two jobbers are kicked. -Having half an hour of leisure you learn the lay of a lower-case beside -the window--where you can proudly wave to the schoolchildren as they -are going home to their noon meal. You are now a working man--wages -three dollars a week. - -Country newspaper shops train and use local help for straight matter. -For job work, ads and presswork they depend upon itinerant job -printers, who seldom remain as long as six months in any one town. -When the _Iron Ore_ job printer leaves you are sorry. He has been a -kind and patient teacher. You are now twelve. Mr. Newett employs a new -devil and you set jobs, advertising display, make up the paper and are -responsible for all presswork. Your wages are increased to six dollars -a week. When the motor power fails, as it does frequently, you go out -on the street and employ off-shift miners to operate the press by means -of a crank attached to the flywheel. - -At this early date the print shop is above a saloon and in one corner -of a big barn of a room that had been a lodge hall. In winter it is -heated (?) with one stove. You go to work at seven and quit at six. The -outside temperature is below zero. You and your devil forage in the -snowdrifts of the alley back of the building and “borrow” packing boxes -to get kindling for the stove and boiler. - -The _Peninsula Record_, across the street, is a four-page tabloid. It -is printed one page at a time on a large Gordon. The owner and editor -is John D. West. He offers you eight dollars a week. You are not that -important to Mr. Newett--and the extra two dollars will enable you to -begin saving after paying board and buying your clothes. - -In a few months _Iron Ore_ moves into a new store-building. You -are now thirteen and Mr. Newett offers you ten dollars a week and -the acknowledged position of job printer. At fourteen this wage is -increased to twelve. At fifteen you are spoken of as foreman and are -receiving fifteen dollars a week--in ’85 a man’s wages. - - -This is the early Eighties. Small towns such as Ishpeming are “easy -pickings” for traveling fakers. Their advance is always heralded by the -exchanges. They clean up at the expense of local merchants. All editors -warn them to keep away. _Iron Ore_ print shop is on the ground floor. -The editor’s sanctum is at the front. His desk is at the big window. It -is nearly nine o’clock on a Friday night--“make-up” time. Mr. Newett -has written his last sheets of copy and is reading proof. At the corner -of Main and Division, diagonally across from the office, a faker is -selling soap. In one wrapper he pretends to place a five dollar bill--a -version of the “old army game.” He is standing in a market wagon and -has a companion who strums a guitar and sings. Attached to an upright -and above his head is a kerosene flare. Mr. Newett walks leisurely -to where there are several guns and fishing rods in a corner. He -is an inveterate sportsman in a land where game, deer and fish, is -plentiful. Selecting a rifle he walks to the door and casually puts a -bullet through the kerosene tank, then returns to his proof reading. -Thoroughly likable, this pioneer editor--a fine boss, a true friend! - -You and a compositor now have control of the town bill posting. When -there are no theater or patent medicine ads to put up you cover the -boards with blank newsprint and letter and picture advertisements for -the stores. - -You are sixteen, almost seventeen. A sheet of newsprint is tacked on -the printing-office wall and, using marking ink and a brush, you are -picturing and lettering a masquerade poster for the roller rink. - -“Who is this young artist?” - -The speaker is Frank Bromley, a well-known landscape painter from -Chicago. - -You tell him about your father and that you are going back to Boston to -study art. He suggests your stopping off in Chicago to see him. Says he -can perhaps help you. - -You are nearly seventeen and already you have saved more than fifty -dollars. By the early fall you have four twenty-dollar gold pieces -under your socks in the top till of your trunk. Wages are always paid -in gold and silver. You are now ready to start for Chicago. Two weeks -later you are on your way. - - - - -[Illustration] - - - - -FIRST SOJOURN IN CHICAGO - - -The artist has a studio near the McVickar Theater on Madison Street. -It is the typical atelier of the Victorian Eighties: oriental drapes, -screens and pottery. Jules Guerin, then an art student and later a -contributor to _Century_, _Harper’s_ and _Scribner’s_, is clearing up -and tidying for the day. - -Mr. Bromley takes you to Lyon & Healy. Yes, Mr. Lyon, or maybe it -was Mr. Healy, can start you as an apprentice. However, a young man -beginning a career should be most careful in making his selection. You -have been careful. You want to be an artist. But the business of Lyon & -Healy is musical instruments, not art. - -Next morning you are introduced to Mr. Rand, or Mr. McNally. A Mr. -Martin then sends you upstairs, a couple of flights, to Mr. Robinson -in the designing and engraving department. Beginners do not receive -any pay, but you are put to work at a long table facing a row of -windows and with yards and yards of unbleached cotton-cloth stretched -on a wire at your back. You are now learning to engrave tints on -wood-blocks--under the erroneous impression that designers and -illustrators engrave their own blocks. - -Mr. Bromley has found a room for you at the home of a friend, an art -dealer. It is at Vincennes Avenue and Fifty-ninth Street. You walk to -and from Rand McNally’s, located on Monroe Street, dreaming happily. - -One morning, after a few weeks of getting nowhere, for you are no -master of tint-cutting, it percolates through your skull that inasmuch -as wood-engravers never seem to be doing any designing probably -designers never do any engraving. - -A momentous discovery, this, for you have broken into your last -twenty-dollar gold piece--as a matter of fact there is just about -enough left to pay for taking your trunk to the depot and to buy a -second-class ticket back to that printing shop in Northern Michigan. - -“Sometime, if you care to come back,” states Mr. Robinson, in a letter -which must have been written immediately after your departure, “and if -you will remain half an hour later in the evening and sweep out, and -come in a half hour earlier in the morning and dust, Rand McNally will -pay you three dollars a week.” - - - - -[Illustration] - - - - -SECOND SOJOURN IN CHICAGO - - -A few months later, when you have just turned into your eighteenth year -and have saved sixty dollars, three twenty-dollar gold pieces, it is -time to return to Chicago. You tell Mr. Newett. He wishes you well and -says that if you care to remain with _Iron Ore_ he will take you into -partnership when you are twenty. This is a big temptation. You admire -and like your boss. He is a grand person--your idol. Saying goodbye -involves a wrench. - -You are now back with R-M staying half an hour at night and getting to -work a half hour earlier in the morning and all is well with the world. - -At the time of your first visit to Chicago, line photo-engraving was -not even a whisper, and halftones were not even dreams. On your second -visit, pen drawings are beginning to receive direct reproduction. - - -Folding machines are unknown; and in a large loft, at long tables, -dozens upon dozens of girls are hand-folding railroad timetables. -This loft is on a level with the designing department. Between the -two there is a brick wall through which, about two feet up from the -floor, has been cut an opening in which there is a heavy, tin-covered -sliding door. When you take 14 × 22 metal plates down to the foundry -to be routed--by someone else, for you don’t like machines--you pass -through this loft, between the girl-adorned tables. You, in turn, are -adorned with the side-whiskers known as mutton-chops--trying to look -older than your years. Also, in accord with the custom of the times, -you wear tight-fitting pants. One day, in returning from the foundry -with a metal plate on your shoulder, you pull back the sliding door and -when you lift one leg to step through the opening the pants rip where -the cloth is tightest. On another occasion when again carrying a plate -on your shoulder your jacket pocket catches on a key at the end of a -paper-cutter shaft and the shoddy that had once proved so disastrous in -your pants now probably averts a serious accident. - -Web presses and automatic feeders are also absent. In the basement at -Rand McNally’s there is a battery of drum-cylinders printing James S. -Kirk “American Family Soap” wrappers. The stock is thin, red-glazed -paper, and the sheets a double 24 × 36, or perhaps even larger. You -marvel at the skill with which boys do the feeding; but even greater -is your wonder at the hand-jogging and cutting of these slippery and -flimsy sheets. - -Invitations are sent out for an inspection of the composing-room of -the _Chicago Herald_, now newly equipped throughout with Hamilton -labor-saving furniture. You attend. Compositors are sticking type for -the next edition. A little later the _Herald_ places on display its -first web press. This showing is in a ground-floor room, a step or -two down from the street, next door to the Chicago Opera House, where -Kiralphry’s _Black Crook_ is now playing and Eddie Foy is putting -audiences in “stitches.” The press is a single unit standing in a -shallow pit surrounded by a brass rail. - - -Comes now the winter. It is a Saturday. You are at the home of your -boss. He has invited you to spend the afternoon learning how to paint. -His easel is set up in the basement dining room. He is talking to you -about religion, gravely concerned at learning that you sometimes -attend the Universalist church. He believes you to be a heathen -and suggests that you become converted and join a fundamentalist -church--says that as long as you remain outside the fold and thus are -not a Christian he cannot be interested in helping you become an artist. - -The dear man! He wants so much to save your soul. Meanwhile, his good -wife is laying the table for their evening meal. Her smile is motherly. -Maybe she has guessed you were counting the plates. Pleasant odors come -from the kitchen. Our gracious host brings your coat, helps you put it -on, hands you your hat, opens the door and you step out into a Chicago -snowstorm. - -At this point the script calls for slow music and heart-rending -sobs--another Kate Claxton in the _Two Orphans_. Also for melodrama! -This is a beautiful snowstorm. The evening is mild and the flakes are -big. They sail lazily through the amber light of the street lamps, -feather the bare branches of trees that print a fantastic pattern -against the red-brick housefronts. The drifts must be at least an inch -deep. And tomorrow ... tomorrow, you will, as always happens on Sunday, -go to a restaurant on Clark Street where you will be served two pork -tenderloins, flanked by a mound of mashed potatoes topped with gravy, -and one other vegetable, and supplemented by bread and butter and a cup -of coffee--all for twenty cents. Joy bells ringing! - - -A couple of weeks later you are standing at a case in the printing -plant of Knight & Leonard. Mr. Leonard happens to be passing. He stops -and glances at your galley, type arrangement for a catalog cover. -He is interested and asks where you learned job composition. In one -graphically condensed paragraph, dramatically composed, for it has -been prepared in advance in anticipation of this much wished-for -opportunity, you tell the story of your life--and make a momentous -proposition. - -The next morning you are seated at a flat-top desk in the second-floor -office. You have your drawing material and are designing a new booklet -cover for the stationery department of A. C. McClurg. It is understood -that when orders for drawing fail you will fill in by setting type. - - -Now you are, at nineteen, a full-fledged designer and working at a -window opposite Spalding’s. On playing days you watch Pop Anson and his -be-whiskered team enter a barge and depart for the ball park. - -One day a young man appears at K & L’s with proofs of halftone -engravings. He has been with the Mathews Northrup Press in Buffalo, -where he had learned the process. He is now starting an engraving plant -in Chicago. K & L print some specimen sheets on coated paper. These -are probably the first halftones ever engraved in Chicago, also the -first printing of halftones. K & L are Chicago’s leading commercial -printers, quality considered. Mr. Knight is a retired Board of Trade -operator. Mr. Leonard is the practical printer. He is also the father -of Lillian Russell. Once, when she is appearing in Chicago, Miss -Russell visits at the office. You are thrilled. - -A man, trained in Germany, grinds ink for K & L. He is located on the -floor above the office. You occasionally visit him. He gives you much -good advice. The _Inter Ocean_, located on the next corner, installs a -color press. The K & L ink expert helps get out the first edition. - -For two years or more you occupy that desk and never again see the -composing room. During this period, while receiving twenty-four dollars -a week, you marry that young lady of your ten-year-old romance. - -The J. M. W. Jeffery Co., show printers, is turning out some swell -posters designed by Will Crane. They are printed from wood-blocks -and are wonders. An artist by the name of Frank Getty is designing -labels in the Chicago sales-office of the Crump Label Company. They -are a glorious departure from the conventional truck of the label -lithographers. - -Joe Lyendecker is designing covers in color for paper-bound novels. -They are gorgeous. There are no art magazines or other publications -helpful to designers. You, like others, have a scrap-book made up of -booklet covers, cards and other forms of advertising. A designer by -the name of Bridwell is doing some thrilling work for Mathews Northrup -in Buffalo, a concern that is setting a stiff pace for other railroad -printers. Abbey, Parsons, Smedley, Frost and Pennell, and Charles -Graham in _Harper’s Weekly_, are models for all illustrators. - -You are now free-lancing and making designs for Mr. Kasten of the -McClurg stationery department. You have a studio in the new Caxton -building on Dearborn Street. You work all of one day and night and part -of the next day on some drawings for Mr. Kasten. He comes to get them -at four o’clock on the afternoon before Christmas. You tell him you -haven’t eaten since the previous night. - -He takes you and your drawings in a cab and stops at a saloon in the -McVickar Theater building and buys you an egg nog. “Drink this,” he -says. “It will put you on your feet until you reach home and can get -dinner.” It is only a glass of milk and egg--and looks harmless. You -get on the Madison Street horse-car, and take a seat up front. There is -straw on the floor to keep your feet warm. You promptly go to sleep. -The car bumps across some tracks and you wake long enough to know your -stop is only two blocks away. In getting off the car the straw tangles -your feet and you seem to be falling over everyone. The sidewalk is not -wide enough for you. This being a new section, the planks are a foot or -more above the ground. You walk in the road. - - -In these early Nineties no cash is needed to buy a printing outfit, -just an agreement to pay a monthly installment. You buy a Golding -press, a type-stand, a small stone and a few cases of Caslon and an -English text. You are probably itching to play a little with printing. -You do not find time to do more than lay the type. A letter comes from -your wife’s sister in South Dakota. It states that a neighbor’s son or -brother, or some near relative, is in Chicago, that he is interested -in art, and it asks will you look him up. He is a bookkeeper and -cashier in a ground-floor real-estate office at the corner of Clark and -Dearborn. His name is Fred Goudy. He wants to get into the printing -business, in a small way. You tell him of your small outfit and that he -can have it and the benefit of payments made if he will assume future -installments. He agrees. - - - - -[Illustration] - - - - -THE GAY NINETIES - - -Chicago a phoenix city risen from the ashes of its great fire; -downtown business buildings two, three and four stories high, more -of former than latter, few a little higher, elevators a rare luxury; -across the river many one-story stores and shops with signs in large -lettering, pioneer style, on their false fronts; streets paved with -granite blocks echo to the rumble of iron-tired wheels and the clank -of iron-shod hoofs; a continuous singing of steel car-cables on State -Street and Wabash Avenue; horse-drawn cross-town cars thickly carpeted -with straw in winter; outlying residential streets paved with cedar -blocks; avenues boasting asphalt. Bonneted women with wasp waists, leg -o’ mutton sleeves, bustles, their lifted, otherwise dust-collecting, -skirts revealing high-buttoned shoes and gaily-striped stockings; men -in brown derbies, short jackets, high-buttoned waist-coats, tight -trousers without cuffs and, when pressed, without pleats; shirts -with Piccadilly collars and double-ended cuffs of detachable variety -(story told of how a famous author’s hero, scion of an old house, -when traveling by train, saw a beautiful young lady, undoubtedly of -aristocratic birth, possibly royal, and wanting to meet her, love at -first sight, object matrimony, first retires, with true blue-blood -gentility, to wash-room and reverses cuffs. Romance, incident -ruthlessly deleted by publisher, proves a best seller). Black walnut -furniture upholstered in hair-cloth, pride of many a Victorian parlor, -is gradually being replaced by golden oak and ash; painters’ studios, -especially portrait variety, are hung with oriental rugs and littered -with oriental screens and pottery. High bicycles, the Columbia with -its little wheel behind and the Star with the little wheel in front, -soon to disappear, are still popular. Low wheels, called “safeties,” -are beginning to appear, occasionally ridden by women wearing bloomers. -Pneumatic tires unknown. - -Recognized now as a period of over-ornamentation and bad taste, the -Nineties were nevertheless years of leisurely contacts, kindly advice -and an appreciative pat on the back by an employer, and certainly a -friendly bohemianism seldom known in the rush and drive of today. - -Eugene Field has just returned from a vacation in Europe and in his -column, _Sharps and Flats_, Chicago is reading the first printing of -_Wynken, Blynken and Nod_. Way & Williams, publishers, have an office -on the floor below my studio. Irving Way, who would barter his last -shirt for a first edition, his last pair of shoes for a volume from the -Kelmscott Press of William Morris, is a frequent and always stimulating -visitor. - -“Will,” says Irving, “be over at McClurg’s some noon soon, in Millard’s -rare book department, the ‘Amen Corner.’ Field will be there, and -Francis Wilson, who is appearing at McVickar’s in _The Merry Monarch_, -and other collectors. Maybe there’ll be an opportunity for me to -introduce you--and Francis Wilson might ask you to do a poster.” - -I go to the Press Club occasionally with Nixon Waterman, the columnist -who was later to write his oft-quoted, “A rose to the living is more, -If graciously given before The slumbering spirit has fled, A rose to -the living is more Than sumptuous wreaths to the dead.” We sit at -table with Opie Read, the well-loved humorist; Ben King, who wrote the -delightful lament, “Nothing to eat but food, nowhere to go but out”; -Stanley Waterloo, who wrote _The Story of Ab_ and, with Luders, the -musical comedy, _Prince of Pilsen_, and other newspaper notables whose -names I have forgotten. - -Two panoramas, _Gettysburg_ and _Shiloh_, are bringing welcome wages to -landscape and figure painters who will soon migrate to St. Joe across -the lake and return in the fall with canvases to be hung at the Art -Institute’s annual show. - -Only one topic on every tongue--the coming World’s Fair. - - -Herbert Stone is at Harvard. He and his classmate, Ingalls Kimball, -quickened with enthusiasm and unable to await their graduation, have -formed the publishing company of Stone & Kimball. On paper bearing two -addresses, Harvard Square, Cambridge, and Caxton Building, Chicago, -Herbert commissions a cover, title-page, page decorations and a poster -for _When Hearts Are Trumps_, a book of verse by Tom Hall--my first -book assignment. This pleasing recognition from a publishing house -is followed by a meeting with Harriet Monroe and a Way & Williams -commission for a cover and decorations for the _Columbian Ode_. - - -Your studio is now in the Monadnock building. It is the year of the -World’s Fair. You have an exhibit that has entitled you to a pass. Jim -Corbett is in a show on the Midway. When he is not on the stage you -can see him parading on the sidewalks. Buffalo Bill is appearing in a -Wild West show. An edition of _Puck_ is being printed in one of the -exhibition buildings. - -You design a cover for a Chicago and Alton Railroad folder. The drawing -goes to Rand McNally for engraving and printing. Mr. Martin asks -you to come and see him. His salary offer is flattering. But, aside -from Bridwell’s designs at Mathews Northrup’s in Buffalo, railroad -printing is in a long-established rut, void of imagination. You prefer -free-lancing. Later Mr. Martin buys the K & L plant. Herbert Rogers, -the former bookkeeper, establishes his own plant and you hope he will -continue the K & L tradition. - -Mr. McQuilkin, editor of _The Inland Printer_, commissions a permanent -cover. When the design is finished I ask: - -“Why not do a series of covers--a change of design with each issue?” - -“Can’t afford them.” - -“How about my making an inducement in the way of a tempting price?” - -“I’ll take the suggestion to Shephard.” - -Suggestion approved by Henry O. Shephard, printer and publisher, and -the series is started--an innovation, the first occasion when a monthly -magazine changes its cover design with each issue. One cover, nymph in -pool, is later reproduced in London _Studio_. Another, a Christmas -cover, has panel of lettering that four American and one German foundry -immediately begin to cut as a type. Later the American Type Founders -Company, paying for permission, names the face “Bradley.” - -A poster craze is sweeping the country. Only _signed_ copies are -desired by collectors and to be shown in exhibitions. Designs by French -artists: Toulouse-Lautrec, Chéret, Grasset, etc., some German and a few -English, dominate displays. Edward Penfield’s _Harper’s Monthly_ and my -_Chap-Book_ designs are only American examples at first available. - -Will Davis, manager of the Columbia Theater, has just completed the -Haymarket, out on West Madison at Halstead. You design and illustrate -the opening-night souvenir booklet. This you do for Mr. Kasten, of -McClure’s. Thus you meet Mr. Davis. He introduces you to Dan Frohman -who commissions you to design a twenty-eight sheet stand for his -brother, Charles, who is about to open the new Empire Theater in New -York. So you design a poster for _The Masqueraders_, by Henry Arthur -Jones. This is probably the first _signed_ theatrical poster produced -by any American lithographer. Then Dan suggests that you visit New -York. You do, and meet Charles. Dan takes you to the Players for lunch. -There you see show-bills set in Caslon. They influence all of your -future work in the field of typography. - - -We now move to Geneva, Illinois, and I have my studio in a cottage -overlooking the beautiful Fox River. - -Holiday covers for _Harper’s Weekly_, _Harper’s Bazaar_, _Harper’s -Young People_, later named _Harper’s Roundtable_, page decorations for -_Vogue_, a series of full-page designs for Sunday editions of _Chicago -Tribune_, Herbert Stone’s _Chap-Book_ article and other favorable -publicity--plucking me long before I am ripe, cultivate a lively pair -of gypsy heels; and believing myself, perhaps excusably, equal to -managing a printing business, editing and publishing an art magazine, -designing covers and posters, I return to Boston, then settle in -Springfield, start the Wayside Press, and publish _Bradley: His Book_. - - - - -[Illustration] - - - - -SPRINGFIELD: THE WAYSIDE PRESS - - -Typography, with nothing to its credit following Colonial times, had -reached a low ebb during the Victorian period; and by the mid-Nineties -typefounders were casting and advertising only novelty faces void of -basic design--apparently giving printers what they wanted; while, -adding emphasis to bad taste in type faces, compositors were never -content to use one series throughout any given piece of display but -appeared to be finding joy in mixing as many as possible. - -During the Colonial period printers were restricted to Caslon in roman -and italic, and an Old English Text. What gave me my love for Caslon -and the Old English Text called Caslon Black I do not know. It may have -happened in the Ishpeming print shop where I worked as a boy, or it -may have come as a result of some incident or series of incidents that -occurred later and are not now remembered. At any rate, for many years -I knew nothing about the history of types or the derivation of type -design and probably thought of “Caslon” as merely a trade designation -of the typefounder, and my early preference for the face may have been -merely that of a compositor who found joy in its use--_as I always -have_. - -One day in 1895, while busy with the establishment of the Wayside Press -in Springfield, Massachusetts, I was inspired by some quickening of -interest to make a special trip to Boston and visit the Public Library. -There I was graciously permitted access to the Barton collection of -books printed in New England during the Colonial period; and, thrilled -beyond words, I thus gained some knowledge of Caslon’s noble ancestry. -The books were uncatalogued and stacked in fireproof rooms which were -called the “Barton Safes.” I was allowed to carry volumes to a nearby -gallery above the reference room, where, at conveniently arranged -lecterns along an iron balustrade, I examined them at my leisure and -was given the outstanding typographic experience of my life. - -Such gorgeous title-pages! I gloated over dozens of them, making -pencil memoranda of type arrangements and pencil sketches of wood-cut -head and tail pieces and initials. Using Caslon roman with italic in -a merry intermingling of caps and lower case, occasionally enlivened -with a word or a line in Caslon Black, and sometimes embellished with -a crude wood-cut decoration depicting a bunch or basket of flowers, -and never afraid to use types of large size, the compositors of these -masterly title-pages have given us refreshing examples of a typography -that literally sparkles with spontaneity and joyousness. Apparently -created stick-in-hand at the case, and unbiased by hampering trends and -rules, here are honest, direct, attention-compelling examples of type -arrangements reflecting the care-free approach of compositors merrily -expressing personalities void of the self-consciousness and inhibitions -that always tighten up and mar any mere striving for effect. - -This Colonial typography, void of beauty-destroying mechanical -precision, is the most direct, honest, vigorous and imaginative America -has ever known--a sane and inspiring model that was to me a liberal -education and undoubtedly the finest influence that could come to me at -this time--1895. - - -I now become a member of the newly formed Arts and Crafts Society of -Boston, possibly a charter member, and contribute two or three cases -and a few frames of Wayside Press printing to the society’s first -exhibition in Copley Hall. This showing wins flattering approval -from reviewers--laughter from printers who comment: “Bradley must -be crazy if he thinks buyers of printing are going to fall for that -old-fashioned Caslon type.” - -At this time the Caslon mats, imported from England, are in possession -of one or two branches of the American Type Founders, probably those -in New York and Boston, possibly the Dickenson Foundry in Boston. -Less than a year after my original receipt of body sizes of Caslon -in shelf-faded and fly-specked packages, these foundries cannot keep -pace with orders and it is found necessary to take the casting off the -slow “steamers” and transfer mats to the main plant in Communipaw, New -Jersey, where they can be adapted to fast automatic type-casters. Here -additional sizes are cut and a new series, Lining Caslon, is in the -works--and, with novelty faces no longer in demand, foundries outside -the combine, not possessing mats, are hurrying cutting. - - -“_When the tide is at the lowest, ’tis but nearest to the turn._” - -That quotation certainly applies to the year 1895 that had started -with so little to its credit in the annals of commercial printing and -in which we were now witnessing an encouraging æsthetic awakening -in the kindred field of publishing. Choice little volumes printed -on deckle-edge papers were coming from those young book-making -enthusiasts--Stone and Kimball in Chicago and Copeland and Day in -Boston--and were attracting wide attention and winning well-earned -acclaim. Also there were the Kelmscott Press hand-printed books of -William Morris, especially his _Chaucer_, set in type of his own -design and gorgeously illustrated by Burne-Jones; the Vale Press books, -designed by Charles Ricketts and for which he also designed the type; -the exotic illustrations by Aubrey Beardsley in John Lane’s _Yellow -Book_, all coming to us from London. Then there was the excitement -occasioned by our own “poster craze,” with its accompanying exhibitions -giving advertisers and the general public an opportunity to see the gay -designs of Chéret and the astounding creations of Lautrec. All these -were indicative of a thought-quickening trend due to have a stimulative -influence in the then fallow field of commercial printing. - - -The Wayside Press which I opened in this year of transition was so -named for a very real reason. I had worked in Ishpeming and Chicago so -as to earn money to take me back to Boston where I hoped to study and -become an artist, the profession of my father. I had always thought of -printing as being along the wayside to the achieving of my ambition. -And I chose a dandelion leaf as my device because the dandelion is a -wayside growth. - -On the main business street in Springfield there was a new office -building called the Phoenix. In two offices on the top floor of the -Phoenix Building I had my studio. Back of the office building there -was a new loft building on the top floor of which I was establishing -my Wayside Press, a corridor connecting it with the top floor of the -Phoenix Building and thus making it easily accessible from my studio. -It was an ideal location, and with windows on two sides and at the -south end insuring an abundance of sunshine, fresh air and light, the -workshop was a cheerful spot and one destined to woo me (probably far -too often) from my studio and my only definitely established source of -income, my designing. - -My first Wayside Press printing, before the publication of my magazine, -was a Strathmore deckle-edge sample book. Heretofore all Connecticut -Valley paper-mill samples, regardless of color, texture or quality of -paper, had carried in black ink, usually in the upper corner of each -sheet, information as to size and weight. No attempt had been made to -stimulate sales by showing the printer how different papers might be -used. But one day just after the Press opened, I had a visitor who -changed all that. - -I had a bed-ticking apron that had been made for me by my wife, -copying the apron I had worn when at the ages of fifteen to seventeen -I had served as job printer and foreman of that little print shop -in Ishpeming, where I used to proudly stand, type-stick-in-hand, in -the street doorway to enjoy a brief chat with my wife-to-be, then a -school-teacher and my sweetheart, as she was on her way to school. -Wearing that apron, and at the stone, is how and where Mr. Moses of -the Mittineague Paper Company, first of the Strathmore Paper Company -units, found me on the occasion of our first meeting. - -In my mind’s eye I can see Mr. Moses now as he entered from the -corridor. He was wearing a navy blue serge suit that emphasized his -slight build and made him appear younger than I had expected. I was -then twenty-seven and undoubtedly thought of myself as quite grown -up, and I marveled that a man seemingly so young should possess the -business knowledge necessary to have put him at the head of an even -then well-known mill. The contrast of that natty blue-serge with my -striped bed-ticking apron should have made me self-conscious. Perhaps -it did; but, filled with the youthful enthusiasm and glorious hopes of -a dreamer, I probably had thoughts for nothing but my new print shop -and publishing. Seeing me unpacking type, my visitor may have thought -my time could have been employed more profitably at my drawing-board, -as of course it could--though in my then frame of mind it could not -have been employed more enjoyably. Displaying samples of his new line, -Mr. Moses asked if I would lay out and print a showing for distribution -to commercial printers and advertisers. - -I explained that the Wayside Press was being established for the -printing of _Bradley: His Book_, an art and literary magazine, and for -a few booklets and brochures--publications to which I planned to give -my personal attention throughout all details of production, and that I -had not contemplated undertaking any outside work. - -However, after a moment’s brief consideration, I became so intrigued -with the printing possibilities of these new Strathmore papers, their -pleasing colors and tints, together with their being such a perfect, a -literally made-to-order, vehicle for Caslon roman and Caslon Black, -that I enthusiastically agreed to undertake the commission--a decision -for which I shall always feel thankful. - -The favorable publicity won by the use of these “old-fashioned” types -on Strathmore papers, convinces me that to attain distinction a -print shop must possess personality and individuality. At any rate, -my continued use of Strathmore papers with appropriate typography -and designs aroused such widespread interest among merchants and -advertisers and brought so many orders for printing that it soon -produced the need for more space. My plant was then moved to a top -loft in a new wing that had been added to the Strathmore mill at -Mittineague, across the river from Springfield. - -Caslon types on Strathmore papers having proved so popular, business -was humming. A “Victor” bicycle catalog for the Overman Wheel Company, -involving a long run in two colors on Strathmore book and cover -papers, and an historically-illustrated catalog for the new “Colonial” -flatware pattern of the Towle Silversmiths of Newburyport, for which -Strathmore’s deckle edge papers and Caslon types were strikingly -appropriate, together with the increased circulation of _Bradley: His -Book_, now a much larger format than the original issues, necessitated -the addition of another cylinder press, the largest “Century” then -being made by the Campbell Press Company; and also the employment of an -additional pressman and two additional feeders, and keeping the presses -running nights as well as days, often necessitating my remaining at -the plant throughout the full twenty-four hours--quite a change from -the humble beginnings of the Wayside Press when one “Universal” and -two “Gordon” job presses were believed sufficient for the magazine and -booklet printing then planned. - -In this growth of the commercial printing involving lay-outs and -supervision, together with trying to edit and publish an art magazine, -I had waded far beyond my depth. When I was starting my Wayside Press -in Springfield a business man had advised: “Learn to creep before you -try to walk, and learn to walk before you try to run.” I had tried to -run before even learning to creep. Mr. Moses gave me what I am now -sure was much good business advice--but, alas, I was temperamentally -unfitted to listen and learn and, knowing nothing about finances, was -eventually overwhelmed and broke under the strain and had to go away -for a complete rest. With no one trained to carry on in my absence -it was necessary to cease publication of _Bradley: His Book_ and in -order to insure delivery on time of the catalogs and other commercial -printing, forms were lifted from the presses and transferred to the -University Press at Cambridge; and the Wayside Press as a unit, -including name and goodwill and my own services, soon followed--a -hurried and ill-conceived arrangement that eventually proved so -mutually unsatisfactory that I faded out of the picture. - -This was a heart-breaking decision for me, and one that but for the -wisdom of my wife and her rare understanding and nursing could have -resulted in a long and serious illness. No printing and publishing -business ever started with finer promise and more youthful enthusiasm -than did the Wayside Press and the publication of _Bradley: His Book_, -that are now just memories. - - -Among other magazine covers designed during this period there is -one for a Christmas number of _Century_. It brings a request for a -back-cover design. Both designs are in wood-cut style and require four -printings--black and three flat colors. The DeVinne Press, familiar -only with process colors, hesitates to do the printing. That issue -carries a Will Bradley credit. When John Lane imports sheets of the -_Studio_, edits an American supplement and publishes an American -edition, I design the covers. - - - - -[Illustration] - - - - -INTERLUDE IN NEW YORK - - -And now we are in the Gay Nineties, the mid Gay Nineties, when a -hair-cloth sofa adorns every parlor and over-decoration is running -riot; when our intelligentsia are reading Anthony Hope’s _Prisoner of -Zenda_, Stanley Weyman’s _Gentlemen of France_ and George McCutcheon’s -_Graustark_; when William Morris is printing _Chaucer_, with -illustrations by Burne-Jones, and Aubrey Beardsley is providing an -ample excuse for the _Yellow Book_; when LeGallienne’s _Golden Girl_ is -brought over here by John Lane and established in a bookshop on lower -Fifth Avenue, and Bliss Carman is singing his songs of rare beauty; -when the Fifth Avenue Hotel and the nearby Algonquin are flourishing -Madison Square hostelries; when Stern’s and McCreery are across the -street from Putnam’s and Eden Musee, and the modern skyscraper is only -an architect’s vague dream. - -Into this glad era a young man steps off a Twenty-third Street -horse-car. This young man, now an ambitious designer, printer, editor -and publisher, is yourself. - - -At the age of twenty-seven you are sporting the encouraging beginnings -of a mustache, still too thin to permit of twirling at the tips. There -is also the brave suggestion of a Vandyke. These embellishments are -brown, as is also true of abundant and wavy hair of artistic and poetic -length. Your waistcoat is buttoned high, and your soft, white collar is -adorned with a five-inch-wide black cravat tied in a flowing bowknot. -Your short jacket and tight-fitting pants quite possibly need pressing. -A black derby and well-polished shoes complete your distinguished -appearance. Many scrubbings have failed to remove all traces of -printing ink from beneath and at the base of your finger nails. - -You are on your way to Scribner’s. A few moments later we find you -seated in a leather-upholstered chair in the editorial department of -this famous publishing house. You are waiting patiently and hopefully -while an editor is penning a note of introduction to Richard Harding -Davis, the popular writer of romantic fiction. - -Now, the note safely bestowed in your breast pocket, the envelope -showing above a liberal display of silk handkerchief and thus plainly -in view of passing pedestrians who would doubtless be filled with envy -did they but know its contents, you are crossing Madison Square Park on -your way to one of the Twenties, where Mr. Davis has his lodging. You -reach the house, walk up the steps and rap. - -“Is Mr. Davis at home? Why ... why you are Mr. Davis. I ... I -didn’t recognize you at first. Seeing you portrayed in Mr. Gibson’s -illustrations to some of your romances--” - -“And now seeing me in this bathrobe you naturally were a bit confused?” - -“Yes, I was.” - -“I’m not at all surprised.” - -“Here, Mr. Davis, is a letter, I mean a note introducing me to you.” - -“How about coming inside while I read the note?” - -“That’s ... that’s what I was hoping you’d say, Mr. Davis.” - - -And now our favorite romantic author is seated with one leg thrown over -the corner of a table. “Of course. Of course,” he exclaims, cordially, -“I know your posters and your cover designs. And now you are starting a -magazine and you would like one of my stories for your first number?” - -“Yes, Mr. Davis. That is what I should like.” - -“Of course I’ll write a story for you. I shall be happy to write a -story; and I have one in mind that I think will be just the kind you -will like for your new magazine.” - -“Well, Mr. Davis, that’s something that’s just about as wonderful as -anything that could possibly happen to anybody. Only ... only--” - -“Only you are not really started and your magazine hasn’t begun to earn -money, and so you are wondering--” - -“Yes, Mr. Davis--” - -“Well, lad,” and now Mr. Davis has his arm about your shoulders. “Well, -lad, just go home to your Wayside Press print-shop in Springfield and -don’t do any worrying about payment. Sometime when you are rich and -feel like sending me something,--why, any amount you happen to send -will be quite all right with me--and good luck go with you.” - -(At this point it should be stated that when a small check goes to Mr. -Davis, with an apology for it being just the first installment and that -another check will go a month later, the return mail brings a pleasant -letter of thanks and an acknowledgment of payment in full.) - -And now, as you are recrossing Madison Square Park, your head so high -in the clouds that not even the tips of your toes are touching the -earth, all the birds in the neighborhood, including the sparrows, have -gathered and are singing glad anthems of joy; and all the trees that -an hour ago were just in green leaf are now billowed with beautiful -flowers. - -Well, that is that, and of course you are now sitting pretty. But -presently we see you on a Fifth Avenue bus, returning from Fifty-ninth -Street where, in a sumptuous Victorian apartment overlooking Central -Park you have asked William Dean Howells for a story--and on this -incident we will charitably draw the curtain. - - -Meanwhile _Bradley: His Book_ met with kind reception--advance orders -for the second number being: Brentano’s New York, six hundred copies, -Old Corner Bookstore, Boston, four hundred, etc.; the first issue being -out of print except for the supply being held for new subscribers. -Pratt, Sixth Avenue, New York, sent check to pay for one hundred -subscriptions. - -There being no joy in doing today what one did yesterday, or what -another did yesterday; and creative design in which there is no joy -or laughter being of little worth, a new lay-out and change of stock -were provided for each issue of _Bradley: His Book_; the fifth number -started a change of format. - -But as a business tycoon Will Bradley was a lamentable failure despite -this auspicious start--a story I have already told. - - - - -[Illustration] - - - - -NEW FIELDS - - -At the turn of the century, after saying a sad farewell to fond hopes -and feeling older at thirty-two than is now true at eighty-two, I -finally gave up trying to be a publisher and printer. While covers -for _Collier’s_ were bridging an awkward gap Edward Bok appeared on -the scene and commissioned the laying-out of an editorial prospectus -for the _Ladies’ Home Journal_, the printing to be done at the Curtis -plant. For this I used a special casting of an old face not then on the -market, Mr. Phinney of the Boston branch of ATF telling me it was to be -called Wayside. When the prospectus was finished Mr. Bok invited me -to his home just outside Philadelphia and there it was arranged that I -design eight full pages for the _Journal_--eight full pages of house -interiors. These were followed by a series of house designs. Finding it -difficult to keep to merely four walls I added dozens of suggestions -for individual pieces of furniture--this being the “Mission” period -when such designing required no knowledge of periods, only imagination. -Then Mr. Bok suggested that I move to Rose Valley, start a shop to make -furniture and other forms of handicraft in line with designs shown in -my _Journal_ drawings; and assume art editorship of _House Beautiful_, -which he was considering buying. But having failed in one business -venture, there was little excuse to embark on another. - -The roman and italic face, used later for _Peter Poodle, Toy Maker -to the King_, was now designed for American Type Founders; and while -building a home in Concord, adjoining Hawthorne’s “Wayside,” and -working every day in the open, regaining lost health, the story, -_Castle Perilous_, was written--also outdoors. These activities were -followed by a request from Mr. Nelson, president of American Type -Founders, that I undertake a campaign of type display and publicity -for the Foundry, with a promise to cut any decorative or type designs -that I might supply, also to purchase as many Miehle presses as might -be required for the printing--an invitation to which I replied with an -enthusiastic “Yes!” [In this way Bradley’s famous set of _Chap Books_ -was inaugurated--Ed.] - -During this type-display and foundry-publicity period _Castle -Perilous_, as a three-part serial, with illustrations made afternoons -following mornings spent with American Type Founders at Communipaw, was -published in _Collier’s_; and in 1907 I became that publication’s art -editor. Sometime during the intervening years--I can’t remember where -or when--time was found for designing several _Collier’s_ covers. - -From 1910 to 1915, again with my own studios, I took care of the -art editorship of a group of magazines: _Good Housekeeping_, -_Century_, _Metropolitan_ and others, also an assignment from the -Batten Advertising Agency and, as recreation, wrote eleven _Tales of -Noodleburg_ for _St. Nicholas_. - - - - -[Illustration] - - - - -THE MAGAZINE WORLD--AN INTERPOLATION - - -For easier understanding by you whose magazine memories do not go back -to the turn of the century it should be told that we were then carrying -a Gibson Girl hangover from the Gay Nineties and were but a few years -removed from a time when there were only three standard monthlies: -_Harper’s_, _Scribner’s_, and _Century_; and seven illustrated -weeklies: _Harper’s_, _Frank Leslie’s_, _Harper’s Bazaar_, _Police -Gazette_, _Puck_, _Judge_ and the old _Life_,--magazines and weeklies -that were seldom given display other than in hotels and railroad -depots, where they were shown in competition with the then-popular -paper-covered novels. - -In the mid-Eighties all monthlies, weeklies, books and booklets were -hand-fed, folded, collated and bound; halftones were in an experimental -stage; advertising agencies, if any existed, were not noticeable in -Chicago, and advertising of a national character used only quarter-page -cover space. But something in the air already quickened imagination, -and the Nineties gave us more magazines and better display. - -In 1907, magazines were shedding swaddling clothes and getting into -rompers; the _Saturday Evening Post_ had cast off its pseudo-Benjamin -Franklin dress and adopted a live editorial policy that was winning -readers and advertising; Edward Bok had ventured a Harrison Fisher -head on a _Ladies’ Home Journal_ cover and won a fifty-thousand gain -in newsstand sales, and Robert Collier had built a subscription-book -premium into a national weekly. - - - - -[Illustration] - - - - -THE MAGAZINE WORLD--COLLIER’S AND OTHERS - - -On a Saturday afternoon in 1907, believing myself alone, for the -offices and plant had closed at twelve, I was standing at a drafting -table making up the Thanksgiving issue of _Collier’s_ when Mr. Collier -entered. He became intrigued with proofs of decorative units being -combined for initial-letter and page borders, as had earlier been done -with similar material in designing a cover, and asked for some to take -home and play with on the morrow. Robert Collier was that kind of a -boss--a joy! - -Of the Thanksgiving issue Royal Cortissoz wrote: “This week’s number -has has just turned up and I cannot refrain from sending you my -congratulations. The cover is bully; it’s good decoration, it’s -appropriate, it’s everything that is first rate. The decorations all -through are charming. More power to your elbow. It does my heart good -to see _Collier’s_ turning up in such splendid shape.” There were other -favorable comments--but no noticeable jump in newsstand sales. - - -My joining Collier’s staff has been under circumstances quite -exceptional, even for that somewhat pioneer period in which the -streamlined editorial and publishing efficiency of today was only a -vague dream. I had been asked to give the weekly a new typographic -lay-out. When this was ready Mr. Collier suggested that I take the -art editorship. He said I would be given his office in the editorial -department and he would occupy one in the book department, where he -could devote more time to that branch of the business, an arrangement -he knew would please his father. I was to carry the title of art editor -but in reality would be responsible for make-up and other details that -had been demanding too much of his own time. - - -At the age of twelve I had begun to learn that type display is -primarily for the purpose of selling something. In 1889, as a -free-lance artist in Chicago, I had discovered that to sell something -was also the prime purpose of designs for book and magazine covers -and for posters. Later I was to realize that salesmanship possessed -the same importance in editorial headings and blurbs. These -never-to-be-forgotten lessons, taught by experience and emphasized by -the sales results of the publicity campaign I had lately conducted for -the American Typefounders Company, would classify that Thanksgiving -number as a newsstand disappointment. However, it pleased Robert -Collier who, even to hold a guaranteed circulation--when a loss would -mean rebates to advertisers--would not permit the use of stories by -such popular writers as Robert Chambers and Zane Gray nor the popular -illustrations of such artists as Howard Chandler Christy! - - -My tenure at _Collier’s_ gave me a new experience. There I always -worked under conditions inviting and stimulating imagination, and there -I probably unknowingly shattered many a precious editorial precedent. - -_Collier’s_ had one of the early color presses akin to those used on -newspapers. We decided to use this to print illustrations for a monthly -“Household Number” carrying extra stories. The editorial back-list -showed no fiction suitable for color; the awarding of one thousand -dollars a month for the best story, judgment based upon literary -merit, had resulted in the purchase of nothing but literary fog. Mr. -Collier told Charles Belmont Davis, fiction editor, to order what was -necessary. Charley asked me who could write the type of story needed. I -said, “Gouverneur Morris.” Mr. Morris, then in California, sent a list -of titles accompanied by the request: “Ask Will Bradley to take his -pick.” We chose _The Wife’s Coffin_, a pirate tale. During an editorial -dinner at his home Robert Collier read a letter from his father, then -out of the city, in which P. F. (his father) wrote: “If you continue -printing issues like this last our subscription-book salesmen report -the weekly will sell itself.” Robert said: “Mr. Bradley can make this -kind of a number because he knows the people from whom the salesmen -obtain subscriptions. I don’t, and any similar undertaking by me would -be false and a failure.” - -During this period of art editorship, and following the lay-out of a -booklet, _Seven Steps and a Landing_, for Condé Nast, advertising -manager of _Collier’s_, a color-spread for Cluett-Peabody, lay-outs -for the subscription-book department, and pieces of printing for Mr. -Collier’s social activities (also a request from Medill McCormick that -I go to Chicago and supply a new typographic make-up for the _Tribune_; -a suggestion from Mr. Chichester, president of the Century Company, -that if I were ever free he would like to talk with me about taking -the art editorship of _Century_; and from Mr. Schweindler, printer of -_Cosmopolitan_ and other magazines, an expression of the hope that I -could be obtained for laying-out a new publication), Robert Collier -proposed the building of a pent-house studio on the roof near his -father’s office where, relieved of much detail, I could give additional -thought to all branches of the business. This promised too little -excitement, and instead I rented a studio-office on the forty-fifth -floor of the then nearly-finished Metropolitan Tower. At this time -Condé Nast had just purchased _Vogue_, then a small publication showing -few changes from when I had contributed to it in the early Nineties. - -In this new environment I handled the art editorship and make-up of -_Metropolitan_, _Century_, _Success_, _Pearson’s_ and the new _National -Weekly_, which was given a format like that of present-day weeklies and -a make-up that included rules. Caslon was used for all headings except -for _Pearson’s_ which, using a specially-drawn character, were lettered -by hand. - -Among some discarded _Metropolitan_ covers I found one by -Stanislaus--the head of a girl wearing a white-and-red-striped toboggan -cap against a pea-green background. By substituting the toboggan-cap -red for the pea-green background, with the artist’s approval, we -obtained a poster effect that dominated the newsstands and achieved an -immediate sellout. - - - - -[Illustration] - - - - -ENTER MR. HEARST - - -In the Nineties I had been asked to provide a lay-out for the Sunday -magazine section of Mr. Hearst’s New York paper. I could not do this -properly except at my Wayside Press. This the typographic union would -not permit, but in the years that followed, I enjoyed an intermittent -part-time association with Mr. Hearst--working on magazines, papers and -motion pictures. - -One of these assignments was _Good Housekeeping_. This magazine had -been published by the Phelps Company, and had achieved a circulation of -250,000 copies. Additional sales would tax the plant and necessitate -more equipment and the magazine was sold to William Randolph Hearst. I -was asked to design a new lay-out and to take over the art editorship -during its formative period. For the new venture Mr. Hearst ordered -a Winston Churchill serial--_Inside the Cup_ if my memory is not at -fault. Mr. Tower, the editor brought from Springfield, said this would -mean taking out departments and a loss of half the circulation--but -the departments came out, the serial went in, Mr. Tower resigned, Mr. -Bigelow became editor, and circulation mounted into the millions! - -In 1915 Mr. Hearst asked me if I could arrange to give him all of -my time and art-supervise production of the motion picture serial, -_Patria_, starring Irene Castle. I agreed. - -In 1920, after writing, staging and directing _Moongold_, a Pierrot -fantasy photographed against black velvet, using properties but no -pictorial backgrounds--an independent production launched with a -special showing at the Criterion Theater in Times Square, I returned to -Mr. Hearst in an art and typographic assignment including magazines, -newspapers, motion pictures and a trip to Europe where commissions -were placed with Edmund Dulac, Arthur Rackham and Frank Brangwyn. -Somewhere along the trail _Spoils_, a drama in verse, and _Launcelot -and the Ladies_, a novel, were written--the former printed in _Hearst’s -International_ and the latter destined to carry a Harper & Brothers -imprint--but not to become a best seller. - -Another Hearst project in the early Twenties was a new format and -the creation of a typographic lay-out for _Hearst’s International_. -For the lay-out, the headings of which would have to be different -from those provided earlier for _Cosmopolitan_, I designed a set of -initial letters, later catalogued by the foundry and called “Vanity.” -Knowing that Mr. Hearst would want to use portrait heads for covers -and that they would all have to be made by a single artist whose style -did not permit of confusion with the Harrison Fisher heads used on -_Cosmopolitan_, I approached Benda with the suggestion that if he would -use one color scheme for both head and background he could probably get -the contract. On seeing the first Benda cover Mr. Hearst asked how it -happened that this was the only Benda head he ever liked! He was told, -and authorized a contract. - -These _Hearst International_ changes led to my being asked to give -thought to strengthening _Cosmopolitan_ headings in 1923. The request -came on a Monday morning. The issue then in hand closed at Cuneo’s in -Chicago on the following Friday. Mr. Hearst never urged hurry, but -early results were appreciated. Obtaining a current dummy with page -proofs, I headed for the ATF composing room at Communipaw, N. J. About -half-past four I had personally set, without justification, every -heading in the issue--using Caslon in roman and italic in the manner it -had been assembled by uninhibited compositors of the Colonial period. -That night, at home, I trimmed and mounted proofs in a new dummy. -The mixing of roman and italic in radically different sizes and with -consideration for desired emphasis, with possibly a 96- or 120-point -roman cap starting a 48- or 60-point italic word, resulted just as I -had visualized while the type was being set in fragmentary form. No -changes were necessary, and every minute of the afternoon had been -good fun. Tuesday I left for Chicago; Wednesday was spent at Cuneo’s -where, using this reprint copy, all headings were set, made-up with -text pages, and proved; Thursday the new lay-outs were enthusiastically -approved in New York; Friday, at Cuneo’s, _Cosmopolitan’s_ managing -editor closed the forms according to schedule. It had been a grand -lark--and within a few weeks that free style of typography began to -appear in national advertising. - -One morning a request came from Mr. Hearst to use color at every -editorial opening in _Hearst’s International_--a startling innovation -at a time when illustrators were accustomed to drawing or painting -only for reproduction in black and white or for an occasional insert -in process colors. Closing day on the current dummy was only two weeks -away. With the aid of editorial substitutions it was thought we could -make the date. Taking a dummy showing possible signature distribution -of colors, I made the round of studios to find artists agreeable to the -use of one extra color. - -After ten days’ work I arrived at the Blackstone Hotel in Chicago, -where Mr. Hearst was holding conferences. I had an appointment for noon -of the next day. Spending the intervening time at Cuneo’s, I finished -the dummy and appeared for my appointment, asking at the hotel that -Mr. Hearst’s secretary be informed. The clerk shook his head; orders -had been given that no phone calls were to be put through to that -floor. The manager was called, I pointed to my brief-case lying on the -counter, and said that Mr. Hearst was waiting for its contents. The -manager took a chance, made the call, and I was told to go right up. - -The conference was in a large room with window seats overlooking the -lake. We sat on one of these seats while the dummy was viewed--page -by page--twice. Mr. Hearst was pleased and asked if he might keep the -dummy so he could enjoy it at his leisure. I told him the closing date -would not permit this. He understood, and saying so in an appreciative -manner suggesting a pat on the back, he sent me off to catch the -afternoon limited so I could reach New York in the morning. There I -was shown a wire evidently written and sent as soon as I had left. It -was to Ray Long, editor-in-chief, saying: “Shall be pleased if future -numbers are as attractive as the dummy I have just seen.” That is the -“Chief”--always stimulating and appreciative! - - - - -[Illustration] - - - - -TOWARDS A NEW STYLE - - -After retiring from the Hearst organization I was recalled and asked -to go to Chicago and see if something could not be done to improve the -printing of illustrations. A trip to Chicago was not necessary, there -being an obvious change long overdue in the New York art departments, -and not in the Cuneo printing plant. This fact was reported to Mr. -Hathaway, who had relayed the request from Mr. Hearst in California; -but Chicago was in the cards and I went. Upon my return a written -report, the substance of which had received Mr. Cuneo’s approval, -was given to Mr. Long. In lay language, briefly expressed, it said: -“Illustrators should be cautioned about an over-use of fussy and -valueless detail and asked to restrict their compositions to only so -much of the figure or figures, backgrounds and accessories as are -required for dramatic story-telling and effective picture-making; -requested to forego a full palette when subjects are to be presented -in only one or two colors, and to simplify renderings and avoid so -many broken tones. Full-page and spread reproductions will then not -only solve your press-room worries but create a new and finer type of -magazine.” - -Mr. Long read the report--thoughtfully, I believe--talked with his art -editors, and finally decided the suggestions were too radical. But -had Mr. Hearst been in New York, and had the report gone to him, his -_Cosmopolitan_ and _Good Housekeeping_ would have led the field in -adopting principles of illustration that are now universal. - -When asked to provide a new lay-out for _McClure’s_ magazine, then -a recent purchase by Mr. Hearst, I reveled in an opportunity to -apply the suggestions presented in the report. Making photographic -enlargements of available illustrations and eliminating all -non-essentials I used full pages and spreads and prepared the dummy -with a new note in typographic headings. Ray Long looked at it and -gasped. “Will,” he said, “a magazine like that would outshine and -humble _Cosmo_.” Mr. Hearst was still in California. Too bad! I had -made suggestions of worth and Mr. Hearst, running true to form, would -have weighed their values--not for a revived _McClure’s_, perhaps, but -for his other magazines. - - * * * * * - -And now there is little more to tell, unless you want to listen to the -way I enthuse about our present-day illustrators, their delightfully -imaginative composition and masterly use of color. They are grand -campaigners! God love them and the editorial lads who give them -opportunity and encouragement. They are making an old man mighty -happy--yes, making him envy their fun while he is relegated to sheer -laziness in the siesta sun of California. - -Before final retirement I managed to lay out a new _Delineator_, a new -Sunday magazine for the _Herald Tribune_ (about 1925), and a lay-out -suggested by early New England news-sheets for the _Yale Daily_, and -... well, I guess that’s about all. No! Listen. In these last three -lay-outs I continued to use my beloved Caslon! - - - - -[Illustration] - - - - -TODAY IN 1954 - - -Do conditions today give the ambitious young designer and printer the -same opportunities I enjoyed back in the late Victorian period? Not the -same, of course, but even greater. - -While it is true that the Nineties were literally made to order for -a boy who had acquired only such training as was to be had in the -sparsely equipped print-ship of a weekly newspaper in a pioneer -iron-mining town, today is made to order for the ambitious young -designer and printer who is availing himself of the training to be had -by even the small-town beginner. - -Back in my boyhood days a study of such examples of design and printing -as now reach even the most remote out-posts of the printing industry, -would have taught me more than I learned during a year in the art -department, so-called, of the publishing house of Rand McNally in -Chicago. - -The inspiration to be derived from the text and advertising pages -of our standard magazines, together with the creative art of school -children and the art magazines, quite unknown at the turn of the -century, supplies a liberal education teaching the beginner how to -appreciate and use the printing and designing advantages of today. - -What are these advantages, and why do they open a door to exceptional -opportunities not known in the Nineties? First, and perhaps of greatest -importance, is the typographic consciousness now prevalent, especially -in the advertising and business world, where it is universally -recognized that effective typography and design increase sales. - -Another advantage is to be found in the significant mechanical advances -of the last few years, the significance of the growing importance -of offset printing, presenting so many opportunities yet to be -grasped by the designer. And, an infant industry now, but one of vast -possibilities, is commercial silk-screen printing. - -But upon my return to New York after many years in California I think -my greatest thrill came when I witnessed the mechanical setting of type -by photography. Always I have liked the feel of putting type into the -stick, and I liked to see the composition growing on the galley. In all -my years of working with type I have never made a preparatory lay-out, -except when the composition had to be done by another, which happened -only on magazine headings after a style had been determined in advance. - -But this is an age of lay-outs, and in this new photographic process -with the use of photographic enlargements, there are possibilities -for display composition of any required size, and great variety, -presenting intriguing possibilities for the creative designer and -typographer. - -All such steadily growing advances present opportunities which were -nonexistent back in my own youthful days. Together with the superior -training enjoyed by the youth of today, they have changed conditions -into a new world fraught with wonderful opportunities far beyond any I -knew in the Nineties. - - w b - - Short Hills, New Jersey - May, 1954 - - - - -A CHRONOLOGY - - -This brief biography of the man called Dean of American Designers -by _The Saturday Evening Post_ and Dean of American Art Editors by -_Publishers’ Weekly_, is amplified from its earlier compilation and -printing as a Typophile keepsake in 1948. It was first distributed at a -birthday luncheon held in New York, for Mr. Bradley’s eightieth. - - 1868 Born in Boston, July 10, son of a cartoonist - on a Lynn daily newspaper. - - 1874 First finger in the “pi”--on being presented - a box of characters brought - home by his father for a small printing - press Will bought with his own savings - as a delivery boy. - - 1877 Moves to Ishpeming, a mining town in - northern Michigan. - - 1880 A job (with a salary of $3 a week) as a - printer’s devil, with the _Iron Agitator_ - (later _Iron Ore_). - - 1885 Foreman with _Iron Ore_ at a man’s - wages, $15 a week. - - 1886 To Chicago--and an art department - apprenticeship with Rand McNally--sweeping, - dusting, running errands, - grinding tempera ... at $3 a week. - - 1887 With Knight & Leonard, Chicago’s - leading fine printers, as a full-fledged - designer at a salary of $21, and then - $24 a week. - - 1889 Free-lancing in Chicago; studio in the - Caxton Building. - - 1890 To Geneva, Ill., and first recognition - through covers for _Harper’s Weekly_; - posters for Stone & Kimball’s _Chap - Book_; cover designs for the _Inland - Printer_ (perhaps the first magazine - covers ever to be changed monthly). - - 1890 The creation of a widely copied type - face named “Bradley” by ATF. - - 1893 An exhibition at the Chicago World’s - Fair. - - 1895 To Springfield, Mass., the launching of - his Wayside Press, “At the Sign of the - Dandelion,” and plans for publication - of _Bradley: His Book_ ... his love for - Caslon and the beginning of a new Caslon - era as a result. - - 1895 The initial Bradley-designed paper - sample book for Strathmore. - - 1896 Exhibits at Boston Arts and Crafts; - Colonial typography attracts national - attention. - - 1897 Caslon types on Strathmore Deckle - Edge Papers prove successful; Bradley’s - plant is expanded and moved to a loft - in the Strathmore mill at Mittineague. - - 1898 Merges business with University Press, - Boston. Opens design and art service in - New York; specialty, bicycle catalogs. - - 1900 Mr. Bok, editor of _Ladies’ Home Journal_, - commissions a series of eight full - pages of house interiors for the _Journal_. - A roman and italic face, used later for - _Peter Poodle, Toy Maker to the King_, - is designed for American Type Founders. - While recovering from illness, - _Castle Perilous_ is written, later serialized - in _Collier’s_ with Bradley illustrations. - - 1902 _Collier’s Weekly_ appears with Bradley - cover (July 4). - - 1903 Heads campaign of type display and - publicity for American Type Founders. - - 1904 Writing and designing _Chap Books_ for - American Type Founders; setting typographic - style for decades. - - 1906 Writes and illustrates _Peter Poodle, - Toymaker to the King_ for Dodd Mead. - - 1907 Art Editor of _Collier’s_. Introduces new - technique in coordinating make-up, art - direction and typography. Holiday - number becomes collectors’ item. - - 1910-15 Simultaneous art editorship of _Good - Housekeeping_, _Metropolitan_, _Success_, - _Pearson’s_, _National Post_. Revises typographic - make-up of _Christian Science - Monitor_ ... beginning of a series of - stories later published as _Wonderbox - Stories_. - - 1915-17 Art supervision of motion picture - serials for William Randolph Hearst, - including _Patria_, starring Irene Castle. - - 1918-20 Writing and directing motion pictures - independently. Production of - _Moongold_, a Pierrot pantomime shot - against black velvet, using properties - but no sets, shown at the Criterion - Theater in Times Square, New York. - - 1920 Back to Mr. Hearst as art and typography - supervisor for Hearst magazines, - newspapers, motion pictures, and the - introduction, in _Cosmopolitan_, of many - typographic innovations. - - 1923 Writes _Spoils_, a play in free verse for - _Hearst’s International_. - - 1926 Restyles _Delineator_ and Sunday magazine - section of New York _Herald Tribune_ - (not _This Week_). - - 1927 Harper & Bros. publish _Launcelot and - the Ladies_. - - 1930 Final, but far from inactive, retirement. - - 1931 Serves on AIGA “Fifty Books of the - Year” jury; delivers address at exhibition - opening, New York Public Library. - - 1950 Rounce and Coffin Club of Los Angeles - award, October 28, for “Distinguished - Contributions to Fine Printing,” at preview - of Huntington Library exhibition, - “Will Bradley: His Work.” - - 1953 New type ornaments (used at chapter-openings - in the present book) designed - for American Type Founders. - - 1954 Completion of a new paper specimen in - Strathmore’s Distinguished Designers - Series, almost sixty years after his first - sample book for Strathmore. Introduced - at University Club luncheon in - New York, March 25. - - 1954 Award of gold medal by the American - Institute of Graphic Arts at Annual - meeting, May 19. - -“I have never known any guide other than what to me happened to look -right.”--w. b. - - - - -AN AFTERWORD - - -Few names in the annals of American typography gleam as brightly as -Will Bradley’s. Even fewer have made so varied a graphic contribution -as this gentle man, now eighty-six and revered as dean of American -typographers. - -In May, 1954, he was awarded the coveted gold medal of the American -Institute of Graphic Arts. The citation, necessarily brief around the -rim, recalled one phase of his accomplishments: “To Will Bradley for a -half-century of typographic achievement.” - -A more revealing summary would be found in the commendation of the -Rounce and Coffin Club award, presented at the Huntington Library -in October, 1950. The Club held its special meeting to honor Mr. -Bradley (then living in nearby Pasadena), and preview the Huntington -retrospective Bradley exhibition, which included examples of his book -design and illustration; articles and stories written; cover and -poster design; type and type ornament for American Type Founders; and -printing. Some seventy items were displayed, ranging from the Ishpeming -(Michigan) _Iron Ore_ masthead, designed in 1886, to a Christmas -greeting drawn in 1948. - -The award, for distinguished contributions to fine printing, read: -“_Because_ he has for seventy years been a source of creative -inspiration in all the varied arts to which he has put his mind and -hand; _Because_ he found American printing at the end of the last -century in a dreary condition, held up to it the examples of the early -colonial printers, revived the simplicity and dignity of Pickering and -caused to flourish again the use of Caslon and the other old style -types; _Because_ he created a wealth of new ornamentation and by his -own demonstration introduced many original uses of ink, paper and -bookbinding; _Because_ he redesigned the American magazine and gave to -it the charm of a new outer garment with each appearance; _Because_ -he cast the illumination of his talents upon the art of the poster, -the children’s book, and even the motion picture; _Because_ his great -direct aid and even greater inspiration have been acknowledged by many -American typographers, including such leaders as Frederic W. Goudy, W. -A. Dwiggins, Oswald Cooper and T. M. Cleland; _And finally_ because he -has not ceased to be for the printers of our day, as for those of two -previous generations, an inexhaustible fountain of kindly encouragement -and new discoveries.” - -Despite their glow, these words spell a clear appraisal of this man’s -talents and graphic spirit. Ahead of his times, Mr. Bradley proved -a pace-setting pioneer whose work was so fresh that its vitality -is as measurable in the specimens of Strathmore and ATF, as in the -Hearst periodical pages. Particularly when compared with that of his -contemporaries, as Walter Dorwin Teague points out in his perceptive -introduction. - -Mr. Bradley was born in Boston in 1868. His father, a newspaper -cartoonist, died when he was eight. Four years later his mother moved -to Ishpeming, a small iron-mining town in northern Michigan. Here, he -became a printer’s devil on the local newspaper. - -The brief chronology of events in his legendary career (pp. 92-96) -reveals pertinent details of the early years as art department -apprentice with Rand McNally, Chicago map-makers, and as free-lance -artist. He soon won recognition for his cover designs and drawings for -_Harper’s Weekly_ and _The Inland Printer_, and posters for Stone and -Kimball’s _Chap Book_. - -In 1895 he returned to New England to set up his Wayside Press in -Springfield, Mass. He was twenty-seven then, had just designed his -first sample book for Strathmore, and developed publishing plans for -_Bradley: His Book_. Volume one, number one was dated May, 1896; -the subscription price, one dollar the year. The cover was a poster -treatment of a tree on a grassy hilltop; the frontispiece was by -Edward Penfield, himself the subject of a lead article. Center spread -pages, decidedly in the Kelmscott manner, were devoted to a poem by -Harriet Monroe, with a floriated border surrounding the text in caps. -The body type was the ATF version of the Morris Golden face. - -_Bradley: His Book_ was planned as an art and literary magazine, and -also “a technical journal for those engaged in the art of printing.” -Seven issues comprised its life span; the first four varied slightly -from the initial 5¼ × 10½ inch size; the last three (of volume -two) were 8 × 11 inches. A note indicated that “advertisements are -newly prepared for each number without extra cost.” Products promoted -included writing and printing papers, type, ink, periodicals, a -“talking” machine, auto tires, baking and washing powder, and soap. A -further note evidenced concern for design and typography, mentioning -that “advertisements may be appropriately illustrated by any artist, -provided the character of design and execution are suitable for pages -of this magazine. Text on electrotypes will be reset in type from -_Bradley: His Book_ fonts.” - -From this point on, the Bradley career moved into high gear. In 1900 he -was commissioned by the _Ladies’ Home Journal_ to design eight full -pages of house interiors; he also designed a roman and italic type. - -Three years later, at thirty-five, he headed a typographic and -publicity campaign for ATF (1903), and wrote and designed their famous -_Chap Books_. In 1907 he was art editor of _Collier’s_; and from -1910 to 1915 the simultaneous art editor for _Good Housekeeping_, -_Metropolitan_, _Success_, _Pearson’s_ and _National Post_. Then in -his early forties, he dipped into the field of the motion picture as -art supervisor of serials for William Randolph Hearst. In 1918 he was -writing and directing motion pictures independently. Two years later -he rejoined the Hearst organization as art and typographic supervisor -for their newspapers, magazines and motion pictures. In 1930, age -sixty-two, he retired to southern California. - - * * * * * - -Of the Bradley renaissance a quarter-century later, a single design -accomplishment seems significant: The 1954 Portfolio in the Strathmore -distinguished designer series, begun in California in 1951, completed -early in 1954 and introduced at a luncheon sponsored jointly by the -Typophiles and Strathmore, held at the New York University Club. The -date was just a few months short of sixty years from that significant -day when the first paper-use specimen was issued by Strathmore in -Mittineague. - -Among the speakers paying tribute were Edwin H. Carpenter of the -Huntington Library; Thomas Maitland Cleland, designer and artist; A. -Hyatt Mayor of the Metropolitan Museum of Art; Frederic G. Melcher, -dean of American publishers; Carl Purington Rollins, printer emeritus -to Yale University; Walter Dorwin Teague, industrial designer, F. -Nelson Bridgham, Strathmore president, and the undersigned reporter, -who served as toastmaster. - - * * * * * - -The first-hand account of the fabulous years recorded in this book has -been assembled from separate papers written by Mr. Bradley at different -times since 1949. No attempt has been made to unify the varying tenses, -or modify the sometimes first-person sometimes second-person style of -the author in these different memoirs. An attempt _has_ been made to -connect these papers into one continuing narrative. To this end, some -editing of over-lapping material and cutting of repetitious passages -seemed essential. - -The sources: A booklet titled _Memories: 1875-1895_, printed for the -Typophiles and other friends by Grant Dahlstrom in Pasadena, 1949; -another titled _Picture of a Period, or Memories of the Gay Nineties_, -printed for the Rounce and Coffin Club of Los Angeles (also by -Dahlstrom) in 1950; the Huntington Library hand list, _Will Bradley: -His Work_, 1951 (again printed by Dahlstrom). The fourth source item is -“Will Bradley’s Magazine Memories,” from the _Journal_ of the American -Institute of Graphic Arts (Vol. III, No. 1, 1950). - -Like most Typophile projects, this has been in process for many months. -Though obviously a cooperative effort, much of the muscle and mind -needed to shape and form it has been contributed by Peter Beilenson. He -not only attended to the design and printing at his Peter Pauper Press, -but also helped materially in its editing. - -The alluring prospect of additional illustrations for these pages was -reluctantly passed by. Our physical limitations and resources proved -inadequate to reflect the qualities, and the scope and variety of Mr. -Bradley’s work. Examples of his colorful designing and illustrating may -be seen in the comprehensive collections at the Metropolitan Museum of -Art, New York, and the Huntington Library, San Marino, California. A -brief selection is shown in _The Penrose Annual_, 1955. - -Despite his years, Mr. Bradley generously offered to develop the -typographic plan of this book, and rewrite the entire text to further -illumine certain passages. He also suggested he make new drawings to -replace those on chapter pages, which were drawn in 1949 to enhance the -solid text pages of the _Memories_ booklet (The type ornaments on these -pages were drawn in 1953 for ATF.) This considerable task seemed an -unnecessary burden, particularly since Mr. Bradley had reflected with -characteristic charm and candor the recollections of his great years. -Like every artist and craftsman of stature, he remains his own severest -critic. - -Numerous other friends have helped with this book: Among them, Arthur -W. Rushmore and Edmund B. Thompson in its early planning; Robert B. -Clark, Jr., and his colleagues at Strathmore; Nicholas A. Meyer, David -Silvé, Stevens L. Watts and Robert H. Wessmann--each has been quick -to answer every call, as has Will Bradley. For myself, it has been a -memorable and rewarding book-making experience to work with these good -friends, as it is a privilege to record here the indebtedness of The -Typophiles for their invaluable and generous assistance. - - PAUL A. BENNETT - - - - -Typophile Chap Books: 30 - -[Illustration: THE TYPOPHILES NEW YORK ] - - -This thirtieth Chap Book in the Typophile series has been designed by -Peter Beilenson, and printed on Strathmore Courier at his Peter Pauper -Press, Mount Vernon, New York. The type face is Waverley; the binding -is by the J. F. Tapley Company, New York. - -This edition comprises four hundred copies for Typophile subscribers -and contributors and 250 copies for general sale. - - - - - * * * * * * - - - - -Transcriber’s note: - -Obvious typographical errors have been corrected. - -Inconsistencies in hyphenation have been standardized. - -The cover image for this eBook was created by the transcriber -using the original cover and is entered into the public domain. - - - -***END OF THE PROJECT GUTENBERG EBOOK WILL BRADLEY, HIS CHAP BOOK*** - - -******* This file should be named 63426-0.txt or 63426-0.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/6/3/4/2/63426 - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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Bennett</h1> -<p>This eBook is for the use of anyone anywhere in the United States -and most other parts of the world at no cost and with almost no -restrictions whatsoever. You may copy it, give it away or re-use it -under the terms of the Project Gutenberg License included with this -eBook or online at <a -href="http://www.gutenberg.org">www.gutenberg.org</a>. If you are not -located in the United States, you'll have to check the laws of the -country where you are located before using this ebook.</p> -<p>Title: Will Bradley, His Chap Book</p> -<p>Author: Will Bradley</p> -<p>Editor: Paul A. Bennett</p> -<p>Release Date: October 11, 2020 [eBook #63426]</p> -<p>Language: English</p> -<p>Character set encoding: US-ascii</p> -<p>***START OF THE PROJECT GUTENBERG EBOOK WILL BRADLEY, HIS CHAP BOOK***</p> -<p> </p> -<h4 class="pgx" title="">E-text prepared by Tim Lindell, David E. Brown,<br /> - and the Online Distributed Proofreading Team<br /> - (<a href="http://www.pgdp.net">http://www.pgdp.net</a>)<br /> - from page images digitized by<br /> - the Google Books Library Project<br /> - (<a href="https://books.google.com">https://books.google.com</a>)<br /> - and generously made available by<br /> - HathiTrust Digital Library<br /> - (<a href="https://www.hathitrust.org/">https://www.hathitrust.org/</a>)</h4> -<p> </p> -<table border="0" style="background-color: #ccccff;margin: 0 auto;" cellpadding="10"> - <tr> - <td valign="top"> - Note: - </td> - <td> - Images of the original pages are available through - HathiTrust Digital Library. See - <a href="https://hdl.handle.net/2027/mdp.39015014553716"> - https://hdl.handle.net/2027/mdp.39015014553716</a> - </td> - </tr> -</table> -<p> </p> -<hr class="pgx" /> -<p> </p> -<p> </p> -<p> </p> - -<div class="figcenter"><img src="images/cover.jpg" width="50%" alt="" /></div> - -<hr class="chap" /> - -<p class="ph1">Typophile Chap Books: 30</p> - -<hr class="chap" /> - -<div class="figcenter"><img src="images/i_title.jpg" alt="" /></div> - -<hr class="tb" /> - -<h1>Will Bradley<br /> - -His Chap Book</h1> - -<div class="figcenter"><img src="images/i_titlelogo.jpg" alt="" /></div> - -<p class="center"><b>AN ACCOUNT, IN THE WORDS OF THE<br /> -DEAN OF AMERICAN TYPOGRAPHERS, OF<br /> -HIS GRAPHIC ARTS ADVENTURES: AS BOY<br /> -PRINTER IN ISHPEMING; ART STUDENT<br /> -IN CHICAGO; DESIGNER, PRINTER AND<br /> -PUBLISHER AT THE WAYSIDE PRESS; THE<br /> -YEARS AS ART DIRECTOR IN PERIODICAL<br /> -PUBLISHING, AND THE INTERLUDES OF<br /> -STAGE, CINEMA AND AUTHORSHIP</b></p> - -<hr class="tiny" /> - -<p class="center"><b>New York: The Typophiles<br /> - -1955</b></p> - - -<hr class="chap" /> - -<p class="center"> -The special contents<br /> -of this edition are<br /> -copyright 1955<br /> -by Paul A. Bennett<br /> -for the Typophiles</p> - -<p class="center">* * *</p> - -<p class="center">Printed in the<br /> -United States of America</p> - - - -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_iii"></a>[iii]</span> - -<div class="figcenter"><img src="images/i_iii.jpg" alt="" /></div> -</div> - - - - - -<h2 class="nobreak">AN INTRODUCTION</h2> - - - -<p><span class="smcap">This is a difficult task.</span> <i>I agreed to -write an introduction to</i> Will Bradley, -His Chap Book <i>before I had seen the -book’s text itself. Now I have encountered -here the gaiety, courage, vitality -of this man who romped like a breeze -through American graphic arts for several -decades—and I feel that my part -should be little more than the opening -of a door to this perennial springtime -freshness.</i></p> - -<p><i>But still there is something to talk -about that he, modest man, hasn’t even -mentioned. And that is the impact of -his work on his time. It should be -talked about, because it is hard to realize<span class="pagenum"><a id="Page_iv"></a>[iv]</span> -today, in our state of emancipation, -what a closed and stuffy room -Bradley entered—and opened to the -sun and air.</i></p> - -<p><i>Across the Atlantic, the Nineteenth -Century was bursting its seams: Morris -failing to revive medievalism but startling -his world with a revival of fine -craftsmanship; Beardsley, the Yellow -Book and their</i> avant garde <i>galaxy -startling their world in quite a different -way; Toulouse-Lautrec spreading -modern art in the kiosks of Paris when -only a handful knew anything about -Cezanne, Van Gogh, Seurat; barriers -being demolished everywhere.</i></p> - -<p><i>In America, these goings-on were -known to a few connoisseurs amid a -vast indifference. It was Bradley in the -Nineties who made the American public -stir in its sleep and at least crack an -eye. In the next decade he and the -many who followed him were well<span class="pagenum"><a id="Page_v"></a>[v]</span> -advanced in the lively morning of a -day that isn’t over yet.</i></p> - -<p><i>There were derivative traces in Bradley’s -early work—and whose hasn’t?—but -when he hit his stride it wasn’t -Europe’s leadership he followed. He -discovered American colonial typography, -bold and free, and from that -springboard he took off into a career of -non-archaic, non-repetitive, exuberant -and exhilarating design. In its way it -was as American as the Declaration of -Independence. In this field we have -never had any more indigenous art -than Bradley’s.</i></p> - -<p><i>He was a native, corn-fed American -in another way, too. It was a time when -Kelmscott House had set a pattern, and -the only pious ambition for a serious -typographic designer was to produce -meticulous limited editions for equally -limited collectors. Bradley may have -had some such idea in mind when he<span class="pagenum"><a id="Page_vi"></a>[vi]</span> -started the Wayside Press, but thank -God it didn’t work. There was a lusty, -democratic ambition in that slight -body, and it thrilled him to speak to -thousands, even millions, instead of -just scores. The turbulent current of -American commercial and industrial -life appealed to him more than any -exquisite backwater.</i></p> - -<p><i>So he spread his work over magazines, -newspapers, the advertising of -such houses as the Strathmore Paper -Company, his own lively but not limited -publications, even the movies. So -he enormously enriched our arts; and -he smashed more false fronts and took -more liberties—successfully—than -anyone has done before or since.</i></p> - -<p><i>Now his retirement has lasted almost -as long as his active career. His -work has been absorbed into our culture -so completely that many of the -young men cavorting brilliantly in his<span class="pagenum"><a id="Page_vii"></a>[vii]</span> -wake today are scarcely aware of their -debt to him—the pioneer and pacemaker. -They should be—he is aware -of them: he closes here with chuckling -praises of the fine, free-handed job -they are doing. There was always a -giant’s spirit in this powerful little -man, and it’s as strong and generous -now as it ever was. My memory is long -enough that I can say for all these latecomers, -“Thank you no end for everything, -Will Bradley.”</i></p> - -<p class="right"><span class="smcap">Walter Dorwin Teague</span></p> - -<p><i>New York<br /> -May, 1954</i></p> - -<hr class="chap" /> -<div class="chapter"> - -<span class="pagenum"><a id="Page_1"></a>[1]</span> - - -<p class="ph1">Will Bradley, His Chap Book</p> -</div> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<hr class="chap" /> - -<div class="chapter"> - -<span class="pagenum"><a id="Page_3"></a>[3]</span> - - - - -<div class="figcenter"><img src="images/i_003.jpg" alt="" /></div> - -<div class="chapter"> -<h2 class="nobreak">THE BOY PRINTER OF<br /> -ISHPEMING</h2> -</div> - - -<p><img class="b" src="images/i_003b.jpg" alt="" /><span class="smcap">It is</span> graduation day in the little -brown schoolhouse on Baltimore Street -in Lynn, Massachusetts, just outside -Boston. Miss Parrot is the teacher—a -dear! You are six years old; next month -you will be seven. The blackboard is -covered with chalk drawings: sailboats, -steamboats, ferryboats, trains of cars, -houses, people and animals. You are -the artist. Your mamma, with other -mammas, is sitting on the platform, -proud of her Willie—who is probably -plenty proud of himself.</p> - -<p>Lynn is a shoe town. This is 1875.<span class="pagenum"><a id="Page_4"></a>[4]</span> -Most of the work is done by hand. The -employees are all natives—Universalists -and Unitarians, probably. Many -women work at home, binding uppers -and tongues of high, lace shoes. You -have a little express wagon. You carry -finished work back to the factories and -return with a supply of unfinished. For -each trip you are paid five cents. With -your savings you buy a printing press. -It is the kind you place on a table and -slap with the palm of your hand. In -business offices it is used to stamp date -lines. Your father is drawing cartoons -for a Lynn daily—perhaps the <i>Daily -Item</i>. He brings you a box of pi. When -you succeed in finding a few letters of -the same font you file them to fit the -type slot in the press.</p> - -<p>Your father is ill, an aftermath of the -Civil War. You have moved to the section -called Swampscott. This is too far -away for you to attend the school to -which your class has gone. Your mother -goes out every day to do dress-making.<span class="pagenum"><a id="Page_5"></a>[5]</span> -A playmate takes you to his school. But -most of the time you remain at home -with your father. He tells you he hasn’t -long to live, says you have been a good -boy and that when you grow up you -will want to be an artist and there will -be no money for your education. He -gives you much fine advice which you -never forget. Then he sends you out to -play. You go to Fisherman’s Beach and -watch the fishermen take lobsters out -of the boiling pot. They give you the -little ones the law forbids selling. You -crack them on a rock, and have a feast. -Sunday mornings, or occasionally on a -Saturday night, you go to the baker’s -and get your warm pot of baked beans -and buy a loaf of brown-bread—always -an event of delicious anticipation. -Between meals, when you are hungry, -there is often a cold cod-fish cake to be -found in the pantry.</p> - - - -<p><span class="pagenum"><a id="Page_6"></a>[6]</span>Your mother and you are now alone -in the world and you are on the “Narrow -Gauge” on your way to Boston. -You are sucking a “picklelime,” always -found in glass jars at the candy counter -of every railroad and ferry waiting -room. It will be made to last until you -reach Boston and are at the Park Street -corner of the Common watching the -Punch and Judy show while your -mother is shopping. At noon you sit in -a booth and eat clam chowder at a restaurant -on Corn Hill. After the meal -your mother takes you to a wholesale -house where she has a friend. Here you -are bought a suit of clothes.</p> - -<p>“But isn’t it too big, Mamma?”</p> - -<p>“Yes, dear; but children grow very -fast and soon it will fit you—and Mamma -can’t afford to buy you a new suit -every year.”</p> - -<p> </p> - -<p>And now you are on your way to -Northern Michigan, where your mother -has a sister whose husband is paymaster<span class="pagenum"><a id="Page_7"></a>[7]</span> -at the Lake Superior Iron Mine. -En route you stop at Providence where -you are intrigued by the teams of -twenty or more horses that pull freight -cars through the downtown districts. -You think it would be fine to be a teamster. -At Thompsonville, Connecticut, -you go to school for a few weeks. On -circus day you are allowed to have a -vacation. You ride a pony in the parade -and ask your mother if you can’t join -the circus and ride in the parades every -day.</p> - -<p>It is your first day in the little mining -town of Ishpeming. You are standing -in the middle of the road watching children -going home from school; the girls -giggle, the boys laugh at the new boy -in a too-big suit. One little girl has cute -pigtails. You like her. You are now quite -grown up, nearly ten. At a Sunday-school -picnic you tell the little girl you -are someday going back to Boston and -learn to be an artist. You ask her to wait -for you. She promises. With this important<span class="pagenum"><a id="Page_8"></a>[8]</span> -problem settled you can now give -all of your attention to the question of -how you are to get an art education.</p> - -<p>In the fall you go to school and somehow -manage to pull through. Your -uncle and aunt go for a visit “back -East.” Your mother keeps house for -your cousins. Every night when you -go to bed you kneel down and ask God -to tell your uncle to bring you a printing -press, the kind with a lever, like the -ones shown in the <i>Youth’s Companion</i>. -Your uncle brings you an Ingersoll -dollar watch.</p> - -<p>It is your second year in school. You -now have a step-father. He is a fine man -and you like him and he likes you—but -of course you can’t expect him to pay -for your art education. You are having -trouble with arithmetic—something -in division. Teacher says, “Take your -books and go home, Willie, and remain -until you have the correct answer.”</p> - -<p>You don’t like arithmetic, anyway.</p> - -<p>“Mother,” you ask, “may I go to<span class="pagenum"><a id="Page_9"></a>[9]</span> -work and earn money so I can learn to -be an artist?”</p> - -<p>Your mother is troubled. Finally she -says, “Perhaps it will be for the best.”</p> - -<p> </p> - -<p>You go to the office of the <i>Iron Agitator</i>, -that later became <i>Iron Ore</i>. George -A. Newett is the owner and editor. This -is the George A. Newett and the newspaper -that were later sued for libel -by Theodore Roosevelt. The trial took -place in Marquette, Michigan, and Mr. -Roosevelt won a verdict of six cents.</p> - -<p>You are put to work washing-up a -Gordon press. Then you receive your -first lesson in feeding. There is power, -a small engine mounted on an upright -boiler, for the newspaper press. The -two jobbers are kicked. Having half an -hour of leisure you learn the lay of a -lower-case beside the window—where -you can proudly wave to the schoolchildren -as they are going home to -their noon meal. You are now a working -man—wages three dollars a week.</p> - - - -<p><span class="pagenum"><a id="Page_10"></a>[10]</span>Country newspaper shops train and -use local help for straight matter. For -job work, ads and presswork they depend -upon itinerant job printers, who -seldom remain as long as six months -in any one town. When the <i>Iron Ore</i> -job printer leaves you are sorry. He has -been a kind and patient teacher. You -are now twelve. Mr. Newett employs a -new devil and you set jobs, advertising -display, make up the paper and are responsible -for all presswork. Your wages -are increased to six dollars a week. -When the motor power fails, as it does -frequently, you go out on the street and -employ off-shift miners to operate the -press by means of a crank attached to -the flywheel.</p> - -<p>At this early date the print shop is -above a saloon and in one corner of a -big barn of a room that had been a -lodge hall. In winter it is heated (?) -with one stove. You go to work at seven -and quit at six. The outside temperature -is below zero. You and your devil<span class="pagenum"><a id="Page_11"></a>[11]</span> -forage in the snowdrifts of the alley -back of the building and “borrow” -packing boxes to get kindling for the -stove and boiler.</p> - -<p>The <i>Peninsula Record</i>, across the -street, is a four-page tabloid. It is printed -one page at a time on a large Gordon. -The owner and editor is John D. -West. He offers you eight dollars a -week. You are not that important to -Mr. Newett—and the extra two dollars -will enable you to begin saving after -paying board and buying your clothes.</p> - -<p>In a few months <i>Iron Ore</i> moves into -a new store-building. You are now thirteen -and Mr. Newett offers you ten -dollars a week and the acknowledged -position of job printer. At fourteen this -wage is increased to twelve. At fifteen -you are spoken of as foreman and are -receiving fifteen dollars a week—in -’85 a man’s wages.</p> - -<p> </p> - -<p>This is the early Eighties. Small -towns such as Ishpeming are “easy<span class="pagenum"><a id="Page_12"></a>[12]</span> -pickings” for traveling fakers. Their -advance is always heralded by the exchanges. -They clean up at the expense -of local merchants. All editors warn -them to keep away. <i>Iron Ore</i> print shop -is on the ground floor. The editor’s sanctum -is at the front. His desk is at the big -window. It is nearly nine o’clock on a -Friday night—“make-up” time. Mr. -Newett has written his last sheets of -copy and is reading proof. At the corner -of Main and Division, diagonally -across from the office, a faker is selling -soap. In one wrapper he pretends to -place a five dollar bill—a version of the -“old army game.” He is standing in a -market wagon and has a companion -who strums a guitar and sings. Attached -to an upright and above his -head is a kerosene flare. Mr. Newett -walks leisurely to where there are several -guns and fishing rods in a corner. -He is an inveterate sportsman in a land -where game, deer and fish, is plentiful. -Selecting a rifle he walks to the door<span class="pagenum"><a id="Page_13"></a>[13]</span> -and casually puts a bullet through the -kerosene tank, then returns to his proof -reading. Thoroughly likable, this pioneer -editor—a fine boss, a true friend!</p> - -<p>You and a compositor now have control -of the town bill posting. When -there are no theater or patent medicine -ads to put up you cover the boards with -blank newsprint and letter and picture -advertisements for the stores.</p> - -<p>You are sixteen, almost seventeen. -A sheet of newsprint is tacked on the -printing-office wall and, using marking -ink and a brush, you are picturing -and lettering a masquerade poster for -the roller rink.</p> - -<p>“Who is this young artist?”</p> - -<p>The speaker is Frank Bromley, a -well-known landscape painter from -Chicago.</p> - -<p>You tell him about your father and -that you are going back to Boston to -study art. He suggests your stopping off -in Chicago to see him. Says he can perhaps -help you.</p> - - - -<p><span class="pagenum"><a id="Page_14"></a>[14]</span>You are nearly seventeen and already -you have saved more than fifty -dollars. By the early fall you have four -twenty-dollar gold pieces under your -socks in the top till of your trunk. Wages -are always paid in gold and silver. You -are now ready to start for Chicago. Two -weeks later you are on your way.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_15"></a>[15]</span> - -<div class="figcenter"><img src="images/i_015.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak">FIRST SOJOURN IN<br /> -CHICAGO</h2> -</div> - - -<p><img class="b" src="images/i_015b.jpg" alt="" /><span class="smcap">The artist</span> has a studio near the -McVickar Theater on Madison Street. -It is the typical atelier of the Victorian -Eighties: oriental drapes, screens and -pottery. Jules Guerin, then an art student -and later a contributor to <i>Century</i>, -<i>Harper’s</i> and <i>Scribner’s</i>, is clearing up -and tidying for the day.</p> - -<p>Mr. Bromley takes you to Lyon & -Healy. Yes, Mr. Lyon, or maybe it was -Mr. Healy, can start you as an apprentice. -However, a young man beginning -a career should be most careful in making -his selection. You have been careful. -You want to be an artist. But the -business of Lyon & Healy is musical -instruments, not art.</p> - - - -<p><span class="pagenum"><a id="Page_16"></a>[16]</span>Next morning you are introduced to -Mr. Rand, or Mr. McNally. A Mr. Martin -then sends you upstairs, a couple of -flights, to Mr. Robinson in the designing -and engraving department. Beginners -do not receive any pay, but you -are put to work at a long table facing -a row of windows and with yards -and yards of unbleached cotton-cloth -stretched on a wire at your back. You -are now learning to engrave tints on -wood-blocks—under the erroneous impression -that designers and illustrators -engrave their own blocks.</p> - -<p>Mr. Bromley has found a room for -you at the home of a friend, an art -dealer. It is at Vincennes Avenue and -Fifty-ninth Street. You walk to and -from Rand McNally’s, located on Monroe -Street, dreaming happily.</p> - -<p>One morning, after a few weeks of -getting nowhere, for you are no master -of tint-cutting, it percolates through -your skull that inasmuch as wood-engravers -never seem to be doing any<span class="pagenum"><a id="Page_17"></a>[17]</span> -designing probably designers never do -any engraving.</p> - -<p>A momentous discovery, this, for -you have broken into your last twenty-dollar -gold piece—as a matter of fact -there is just about enough left to pay -for taking your trunk to the depot and -to buy a second-class ticket back to that -printing shop in Northern Michigan.</p> - -<p>“Sometime, if you care to come -back,” states Mr. Robinson, in a letter -which must have been written immediately -after your departure, “and if -you will remain half an hour later in -the evening and sweep out, and come -in a half hour earlier in the morning -and dust, Rand McNally will pay you -three dollars a week.”</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_18"></a>[18]</span> - -<div class="figcenter"><img src="images/i_018.jpg" alt="" /></div> -</div> - - - - -<h2 class="nobreak">SECOND SOJOURN IN<br /> -CHICAGO</h2> - - - -<p><img class="b" src="images/i_018b.jpg" alt="" /><span class="smcap">A few months</span> later, when you -have just turned into your eighteenth -year and have saved sixty dollars, three -twenty-dollar gold pieces, it is time to -return to Chicago. You tell Mr. Newett. -He wishes you well and says that if you -care to remain with <i>Iron Ore</i> he will -take you into partnership when you -are twenty. This is a big temptation. -You admire and like your boss. He is a -grand person—your idol. Saying goodbye -involves a wrench.</p> - -<p>You are now back with R-M staying -half an hour at night and getting to<span class="pagenum"><a id="Page_19"></a>[19]</span> -work a half hour earlier in the morning -and all is well with the world.</p> - -<p>At the time of your first visit to -Chicago, line photo-engraving was not -even a whisper, and halftones were -not even dreams. On your second visit, -pen drawings are beginning to receive -direct reproduction.</p> - -<p> </p> - -<p>Folding machines are unknown; and -in a large loft, at long tables, dozens -upon dozens of girls are hand-folding -railroad timetables. This loft is on a -level with the designing department. -Between the two there is a brick wall -through which, about two feet up from -the floor, has been cut an opening in -which there is a heavy, tin-covered sliding -door. When you take 14 × 22 metal -plates down to the foundry to be routed—by -someone else, for you don’t like -machines—you pass through this loft, -between the girl-adorned tables. You, -in turn, are adorned with the side-whiskers -known as mutton-chops—trying<span class="pagenum"><a id="Page_20"></a>[20]</span> -to look older than your years. -Also, in accord with the custom of the -times, you wear tight-fitting pants. One -day, in returning from the foundry -with a metal plate on your shoulder, -you pull back the sliding door and -when you lift one leg to step through -the opening the pants rip where the -cloth is tightest. On another occasion -when again carrying a plate on your -shoulder your jacket pocket catches on -a key at the end of a paper-cutter shaft -and the shoddy that had once proved so -disastrous in your pants now probably -averts a serious accident.</p> - -<p>Web presses and automatic feeders -are also absent. In the basement at -Rand McNally’s there is a battery of -drum-cylinders printing James S. Kirk -“American Family Soap” wrappers. -The stock is thin, red-glazed paper, and -the sheets a double 24 × 36, or perhaps -even larger. You marvel at the skill -with which boys do the feeding; but -even greater is your wonder at the<span class="pagenum"><a id="Page_21"></a>[21]</span> -hand-jogging and cutting of these slippery -and flimsy sheets.</p> - -<p>Invitations are sent out for an inspection -of the composing-room of the -<i>Chicago Herald</i>, now newly equipped -throughout with Hamilton labor-saving -furniture. You attend. Compositors -are sticking type for the next edition. -A little later the <i>Herald</i> places on display -its first web press. This showing is -in a ground-floor room, a step or two -down from the street, next door to the -Chicago Opera House, where Kiralphry’s -<i>Black Crook</i> is now playing and -Eddie Foy is putting audiences in -“stitches.” The press is a single unit -standing in a shallow pit surrounded -by a brass rail.</p> - -<p> </p> - -<p>Comes now the winter. It is a Saturday. -You are at the home of your boss. -He has invited you to spend the afternoon -learning how to paint. His easel -is set up in the basement dining room. -He is talking to you about religion,<span class="pagenum"><a id="Page_22"></a>[22]</span> -gravely concerned at learning that -you sometimes attend the Universalist -church. He believes you to be a heathen -and suggests that you become -converted and join a fundamentalist -church—says that as long as you remain -outside the fold and thus are not -a Christian he cannot be interested in -helping you become an artist.</p> - -<p>The dear man! He wants so much to -save your soul. Meanwhile, his good -wife is laying the table for their evening -meal. Her smile is motherly. Maybe -she has guessed you were counting -the plates. Pleasant odors come from -the kitchen. Our gracious host brings -your coat, helps you put it on, hands -you your hat, opens the door and you -step out into a Chicago snowstorm.</p> - -<p>At this point the script calls for slow -music and heart-rending sobs—another -Kate Claxton in the <i>Two Orphans</i>. -Also for melodrama! This is a beautiful -snowstorm. The evening is mild -and the flakes are big. They sail lazily<span class="pagenum"><a id="Page_23"></a>[23]</span> -through the amber light of the street -lamps, feather the bare branches of -trees that print a fantastic pattern -against the red-brick housefronts. The -drifts must be at least an inch deep. -And tomorrow ... tomorrow, you will, -as always happens on Sunday, go to a -restaurant on Clark Street where you -will be served two pork tenderloins, -flanked by a mound of mashed potatoes -topped with gravy, and one other vegetable, -and supplemented by bread and -butter and a cup of coffee—all for -twenty cents. Joy bells ringing!</p> - -<p> </p> - -<p>A couple of weeks later you are -standing at a case in the printing plant -of Knight & Leonard. Mr. Leonard happens -to be passing. He stops and glances -at your galley, type arrangement for a -catalog cover. He is interested and asks -where you learned job composition. In -one graphically condensed paragraph, -dramatically composed, for it has been -prepared in advance in anticipation of<span class="pagenum"><a id="Page_24"></a>[24]</span> -this much wished-for opportunity, you -tell the story of your life—and make a -momentous proposition.</p> - -<p>The next morning you are seated at -a flat-top desk in the second-floor office. -You have your drawing material and -are designing a new booklet cover for -the stationery department of A. C. -McClurg. It is understood that when -orders for drawing fail you will fill in -by setting type.</p> - -<p> </p> - -<p>Now you are, at nineteen, a full-fledged -designer and working at a window -opposite Spalding’s. On playing -days you watch Pop Anson and his -be-whiskered team enter a barge and -depart for the ball park.</p> - -<p>One day a young man appears at K -& L’s with proofs of halftone engravings. -He has been with the Mathews -Northrup Press in Buffalo, where he -had learned the process. He is now -starting an engraving plant in Chicago. -K & L print some specimen sheets on<span class="pagenum"><a id="Page_25"></a>[25]</span> -coated paper. These are probably the -first halftones ever engraved in Chicago, -also the first printing of halftones. -K & L are Chicago’s leading commercial -printers, quality considered. Mr. -Knight is a retired Board of Trade -operator. Mr. Leonard is the practical -printer. He is also the father of Lillian -Russell. Once, when she is appearing in -Chicago, Miss Russell visits at the office. -You are thrilled.</p> - -<p>A man, trained in Germany, grinds -ink for K & L. He is located on the floor -above the office. You occasionally visit -him. He gives you much good advice. -The <i>Inter Ocean</i>, located on the next -corner, installs a color press. The K & -L ink expert helps get out the first -edition.</p> - -<p>For two years or more you occupy -that desk and never again see the composing -room. During this period, while -receiving twenty-four dollars a week, -you marry that young lady of your -ten-year-old romance.</p> - - - -<p><span class="pagenum"><a id="Page_26"></a>[26]</span>The J. M. W. Jeffery Co., show printers, -is turning out some swell posters -designed by Will Crane. They are -printed from wood-blocks and are wonders. -An artist by the name of Frank -Getty is designing labels in the Chicago -sales-office of the Crump Label Company. -They are a glorious departure -from the conventional truck of the -label lithographers.</p> - -<p>Joe Lyendecker is designing covers -in color for paper-bound novels. They -are gorgeous. There are no art magazines -or other publications helpful to -designers. You, like others, have a -scrap-book made up of booklet covers, -cards and other forms of advertising. -A designer by the name of Bridwell is -doing some thrilling work for Mathews -Northrup in Buffalo, a concern that is -setting a stiff pace for other railroad -printers. Abbey, Parsons, Smedley, -Frost and Pennell, and Charles Graham -in <i>Harper’s Weekly</i>, are models -for all illustrators.</p> - - - -<p><span class="pagenum"><a id="Page_27"></a>[27]</span>You are now free-lancing and making -designs for Mr. Kasten of the McClurg -stationery department. You have -a studio in the new Caxton building on -Dearborn Street. You work all of one -day and night and part of the next day -on some drawings for Mr. Kasten. He -comes to get them at four o’clock on -the afternoon before Christmas. You -tell him you haven’t eaten since the -previous night.</p> - -<p>He takes you and your drawings in a -cab and stops at a saloon in the McVickar -Theater building and buys you -an egg nog. “Drink this,” he says. “It -will put you on your feet until you -reach home and can get dinner.” It is -only a glass of milk and egg—and -looks harmless. You get on the Madison -Street horse-car, and take a seat up -front. There is straw on the floor to -keep your feet warm. You promptly go -to sleep. The car bumps across some -tracks and you wake long enough to -know your stop is only two blocks<span class="pagenum"><a id="Page_28"></a>[28]</span> -away. In getting off the car the straw -tangles your feet and you seem to be -falling over everyone. The sidewalk is -not wide enough for you. This being a -new section, the planks are a foot or -more above the ground. You walk in -the road.</p> - -<p> </p> - -<p>In these early Nineties no cash is -needed to buy a printing outfit, just an -agreement to pay a monthly installment. -You buy a Golding press, a type-stand, -a small stone and a few cases of -Caslon and an English text. You are -probably itching to play a little with -printing. You do not find time to do -more than lay the type. A letter comes -from your wife’s sister in South Dakota. -It states that a neighbor’s son or -brother, or some near relative, is in -Chicago, that he is interested in art, -and it asks will you look him up. He is -a bookkeeper and cashier in a ground-floor -real-estate office at the corner of -Clark and Dearborn. His name is Fred<span class="pagenum"><a id="Page_29"></a>[29]</span> -Goudy. He wants to get into the printing -business, in a small way. You tell -him of your small outfit and that he -can have it and the benefit of payments -made if he will assume future installments. -He agrees.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_30"></a>[30]</span> - -<div class="figcenter"><img src="images/i_030.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak">THE GAY NINETIES</h2> - - - -<p><img class="b" src="images/i_030b.jpg" alt="" /><span class="smcap">Chicago</span> a phoenix city risen from -the ashes of its great fire; downtown -business buildings two, three and four -stories high, more of former than latter, -few a little higher, elevators a rare -luxury; across the river many one-story -stores and shops with signs in -large lettering, pioneer style, on their -false fronts; streets paved with granite -blocks echo to the rumble of iron-tired -wheels and the clank of iron-shod -hoofs; a continuous singing of steel car-cables -on State Street and Wabash -Avenue; horse-drawn cross-town cars -thickly carpeted with straw in winter; -outlying residential streets paved -with cedar blocks; avenues boasting<span class="pagenum"><a id="Page_31"></a>[31]</span> -asphalt. Bonneted women with wasp -waists, leg o’ mutton sleeves, bustles, -their lifted, otherwise dust-collecting, -skirts revealing high-buttoned shoes -and gaily-striped stockings; men in -brown derbies, short jackets, high-buttoned -waist-coats, tight trousers without -cuffs and, when pressed, without -pleats; shirts with Piccadilly collars -and double-ended cuffs of detachable -variety (story told of how a famous -author’s hero, scion of an old house, -when traveling by train, saw a beautiful -young lady, undoubtedly of aristocratic -birth, possibly royal, and -wanting to meet her, love at first -sight, object matrimony, first retires, -with true blue-blood gentility, to wash-room -and reverses cuffs. Romance, incident -ruthlessly deleted by publisher, -proves a best seller). Black walnut furniture -upholstered in hair-cloth, pride -of many a Victorian parlor, is gradually -being replaced by golden oak and -ash; painters’ studios, especially portrait<span class="pagenum"><a id="Page_32"></a>[32]</span> -variety, are hung with oriental -rugs and littered with oriental screens -and pottery. High bicycles, the Columbia -with its little wheel behind and the -Star with the little wheel in front, soon -to disappear, are still popular. Low -wheels, called “safeties,” are beginning -to appear, occasionally ridden by -women wearing bloomers. Pneumatic -tires unknown.</p> - -<p>Recognized now as a period of over-ornamentation -and bad taste, the Nineties -were nevertheless years of leisurely -contacts, kindly advice and an appreciative -pat on the back by an employer, -and certainly a friendly bohemianism -seldom known in the rush and drive of -today.</p> - -<p>Eugene Field has just returned from -a vacation in Europe and in his column, -<i>Sharps and Flats</i>, Chicago is reading -the first printing of <i>Wynken, Blynken -and Nod</i>. Way & Williams, publishers, -have an office on the floor below my -studio. Irving Way, who would barter<span class="pagenum"><a id="Page_33"></a>[33]</span> -his last shirt for a first edition, his last -pair of shoes for a volume from the -Kelmscott Press of William Morris, is -a frequent and always stimulating -visitor.</p> - -<p>“Will,” says Irving, “be over at McClurg’s -some noon soon, in Millard’s -rare book department, the ‘Amen Corner.’ -Field will be there, and Francis -Wilson, who is appearing at McVickar’s -in <i>The Merry Monarch</i>, and other collectors. -Maybe there’ll be an opportunity -for me to introduce you—and -Francis Wilson might ask you to do a -poster.”</p> - -<p>I go to the Press Club occasionally -with Nixon Waterman, the columnist -who was later to write his oft-quoted, -“A rose to the living is more, If graciously -given before The slumbering -spirit has fled, A rose to the living is -more Than sumptuous wreaths to the -dead.” We sit at table with Opie Read, -the well-loved humorist; Ben King, who -wrote the delightful lament, “Nothing<span class="pagenum"><a id="Page_34"></a>[34]</span> -to eat but food, nowhere to go but -out”; Stanley Waterloo, who wrote <i>The -Story of Ab</i> and, with Luders, the -musical comedy, <i>Prince of Pilsen</i>, and -other newspaper notables whose names -I have forgotten.</p> - -<p>Two panoramas, <i>Gettysburg</i> and -<i>Shiloh</i>, are bringing welcome wages to -landscape and figure painters who will -soon migrate to St. Joe across the lake -and return in the fall with canvases to -be hung at the Art Institute’s annual -show.</p> - -<p>Only one topic on every tongue—the -coming World’s Fair.</p> - -<p> </p> - -<p>Herbert Stone is at Harvard. He and -his classmate, Ingalls Kimball, quickened -with enthusiasm and unable to -await their graduation, have formed -the publishing company of Stone & -Kimball. On paper bearing two addresses, -Harvard Square, Cambridge, and -Caxton Building, Chicago, Herbert -commissions a cover, title-page, page<span class="pagenum"><a id="Page_35"></a>[35]</span> -decorations and a poster for <i>When -Hearts Are Trumps</i>, a book of verse by -Tom Hall—my first book assignment. -This pleasing recognition from a publishing -house is followed by a meeting -with Harriet Monroe and a Way & -Williams commission for a cover and -decorations for the <i>Columbian Ode</i>.</p> - -<p> </p> - -<p>Your studio is now in the Monadnock -building. It is the year of the -World’s Fair. You have an exhibit that -has entitled you to a pass. Jim Corbett -is in a show on the Midway. When he -is not on the stage you can see him -parading on the sidewalks. Buffalo Bill -is appearing in a Wild West show. An -edition of <i>Puck</i> is being printed in one -of the exhibition buildings.</p> - -<p>You design a cover for a Chicago and -Alton Railroad folder. The drawing -goes to Rand McNally for engraving -and printing. Mr. Martin asks you to -come and see him. His salary offer is -flattering. But, aside from Bridwell’s<span class="pagenum"><a id="Page_36"></a>[36]</span> -designs at Mathews Northrup’s in Buffalo, -railroad printing is in a long-established -rut, void of imagination. -You prefer free-lancing. Later Mr. -Martin buys the K & L plant. Herbert -Rogers, the former bookkeeper, establishes -his own plant and you hope he -will continue the K & L tradition.</p> - -<p>Mr. McQuilkin, editor of <i>The Inland -Printer</i>, commissions a permanent cover. -When the design is finished I ask:</p> - -<p>“Why not do a series of covers—a -change of design with each issue?”</p> - -<p>“Can’t afford them.”</p> - -<p>“How about my making an inducement -in the way of a tempting price?”</p> - -<p>“I’ll take the suggestion to Shephard.”</p> - -<p>Suggestion approved by Henry O. -Shephard, printer and publisher, and -the series is started—an innovation, -the first occasion when a monthly -magazine changes its cover design with -each issue. One cover, nymph in pool, -is later reproduced in London <i>Studio</i>.<span class="pagenum"><a id="Page_37"></a>[37]</span> -Another, a Christmas cover, has panel -of lettering that four American and -one German foundry immediately begin -to cut as a type. Later the American -Type Founders Company, paying for -permission, names the face “Bradley.”</p> - -<p>A poster craze is sweeping the country. -Only <i>signed</i> copies are desired by -collectors and to be shown in exhibitions. -Designs by French artists: Toulouse-Lautrec, -Chéret, Grasset, etc., -some German and a few English, -dominate displays. Edward Penfield’s -<i>Harper’s Monthly</i> and my <i>Chap-Book</i> -designs are only American examples at -first available.</p> - -<p>Will Davis, manager of the Columbia -Theater, has just completed the -Haymarket, out on West Madison at -Halstead. You design and illustrate the -opening-night souvenir booklet. This -you do for Mr. Kasten, of McClure’s. -Thus you meet Mr. Davis. He introduces -you to Dan Frohman who commissions -you to design a twenty-eight<span class="pagenum"><a id="Page_38"></a>[38]</span> -sheet stand for his brother, Charles, -who is about to open the new Empire -Theater in New York. So you design a -poster for <i>The Masqueraders</i>, by Henry -Arthur Jones. This is probably the first -<i>signed</i> theatrical poster produced by -any American lithographer. Then Dan -suggests that you visit New York. You -do, and meet Charles. Dan takes you to -the Players for lunch. There you see -show-bills set in Caslon. They influence -all of your future work in the field -of typography.</p> - -<p> </p> - -<p>We now move to Geneva, Illinois, -and I have my studio in a cottage overlooking -the beautiful Fox River.</p> - -<p>Holiday covers for <i>Harper’s Weekly</i>, -<i>Harper’s Bazaar</i>, <i>Harper’s Young People</i>, -later named <i>Harper’s Roundtable</i>, -page decorations for <i>Vogue</i>, a series of -full-page designs for Sunday editions -of <i>Chicago Tribune</i>, Herbert Stone’s -<i>Chap-Book</i> article and other favorable -publicity—plucking me long before<span class="pagenum"><a id="Page_39"></a>[39]</span> -I am ripe, cultivate a lively pair of -gypsy heels; and believing myself, perhaps -excusably, equal to managing a -printing business, editing and publishing -an art magazine, designing covers -and posters, I return to Boston, then -settle in Springfield, start the Wayside -Press, and publish <i>Bradley: His Book</i>.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_40"></a>[40]</span> - -<div class="figcenter"><img src="images/i_040.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak" id="SPRINGFIELD">SPRINGFIELD:<br /> -THE WAYSIDE PRESS</h2> - - - -<p><img class="b" src="images/i_040b.jpg" alt="" /><span class="smcap">Typography</span>, with nothing to its -credit following Colonial times, had -reached a low ebb during the Victorian -period; and by the mid-Nineties typefounders -were casting and advertising -only novelty faces void of basic design—apparently -giving printers what they -wanted; while, adding emphasis to bad -taste in type faces, compositors were -never content to use one series throughout -any given piece of display but appeared -to be finding joy in mixing as -many as possible.</p> - -<p>During the Colonial period printers -were restricted to Caslon in roman and<span class="pagenum"><a id="Page_41"></a>[41]</span> -italic, and an Old English Text. What -gave me my love for Caslon and the -Old English Text called Caslon Black -I do not know. It may have happened -in the Ishpeming print shop where I -worked as a boy, or it may have come -as a result of some incident or series of -incidents that occurred later and are -not now remembered. At any rate, for -many years I knew nothing about the -history of types or the derivation of -type design and probably thought of -“Caslon” as merely a trade designation -of the typefounder, and my early -preference for the face may have been -merely that of a compositor who found -joy in its use—<i>as I always have</i>.</p> - -<p>One day in 1895, while busy with -the establishment of the Wayside Press -in Springfield, Massachusetts, I was inspired -by some quickening of interest -to make a special trip to Boston and -visit the Public Library. There I was -graciously permitted access to the Barton -collection of books printed in New<span class="pagenum"><a id="Page_42"></a>[42]</span> -England during the Colonial period; -and, thrilled beyond words, I thus -gained some knowledge of Caslon’s -noble ancestry. The books were uncatalogued -and stacked in fireproof -rooms which were called the “Barton -Safes.” I was allowed to carry volumes -to a nearby gallery above the reference -room, where, at conveniently arranged -lecterns along an iron balustrade, I -examined them at my leisure and was -given the outstanding typographic experience -of my life.</p> - -<p>Such gorgeous title-pages! I gloated -over dozens of them, making pencil -memoranda of type arrangements and -pencil sketches of wood-cut head and -tail pieces and initials. Using Caslon -roman with italic in a merry intermingling -of caps and lower case, occasionally -enlivened with a word or a -line in Caslon Black, and sometimes -embellished with a crude wood-cut decoration -depicting a bunch or basket of -flowers, and never afraid to use types<span class="pagenum"><a id="Page_43"></a>[43]</span> -of large size, the compositors of these -masterly title-pages have given us refreshing -examples of a typography that -literally sparkles with spontaneity and -joyousness. Apparently created stick-in-hand -at the case, and unbiased by -hampering trends and rules, here are -honest, direct, attention-compelling -examples of type arrangements reflecting -the care-free approach of compositors -merrily expressing personalities -void of the self-consciousness and inhibitions -that always tighten up and mar -any mere striving for effect.</p> - -<p>This Colonial typography, void of -beauty-destroying mechanical precision, -is the most direct, honest, vigorous -and imaginative America has ever -known—a sane and inspiring model -that was to me a liberal education and -undoubtedly the finest influence that -could come to me at this time—1895.</p> - -<p> </p> - -<p>I now become a member of the newly -formed Arts and Crafts Society of<span class="pagenum"><a id="Page_44"></a>[44]</span> -Boston, possibly a charter member, and -contribute two or three cases and a few -frames of Wayside Press printing to the -society’s first exhibition in Copley Hall. -This showing wins flattering approval -from reviewers—laughter from printers -who comment: “Bradley must be -crazy if he thinks buyers of printing -are going to fall for that old-fashioned -Caslon type.”</p> - -<p>At this time the Caslon mats, imported -from England, are in possession -of one or two branches of the American -Type Founders, probably those in New -York and Boston, possibly the Dickenson -Foundry in Boston. Less than a year -after my original receipt of body sizes -of Caslon in shelf-faded and fly-specked -packages, these foundries cannot keep -pace with orders and it is found necessary -to take the casting off the slow -“steamers” and transfer mats to the -main plant in Communipaw, New Jersey, -where they can be adapted to fast -automatic type-casters. Here additional<span class="pagenum"><a id="Page_45"></a>[45]</span> -sizes are cut and a new series, Lining -Caslon, is in the works—and, with -novelty faces no longer in demand, -foundries outside the combine, not possessing -mats, are hurrying cutting.</p> - -<p> </p> - -<p>“<i>When the tide is at the lowest, ’tis -but nearest to the turn.</i>”</p> - -<p>That quotation certainly applies to -the year 1895 that had started with so -little to its credit in the annals of commercial -printing and in which we were -now witnessing an encouraging æsthetic -awakening in the kindred field -of publishing. Choice little volumes -printed on deckle-edge papers were -coming from those young book-making -enthusiasts—Stone and Kimball in -Chicago and Copeland and Day in Boston—and -were attracting wide attention -and winning well-earned acclaim. -Also there were the Kelmscott Press -hand-printed books of William Morris, -especially his <i>Chaucer</i>, set in type of<span class="pagenum"><a id="Page_46"></a>[46]</span> -his own design and gorgeously illustrated -by Burne-Jones; the Vale Press -books, designed by Charles Ricketts and -for which he also designed the type; the -exotic illustrations by Aubrey Beardsley -in John Lane’s <i>Yellow Book</i>, all -coming to us from London. Then there -was the excitement occasioned by our -own “poster craze,” with its accompanying -exhibitions giving advertisers -and the general public an opportunity -to see the gay designs of Chéret and the -astounding creations of Lautrec. All -these were indicative of a thought-quickening -trend due to have a stimulative -influence in the then fallow -field of commercial printing.</p> - -<p> </p> - -<p>The Wayside Press which I opened -in this year of transition was so named -for a very real reason. I had worked in -Ishpeming and Chicago so as to earn -money to take me back to Boston where -I hoped to study and become an artist, -the profession of my father. I had always<span class="pagenum"><a id="Page_47"></a>[47]</span> -thought of printing as being -along the wayside to the achieving of -my ambition. And I chose a dandelion -leaf as my device because the dandelion -is a wayside growth.</p> - -<p>On the main business street in -Springfield there was a new office -building called the Phoenix. In two -offices on the top floor of the Phoenix -Building I had my studio. Back of the -office building there was a new loft -building on the top floor of which I -was establishing my Wayside Press, a -corridor connecting it with the top -floor of the Phoenix Building and thus -making it easily accessible from my -studio. It was an ideal location, and -with windows on two sides and at the -south end insuring an abundance of -sunshine, fresh air and light, the workshop -was a cheerful spot and one destined -to woo me (probably far too -often) from my studio and my only -definitely established source of income, -my designing.</p> - - - -<p><span class="pagenum"><a id="Page_48"></a>[48]</span>My first Wayside Press printing, before -the publication of my magazine, -was a Strathmore deckle-edge sample -book. Heretofore all Connecticut Valley -paper-mill samples, regardless of -color, texture or quality of paper, had -carried in black ink, usually in the upper -corner of each sheet, information -as to size and weight. No attempt had -been made to stimulate sales by showing -the printer how different papers -might be used. But one day just after -the Press opened, I had a visitor who -changed all that.</p> - -<p>I had a bed-ticking apron that had -been made for me by my wife, copying -the apron I had worn when at the ages -of fifteen to seventeen I had served as -job printer and foreman of that little -print shop in Ishpeming, where I used -to proudly stand, type-stick-in-hand, in -the street doorway to enjoy a brief chat -with my wife-to-be, then a school-teacher -and my sweetheart, as she was -on her way to school. Wearing that<span class="pagenum"><a id="Page_49"></a>[49]</span> -apron, and at the stone, is how and -where Mr. Moses of the Mittineague -Paper Company, first of the Strathmore -Paper Company units, found me -on the occasion of our first meeting.</p> - -<p>In my mind’s eye I can see Mr. -Moses now as he entered from the corridor. -He was wearing a navy blue -serge suit that emphasized his slight -build and made him appear younger -than I had expected. I was then twenty-seven -and undoubtedly thought of myself -as quite grown up, and I marveled -that a man seemingly so young should -possess the business knowledge necessary -to have put him at the head of an -even then well-known mill. The contrast -of that natty blue-serge with my -striped bed-ticking apron should have -made me self-conscious. Perhaps it did; -but, filled with the youthful enthusiasm -and glorious hopes of a dreamer, -I probably had thoughts for nothing -but my new print shop and publishing. -Seeing me unpacking type, my visitor<span class="pagenum"><a id="Page_50"></a>[50]</span> -may have thought my time could have -been employed more profitably at my -drawing-board, as of course it could—though -in my then frame of mind it -could not have been employed more -enjoyably. Displaying samples of his -new line, Mr. Moses asked if I would -lay out and print a showing for distribution -to commercial printers and -advertisers.</p> - -<p>I explained that the Wayside Press -was being established for the printing -of <i>Bradley: His Book</i>, an art and literary -magazine, and for a few booklets -and brochures—publications to which -I planned to give my personal attention -throughout all details of production, -and that I had not contemplated undertaking -any outside work.</p> - -<p>However, after a moment’s brief -consideration, I became so intrigued -with the printing possibilities of these -new Strathmore papers, their pleasing -colors and tints, together with their -being such a perfect, a literally made-to-order,<span class="pagenum"><a id="Page_51"></a>[51]</span> -vehicle for Caslon roman and -Caslon Black, that I enthusiastically -agreed to undertake the commission—a -decision for which I shall always feel -thankful.</p> - -<p>The favorable publicity won by the -use of these “old-fashioned” types on -Strathmore papers, convinces me that -to attain distinction a print shop must -possess personality and individuality. -At any rate, my continued use of -Strathmore papers with appropriate -typography and designs aroused such -widespread interest among merchants -and advertisers and brought so many -orders for printing that it soon produced -the need for more space. My -plant was then moved to a top loft in -a new wing that had been added to the -Strathmore mill at Mittineague, across -the river from Springfield.</p> - -<p>Caslon types on Strathmore papers -having proved so popular, business was -humming. A “Victor” bicycle catalog -for the Overman Wheel Company, involving<span class="pagenum"><a id="Page_52"></a>[52]</span> -a long run in two colors on -Strathmore book and cover papers, and -an historically-illustrated catalog for -the new “Colonial” flatware pattern of -the Towle Silversmiths of Newburyport, -for which Strathmore’s deckle -edge papers and Caslon types were -strikingly appropriate, together with -the increased circulation of <i>Bradley: -His Book</i>, now a much larger format -than the original issues, necessitated -the addition of another cylinder press, -the largest “Century” then being made -by the Campbell Press Company; and -also the employment of an additional -pressman and two additional feeders, -and keeping the presses running nights -as well as days, often necessitating my -remaining at the plant throughout the -full twenty-four hours—quite a change -from the humble beginnings of the -Wayside Press when one “Universal” -and two “Gordon” job presses were believed -sufficient for the magazine and -booklet printing then planned.</p> - - - -<p><span class="pagenum"><a id="Page_53"></a>[53]</span>In this growth of the commercial -printing involving lay-outs and supervision, -together with trying to edit and -publish an art magazine, I had waded -far beyond my depth. When I was -starting my Wayside Press in Springfield -a business man had advised: -“Learn to creep before you try to walk, -and learn to walk before you try to -run.” I had tried to run before even -learning to creep. Mr. Moses gave me -what I am now sure was much good -business advice—but, alas, I was temperamentally -unfitted to listen and -learn and, knowing nothing about finances, -was eventually overwhelmed -and broke under the strain and had to -go away for a complete rest. With no -one trained to carry on in my absence -it was necessary to cease publication of -<i>Bradley: His Book</i> and in order to insure -delivery on time of the catalogs -and other commercial printing, forms -were lifted from the presses and transferred -to the University Press at Cambridge;<span class="pagenum"><a id="Page_54"></a>[54]</span> -and the Wayside Press as a unit, -including name and goodwill and my -own services, soon followed—a hurried -and ill-conceived arrangement that -eventually proved so mutually unsatisfactory -that I faded out of the picture.</p> - -<p>This was a heart-breaking decision -for me, and one that but for the wisdom -of my wife and her rare understanding -and nursing could have resulted -in a long and serious illness. No -printing and publishing business ever -started with finer promise and more -youthful enthusiasm than did the -Wayside Press and the publication of -<i>Bradley: His Book</i>, that are now just -memories.</p> - -<p> </p> - -<p>Among other magazine covers designed -during this period there is one -for a Christmas number of <i>Century</i>. It -brings a request for a back-cover design. -Both designs are in wood-cut style -and require four printings—black and -three flat colors. The DeVinne Press,<span class="pagenum"><a id="Page_55"></a>[55]</span> -familiar only with process colors, hesitates -to do the printing. That issue carries -a Will Bradley credit. When John -Lane imports sheets of the <i>Studio</i>, -edits an American supplement and -publishes an American edition, I design -the covers.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_56"></a>[56]</span> - -<div class="figcenter"><img src="images/i_056.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak">INTERLUDE IN NEW YORK</h2> - - - -<p><img class="b" src="images/i_056b.jpg" alt="" /><span class="smcap">And now</span> we are in the Gay Nineties, -the mid Gay Nineties, when a -hair-cloth sofa adorns every parlor and -over-decoration is running riot; when -our intelligentsia are reading Anthony -Hope’s <i>Prisoner of Zenda</i>, Stanley -Weyman’s <i>Gentlemen of France</i> and -George McCutcheon’s <i>Graustark</i>; when -William Morris is printing <i>Chaucer</i>, -with illustrations by Burne-Jones, and -Aubrey Beardsley is providing an ample -excuse for the <i>Yellow Book</i>; when -LeGallienne’s <i>Golden Girl</i> is brought -over here by John Lane and established -in a bookshop on lower Fifth Avenue, -and Bliss Carman is singing his songs -of rare beauty; when the Fifth Avenue<span class="pagenum"><a id="Page_57"></a>[57]</span> -Hotel and the nearby Algonquin are -flourishing Madison Square hostelries; -when Stern’s and McCreery are across -the street from Putnam’s and Eden -Musee, and the modern skyscraper is -only an architect’s vague dream.</p> - -<p>Into this glad era a young man steps -off a Twenty-third Street horse-car. This -young man, now an ambitious designer, -printer, editor and publisher, is -yourself.</p> - -<p> </p> - -<p>At the age of twenty-seven you are -sporting the encouraging beginnings -of a mustache, still too thin to permit -of twirling at the tips. There is also the -brave suggestion of a Vandyke. These -embellishments are brown, as is also -true of abundant and wavy hair of artistic -and poetic length. Your waistcoat -is buttoned high, and your soft, white -collar is adorned with a five-inch-wide -black cravat tied in a flowing bowknot. -Your short jacket and tight-fitting pants -quite possibly need pressing. A black<span class="pagenum"><a id="Page_58"></a>[58]</span> -derby and well-polished shoes complete -your distinguished appearance. Many -scrubbings have failed to remove all -traces of printing ink from beneath and -at the base of your finger nails.</p> - -<p>You are on your way to Scribner’s. A -few moments later we find you seated -in a leather-upholstered chair in the -editorial department of this famous -publishing house. You are waiting patiently -and hopefully while an editor -is penning a note of introduction to -Richard Harding Davis, the popular -writer of romantic fiction.</p> - -<p>Now, the note safely bestowed in -your breast pocket, the envelope showing -above a liberal display of silk handkerchief -and thus plainly in view of -passing pedestrians who would doubtless -be filled with envy did they but -know its contents, you are crossing -Madison Square Park on your way to -one of the Twenties, where Mr. Davis -has his lodging. You reach the house, -walk up the steps and rap.</p> - - - -<p><span class="pagenum"><a id="Page_59"></a>[59]</span>“Is Mr. Davis at home? Why ... -why you are Mr. Davis. I ... I didn’t -recognize you at first. Seeing you portrayed -in Mr. Gibson’s illustrations to -some of your romances—”</p> - -<p>“And now seeing me in this bathrobe -you naturally were a bit confused?”</p> - -<p>“Yes, I was.”</p> - -<p>“I’m not at all surprised.”</p> - -<p>“Here, Mr. Davis, is a letter, I mean -a note introducing me to you.”</p> - -<p>“How about coming inside while I -read the note?”</p> - -<p>“That’s ... that’s what I was hoping -you’d say, Mr. Davis.”</p> - -<p> </p> - -<p>And now our favorite romantic author -is seated with one leg thrown over -the corner of a table. “Of course. Of -course,” he exclaims, cordially, “I -know your posters and your cover designs. -And now you are starting a magazine -and you would like one of my -stories for your first number?”</p> - - - -<p><span class="pagenum"><a id="Page_60"></a>[60]</span>“Yes, Mr. Davis. That is what I -should like.”</p> - -<p>“Of course I’ll write a story for you. -I shall be happy to write a story; and I -have one in mind that I think will be -just the kind you will like for your new -magazine.”</p> - -<p>“Well, Mr. Davis, that’s something -that’s just about as wonderful as anything -that could possibly happen to -anybody. Only ... only—”</p> - -<p>“Only you are not really started and -your magazine hasn’t begun to earn -money, and so you are wondering—”</p> - -<p>“Yes, Mr. Davis—”</p> - -<p>“Well, lad,” and now Mr. Davis has -his arm about your shoulders. “Well, -lad, just go home to your Wayside Press -print-shop in Springfield and don’t do -any worrying about payment. Sometime -when you are rich and feel like -sending me something,—why, any -amount you happen to send will be -quite all right with me—and good luck -go with you.”</p> - - - -<p><span class="pagenum"><a id="Page_61"></a>[61]</span>(At this point it should be stated that -when a small check goes to Mr. Davis, -with an apology for it being just the -first installment and that another check -will go a month later, the return mail -brings a pleasant letter of thanks and -an acknowledgment of payment in -full.)</p> - -<p>And now, as you are recrossing Madison -Square Park, your head so high -in the clouds that not even the tips of -your toes are touching the earth, all -the birds in the neighborhood, including -the sparrows, have gathered and -are singing glad anthems of joy; and -all the trees that an hour ago were just -in green leaf are now billowed with -beautiful flowers.</p> - -<p>Well, that is that, and of course you -are now sitting pretty. But presently -we see you on a Fifth Avenue bus, returning -from Fifty-ninth Street where, -in a sumptuous Victorian apartment -overlooking Central Park you have -asked William Dean Howells for a<span class="pagenum"><a id="Page_62"></a>[62]</span> -story—and on this incident we will -charitably draw the curtain.</p> - -<p> </p> - -<p>Meanwhile <i>Bradley: His Book</i> met -with kind reception—advance orders -for the second number being: Brentano’s -New York, six hundred copies, -Old Corner Bookstore, Boston, four -hundred, etc.; the first issue being out -of print except for the supply being -held for new subscribers. Pratt, Sixth -Avenue, New York, sent check to pay -for one hundred subscriptions.</p> - -<p>There being no joy in doing today -what one did yesterday, or what another -did yesterday; and creative design -in which there is no joy or laughter -being of little worth, a new lay-out and -change of stock were provided for each -issue of <i>Bradley: His Book</i>; the fifth -number started a change of format.</p> - -<p>But as a business tycoon Will Bradley -was a lamentable failure despite -this auspicious start—a story I have -already told.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_63"></a>[63]</span> - -<div class="figcenter"><img src="images/i_063.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak" id="NEW_FIELDS">NEW FIELDS</h2> - - - -<p><img class="b" src="images/i_063b.jpg" alt="" /><span class="smcap">At</span> the turn of the century, after -saying a sad farewell to fond hopes and -feeling older at thirty-two than is now -true at eighty-two, I finally gave up trying -to be a publisher and printer. While -covers for <i>Collier’s</i> were bridging an -awkward gap Edward Bok appeared on -the scene and commissioned the laying-out -of an editorial prospectus for the -<i>Ladies’ Home Journal</i>, the printing to -be done at the Curtis plant. For this I -used a special casting of an old face not -then on the market, Mr. Phinney of the -Boston branch of ATF telling me it -was to be called Wayside. When the -prospectus was finished Mr. Bok invited<span class="pagenum"><a id="Page_64"></a>[64]</span> -me to his home just outside Philadelphia -and there it was arranged that -I design eight full pages for the <i>Journal</i>—eight -full pages of house interiors. -These were followed by a series of house -designs. Finding it difficult to keep to -merely four walls I added dozens of -suggestions for individual pieces of -furniture—this being the “Mission” -period when such designing required -no knowledge of periods, only imagination. -Then Mr. Bok suggested that -I move to Rose Valley, start a shop to -make furniture and other forms of handicraft -in line with designs shown in -my <i>Journal</i> drawings; and assume art -editorship of <i>House Beautiful</i>, which -he was considering buying. But having -failed in one business venture, there -was little excuse to embark on another.</p> - -<p>The roman and italic face, used later -for <i>Peter Poodle, Toy Maker to the -King</i>, was now designed for American -Type Founders; and while building a -home in Concord, adjoining Hawthorne’s<span class="pagenum"><a id="Page_65"></a>[65]</span> -“Wayside,” and working every -day in the open, regaining lost health, -the story, <i>Castle Perilous</i>, was written—also -outdoors. These activities were -followed by a request from Mr. Nelson, -president of American Type Founders, -that I undertake a campaign of type -display and publicity for the Foundry, -with a promise to cut any decorative or -type designs that I might supply, also -to purchase as many Miehle presses as -might be required for the printing—an -invitation to which I replied with -an enthusiastic “Yes!” [In this way -Bradley’s famous set of <i>Chap Books</i> was -inaugurated—Ed.]</p> - -<p>During this type-display and foundry-publicity -period <i>Castle Perilous</i>, as -a three-part serial, with illustrations -made afternoons following mornings -spent with American Type Founders -at Communipaw, was published in -<i>Collier’s</i>; and in 1907 I became that -publication’s art editor. Sometime during -the intervening years—I can’t<span class="pagenum"><a id="Page_66"></a>[66]</span> -remember where or when—time was -found for designing several <i>Collier’s</i> -covers.</p> - -<p>From 1910 to 1915, again with my -own studios, I took care of the art editorship -of a group of magazines: <i>Good -Housekeeping</i>, <i>Century</i>, <i>Metropolitan</i> -and others, also an assignment from -the Batten Advertising Agency and, -as recreation, wrote eleven <i>Tales of -Noodleburg</i> for <i>St. Nicholas</i>.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_67"></a>[67]</span> - -<div class="figcenter"><img src="images/i_067.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak">THE MAGAZINE WORLD<br /> -—AN INTERPOLATION</h2> - - - -<p><img class="b" src="images/i_067b.jpg" alt="" /><span class="smcap">For</span> easier understanding by you -whose magazine memories do not go -back to the turn of the century it should -be told that we were then carrying a -Gibson Girl hangover from the Gay -Nineties and were but a few years removed -from a time when there were -only three standard monthlies: <i>Harper’s</i>, -<i>Scribner’s</i>, and <i>Century</i>; and -seven illustrated weeklies: <i>Harper’s</i>, -<i>Frank Leslie’s</i>, <i>Harper’s Bazaar</i>, <i>Police -Gazette</i>, <i>Puck</i>, <i>Judge</i> and the old <i>Life</i>,—magazines -and weeklies that were -seldom given display other than in -hotels and railroad depots, where they<span class="pagenum"><a id="Page_68"></a>[68]</span> -were shown in competition with the -then-popular paper-covered novels.</p> - -<p>In the mid-Eighties all monthlies, -weeklies, books and booklets were -hand-fed, folded, collated and bound; -halftones were in an experimental -stage; advertising agencies, if any existed, -were not noticeable in Chicago, -and advertising of a national character -used only quarter-page cover space. But -something in the air already quickened -imagination, and the Nineties gave us -more magazines and better display.</p> - -<p>In 1907, magazines were shedding -swaddling clothes and getting into -rompers; the <i>Saturday Evening Post</i> -had cast off its pseudo-Benjamin Franklin -dress and adopted a live editorial -policy that was winning readers and -advertising; Edward Bok had ventured -a Harrison Fisher head on a <i>Ladies’ -Home Journal</i> cover and won a fifty-thousand -gain in newsstand sales, and -Robert Collier had built a subscription-book -premium into a national weekly.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_69"></a>[69]</span> - -<div class="figcenter"><img src="images/i_069.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak">THE MAGAZINE WORLD—<br /> -COLLIER’S AND OTHERS</h2> - - - -<p><img class="b" src="images/i_069b.jpg" alt="" /><span class="smcap">On a</span> Saturday afternoon in 1907, -believing myself alone, for the offices -and plant had closed at twelve, I was -standing at a drafting table making -up the Thanksgiving issue of <i>Collier’s</i> -when Mr. Collier entered. He became -intrigued with proofs of decorative -units being combined for initial-letter -and page borders, as had earlier been -done with similar material in designing -a cover, and asked for some to take -home and play with on the morrow. -Robert Collier was that kind of a boss—a -joy!</p> - -<p>Of the Thanksgiving issue Royal Cortissoz -wrote: “This week’s number has<span class="pagenum"><a id="Page_70"></a>[70]</span> -has just turned up and I cannot refrain -from sending you my congratulations. -The cover is bully; it’s good decoration, -it’s appropriate, it’s everything that is -first rate. The decorations all through -are charming. More power to your elbow. -It does my heart good to see <i>Collier’s</i> -turning up in such splendid -shape.” There were other favorable -comments—but no noticeable jump in -newsstand sales.</p> - -<p> </p> - -<p>My joining Collier’s staff has been -under circumstances quite exceptional, -even for that somewhat pioneer period -in which the streamlined editorial and -publishing efficiency of today was only -a vague dream. I had been asked to -give the weekly a new typographic -lay-out. When this was ready Mr. Collier -suggested that I take the art editorship. -He said I would be given his office -in the editorial department and he -would occupy one in the book department, -where he could devote more<span class="pagenum"><a id="Page_71"></a>[71]</span> -time to that branch of the business, an -arrangement he knew would please his -father. I was to carry the title of art -editor but in reality would be responsible -for make-up and other details that -had been demanding too much of his -own time.</p> - -<p> </p> - -<p>At the age of twelve I had begun to -learn that type display is primarily for -the purpose of selling something. In -1889, as a free-lance artist in Chicago, -I had discovered that to sell something -was also the prime purpose of designs -for book and magazine covers and for -posters. Later I was to realize that salesmanship -possessed the same importance -in editorial headings and blurbs. -These never-to-be-forgotten lessons, -taught by experience and emphasized -by the sales results of the publicity -campaign I had lately conducted for -the American Typefounders Company, -would classify that Thanksgiving number -as a newsstand disappointment.<span class="pagenum"><a id="Page_72"></a>[72]</span> -However, it pleased Robert Collier -who, even to hold a guaranteed circulation—when -a loss would mean rebates -to advertisers—would not permit -the use of stories by such popular writers -as Robert Chambers and Zane Gray -nor the popular illustrations of such -artists as Howard Chandler Christy!</p> - -<p> </p> - -<p>My tenure at <i>Collier’s</i> gave me a new -experience. There I always worked under -conditions inviting and stimulating -imagination, and there I probably unknowingly -shattered many a precious -editorial precedent.</p> - -<p><i>Collier’s</i> had one of the early color -presses akin to those used on newspapers. -We decided to use this to print -illustrations for a monthly “Household -Number” carrying extra stories. The -editorial back-list showed no fiction -suitable for color; the awarding of one -thousand dollars a month for the best -story, judgment based upon literary -merit, had resulted in the purchase of<span class="pagenum"><a id="Page_73"></a>[73]</span> -nothing but literary fog. Mr. Collier -told Charles Belmont Davis, fiction editor, -to order what was necessary. Charley -asked me who could write the type -of story needed. I said, “Gouverneur -Morris.” Mr. Morris, then in California, -sent a list of titles accompanied by -the request: “Ask Will Bradley to take -his pick.” We chose <i>The Wife’s Coffin</i>, -a pirate tale. During an editorial dinner -at his home Robert Collier read -a letter from his father, then out of the -city, in which P. F. (his father) wrote: -“If you continue printing issues like -this last our subscription-book salesmen -report the weekly will sell itself.” Robert -said: “Mr. Bradley can make this -kind of a number because he knows the -people from whom the salesmen obtain -subscriptions. I don’t, and any similar -undertaking by me would be false and -a failure.”</p> - -<p>During this period of art editorship, -and following the lay-out of a booklet, -<i>Seven Steps and a Landing</i>, for Condé<span class="pagenum"><a id="Page_74"></a>[74]</span> -Nast, advertising manager of <i>Collier’s</i>, -a color-spread for Cluett-Peabody, lay-outs -for the subscription-book department, -and pieces of printing for Mr. -Collier’s social activities (also a request -from Medill McCormick that I go to -Chicago and supply a new typographic -make-up for the <i>Tribune</i>; a suggestion -from Mr. Chichester, president of the -Century Company, that if I were ever -free he would like to talk with me about -taking the art editorship of <i>Century</i>; -and from Mr. Schweindler, printer of -<i>Cosmopolitan</i> and other magazines, an -expression of the hope that I could be -obtained for laying-out a new publication), -Robert Collier proposed the -building of a pent-house studio on the -roof near his father’s office where, relieved -of much detail, I could give additional -thought to all branches of the -business. This promised too little excitement, -and instead I rented a studio-office -on the forty-fifth floor of the then -nearly-finished Metropolitan Tower.<span class="pagenum"><a id="Page_75"></a>[75]</span> -At this time Condé Nast had just purchased -<i>Vogue</i>, then a small publication -showing few changes from when I had -contributed to it in the early Nineties.</p> - -<p>In this new environment I handled -the art editorship and make-up of -<i>Metropolitan</i>, <i>Century</i>, <i>Success</i>, <i>Pearson’s</i> -and the new <i>National Weekly</i>, -which was given a format like that of -present-day weeklies and a make-up -that included rules. Caslon was used -for all headings except for <i>Pearson’s</i> -which, using a specially-drawn character, -were lettered by hand.</p> - -<p>Among some discarded <i>Metropolitan</i> -covers I found one by Stanislaus—the -head of a girl wearing a white-and-red-striped -toboggan cap against a pea-green -background. By substituting the -toboggan-cap red for the pea-green -background, with the artist’s approval, -we obtained a poster effect that dominated -the newsstands and achieved an -immediate sellout.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_76"></a>[76]</span> - -<div class="figcenter"><img src="images/i_076.jpg" alt="" /></div> -</div> - -<h2 class="nobreak" id="ENTER_MR_HEARST">ENTER MR. HEARST</h2> - - -<p><img class="b" src="images/i_076b.jpg" alt="" /><span class="smcap">In the</span> Nineties I had been asked -to provide a lay-out for the Sunday -magazine section of Mr. Hearst’s New -York paper. I could not do this properly -except at my Wayside Press. This -the typographic union would not permit, -but in the years that followed, I -enjoyed an intermittent part-time association -with Mr. Hearst—working on -magazines, papers and motion pictures.</p> - -<p>One of these assignments was <i>Good -Housekeeping</i>. This magazine had been -published by the Phelps Company, and -had achieved a circulation of 250,000 -copies. Additional sales would tax the<span class="pagenum"><a id="Page_77"></a>[77]</span> -plant and necessitate more equipment -and the magazine was sold to William -Randolph Hearst. I was asked to design -a new lay-out and to take over the art -editorship during its formative period. -For the new venture Mr. Hearst ordered -a Winston Churchill serial—<i>Inside the -Cup</i> if my memory is not at fault. Mr. -Tower, the editor brought from Springfield, -said this would mean taking out -departments and a loss of half the circulation—but -the departments came -out, the serial went in, Mr. Tower resigned, -Mr. Bigelow became editor, and -circulation mounted into the millions!</p> - -<p>In 1915 Mr. Hearst asked me if I -could arrange to give him all of my -time and art-supervise production of -the motion picture serial, <i>Patria</i>, starring -Irene Castle. I agreed.</p> - -<p>In 1920, after writing, staging and -directing <i>Moongold</i>, a Pierrot fantasy -photographed against black velvet, using -properties but no pictorial backgrounds—an -independent production<span class="pagenum"><a id="Page_78"></a>[78]</span> -launched with a special showing at -the Criterion Theater in Times Square, -I returned to Mr. Hearst in an art -and typographic assignment including -magazines, newspapers, motion pictures -and a trip to Europe where commissions -were placed with Edmund -Dulac, Arthur Rackham and Frank -Brangwyn. Somewhere along the trail -<i>Spoils</i>, a drama in verse, and <i>Launcelot -and the Ladies</i>, a novel, were written—the -former printed in <i>Hearst’s International</i> -and the latter destined to -carry a Harper & Brothers imprint—but -not to become a best seller.</p> - -<p>Another Hearst project in the early -Twenties was a new format and the -creation of a typographic lay-out for -<i>Hearst’s International</i>. For the lay-out, -the headings of which would have to -be different from those provided earlier -for <i>Cosmopolitan</i>, I designed a set of -initial letters, later catalogued by the -foundry and called “Vanity.” Knowing -that Mr. Hearst would want to use<span class="pagenum"><a id="Page_79"></a>[79]</span> -portrait heads for covers and that they -would all have to be made by a single -artist whose style did not permit of confusion -with the Harrison Fisher heads -used on <i>Cosmopolitan</i>, I approached -Benda with the suggestion that if he -would use one color scheme for both -head and background he could probably -get the contract. On seeing the first -Benda cover Mr. Hearst asked how it -happened that this was the only Benda -head he ever liked! He was told, and -authorized a contract.</p> - -<p>These <i>Hearst International</i> changes -led to my being asked to give thought -to strengthening <i>Cosmopolitan</i> headings -in 1923. The request came on a -Monday morning. The issue then in -hand closed at Cuneo’s in Chicago on -the following Friday. Mr. Hearst never -urged hurry, but early results were appreciated. -Obtaining a current dummy -with page proofs, I headed for the ATF -composing room at Communipaw, N. J. -About half-past four I had personally<span class="pagenum"><a id="Page_80"></a>[80]</span> -set, without justification, every heading -in the issue—using Caslon in roman -and italic in the manner it had been -assembled by uninhibited compositors -of the Colonial period. That night, at -home, I trimmed and mounted proofs -in a new dummy. The mixing of roman -and italic in radically different sizes -and with consideration for desired emphasis, -with possibly a 96- or 120-point -roman cap starting a 48- or 60-point -italic word, resulted just as I had visualized -while the type was being set in -fragmentary form. No changes were -necessary, and every minute of the afternoon -had been good fun. Tuesday I -left for Chicago; Wednesday was spent -at Cuneo’s where, using this reprint -copy, all headings were set, made-up -with text pages, and proved; Thursday -the new lay-outs were enthusiastically -approved in New York; Friday, -at Cuneo’s, <i>Cosmopolitan’s</i> managing -editor closed the forms according to -schedule. It had been a grand -lark<span class="pagenum"><a id="Page_81"></a>[81]</span>—and -within a few weeks that free -style of typography began to appear in -national advertising.</p> - -<p>One morning a request came from -Mr. Hearst to use color at every editorial -opening in <i>Hearst’s International</i>—a -startling innovation at a time when -illustrators were accustomed to drawing -or painting only for reproduction -in black and white or for an occasional -insert in process colors. Closing day on -the current dummy was only two weeks -away. With the aid of editorial substitutions -it was thought we could make -the date. Taking a dummy showing possible -signature distribution of colors, I -made the round of studios to find artists -agreeable to the use of one extra color.</p> - -<p>After ten days’ work I arrived at the -Blackstone Hotel in Chicago, where Mr. -Hearst was holding conferences. I had -an appointment for noon of the next -day. Spending the intervening time at -Cuneo’s, I finished the dummy and appeared -for my appointment, asking at<span class="pagenum"><a id="Page_82"></a>[82]</span> -the hotel that Mr. Hearst’s secretary be -informed. The clerk shook his head; -orders had been given that no phone -calls were to be put through to that -floor. The manager was called, I pointed -to my brief-case lying on the counter, -and said that Mr. Hearst was waiting -for its contents. The manager took a -chance, made the call, and I was told -to go right up.</p> - -<p>The conference was in a large room -with window seats overlooking the lake. -We sat on one of these seats while the -dummy was viewed—page by page—twice. -Mr. Hearst was pleased and asked -if he might keep the dummy so he could -enjoy it at his leisure. I told him the -closing date would not permit this. He -understood, and saying so in an appreciative -manner suggesting a pat on the -back, he sent me off to catch the afternoon -limited so I could reach New York -in the morning. There I was shown a -wire evidently written and sent as soon -as I had left. It was to Ray Long, editor-in-chief,<span class="pagenum"><a id="Page_83"></a>[83]</span> -saying: “Shall be pleased if -future numbers are as attractive as the -dummy I have just seen.” That is the -“Chief”—always stimulating and appreciative!</p> -<hr class="chap" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_84"></a>[84]</span></p> - -<div class="figcenter"><img src="images/i_084.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak">TOWARDS A NEW STYLE</h2> - - - -<p><img class="b" src="images/i_084b.jpg" alt="" /><span class="smcap">After</span> retiring from the Hearst -organization I was recalled and asked -to go to Chicago and see if something -could not be done to improve the printing -of illustrations. A trip to Chicago -was not necessary, there being an obvious -change long overdue in the New -York art departments, and not in the -Cuneo printing plant. This fact was -reported to Mr. Hathaway, who had -relayed the request from Mr. Hearst in -California; but Chicago was in the cards -and I went. Upon my return a written -report, the substance of which had received -Mr. Cuneo’s approval, was given -to Mr. Long. In lay language, briefly -expressed, it said: “Illustrators should<span class="pagenum"><a id="Page_85"></a>[85]</span> -be cautioned about an over-use of fussy -and valueless detail and asked to restrict -their compositions to only so -much of the figure or figures, backgrounds -and accessories as are required -for dramatic story-telling and effective -picture-making; requested to forego a -full palette when subjects are to be presented -in only one or two colors, and to -simplify renderings and avoid so many -broken tones. Full-page and spread reproductions -will then not only solve -your press-room worries but create a -new and finer type of magazine.”</p> - -<p>Mr. Long read the report—thoughtfully, -I believe—talked with his art -editors, and finally decided the suggestions -were too radical. But had Mr. -Hearst been in New York, and had the -report gone to him, his <i>Cosmopolitan</i> -and <i>Good Housekeeping</i> would have -led the field in adopting principles of -illustration that are now universal.</p> - -<p>When asked to provide a new lay-out -for <i>McClure’s</i> magazine, then a recent<span class="pagenum"><a id="Page_86"></a>[86]</span> -purchase by Mr. Hearst, I reveled -in an opportunity to apply the suggestions -presented in the report. Making -photographic enlargements of available -illustrations and eliminating all -non-essentials I used full pages and -spreads and prepared the dummy with -a new note in typographic headings. -Ray Long looked at it and gasped. -“Will,” he said, “a magazine like that -would outshine and humble <i>Cosmo</i>.” -Mr. Hearst was still in California. Too -bad! I had made suggestions of worth -and Mr. Hearst, running true to form, -would have weighed their values—not -for a revived <i>McClure’s</i>, perhaps, but -for his other magazines.</p> - -<p class="center">*<span class="gap"> *</span><span class="gap"> *</span><span class="gap"> *</span><span class="gap"> *</span></p> - -<p>And now there is little more to tell, -unless you want to listen to the way -I enthuse about our present-day illustrators, -their delightfully imaginative -composition and masterly use of color. -They are grand campaigners! God love<span class="pagenum"><a id="Page_87"></a>[87]</span> -them and the editorial lads who give -them opportunity and encouragement. -They are making an old man mighty -happy—yes, making him envy their -fun while he is relegated to sheer laziness -in the siesta sun of California.</p> - -<p>Before final retirement I managed to -lay out a new <i>Delineator</i>, a new Sunday -magazine for the <i>Herald Tribune</i> -(about 1925), and a lay-out suggested -by early New England news-sheets for -the <i>Yale Daily</i>, and ... well, I guess -that’s about all. No! Listen. In these -last three lay-outs I continued to use -my beloved Caslon!</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_88"></a>[88]</span> - -<div class="figcenter"><img src="images/i_088.jpg" alt="" /></div> -</div> - - -<h2 class="nobreak">TODAY IN 1954</h2> - - - -<p><img class="b" src="images/i_088b.jpg" alt="" /><span class="smcap">Do conditions</span> today give the ambitious -young designer and printer the -same opportunities I enjoyed back in -the late Victorian period? Not the same, -of course, but even greater.</p> - -<p>While it is true that the Nineties -were literally made to order for a boy -who had acquired only such training -as was to be had in the sparsely equipped -print-ship of a weekly newspaper -in a pioneer iron-mining town, today is -made to order for the ambitious young -designer and printer who is availing -himself of the training to be had by -even the small-town beginner.</p> - -<p>Back in my boyhood days a study of -such examples of design and printing -as now reach even the most remote out-posts<span class="pagenum"><a id="Page_89"></a>[89]</span> -of the printing industry, would -have taught me more than I learned -during a year in the art department, -so-called, of the publishing house of -Rand McNally in Chicago.</p> - -<p>The inspiration to be derived from -the text and advertising pages of our -standard magazines, together with the -creative art of school children and the -art magazines, quite unknown at the -turn of the century, supplies a liberal -education teaching the beginner how -to appreciate and use the printing and -designing advantages of today.</p> - -<p>What are these advantages, and why -do they open a door to exceptional opportunities -not known in the Nineties? -First, and perhaps of greatest importance, -is the typographic consciousness -now prevalent, especially in the advertising -and business world, where it is -universally recognized that effective -typography and design increase sales.</p> - -<p>Another advantage is to be found in -the significant mechanical advances of<span class="pagenum"><a id="Page_90"></a>[90]</span> -the last few years, the significance of -the growing importance of offset printing, -presenting so many opportunities -yet to be grasped by the designer. And, -an infant industry now, but one of vast -possibilities, is commercial silk-screen -printing.</p> - -<p>But upon my return to New York -after many years in California I think -my greatest thrill came when I witnessed -the mechanical setting of type -by photography. Always I have liked -the feel of putting type into the stick, -and I liked to see the composition growing -on the galley. In all my years of -working with type I have never made -a preparatory lay-out, except when the -composition had to be done by another, -which happened only on magazine -headings after a style had been determined -in advance.</p> - -<p>But this is an age of lay-outs, and in -this new photographic process with -the use of photographic enlargements, -there are possibilities for display composition<span class="pagenum"><a id="Page_91"></a>[91]</span> -of any required size, and great -variety, presenting intriguing possibilities -for the creative designer and -typographer.</p> - -<p>All such steadily growing advances -present opportunities which were nonexistent -back in my own youthful days. -Together with the superior training -enjoyed by the youth of today, they -have changed conditions into a new -world fraught with wonderful opportunities -far beyond any I knew in the -Nineties.</p> - -<p class="right">w b</p> - -<p>Short Hills, New Jersey<br /> -May, 1954</p> - - -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_92"></a>[92]</span> - -<h2 class="nobreak">A CHRONOLOGY</h2> -</div> - - -<p><span class="smcap">This</span> brief biography of the man called Dean -of American Designers by <i>The Saturday Evening -Post</i> and Dean of American Art Editors -by <i>Publishers’ Weekly</i>, is amplified from its -earlier compilation and printing as a Typophile -keepsake in 1948. It was first distributed -at a birthday luncheon held in New York, for -Mr. Bradley’s eightieth.</p> - -<div class="blockquot"> -<table border="0" cellpadding="2" cellspacing="2" summary="table"> - -<tr><td valign="top">1868</td><td> Born in Boston, July 10, son of a cartoonist -on a Lynn daily newspaper.</td></tr> - -<tr><td valign="top">1874</td><td> First finger in the “pi”—on being presented -a box of characters brought -home by his father for a small printing -press Will bought with his own savings -as a delivery boy.</td></tr> - -<tr><td valign="top">1877</td><td> Moves to Ishpeming, a mining town in -northern Michigan.</td></tr> - -<tr><td valign="top">1880</td><td> A job (with a salary of $3 a week) as a -printer’s devil, with the <i>Iron Agitator</i> -(later <i>Iron Ore</i>).</td></tr> - -<tr><td valign="top">1885</td><td> Foreman with <i>Iron Ore</i> at a man’s -wages, $15 a week.</td></tr> - -<tr><td valign="top">1886</td><td> To Chicago—and an art department -apprenticeship with Rand McNally—sweeping, -dusting, running errands, -grinding tempera ... at $3 a week.</td></tr> - -<tr><td valign="top">1887</td><td> With Knight & Leonard, Chicago’s<span class="pagenum"><a id="Page_93"></a>[93]</span> -leading fine printers, as a full-fledged -designer at a salary of $21, and then -$24 a week.</td></tr> - -<tr><td valign="top">1889</td><td> Free-lancing in Chicago; studio in the -Caxton Building.</td></tr> - -<tr><td valign="top">1890</td><td> To Geneva, Ill., and first recognition -through covers for <i>Harper’s Weekly</i>; -posters for Stone & Kimball’s <i>Chap -Book</i>; cover designs for the <i>Inland -Printer</i> (perhaps the first magazine -covers ever to be changed monthly).</td></tr> - -<tr><td valign="top">1890</td><td> The creation of a widely copied type -face named “Bradley” by ATF.</td></tr> - -<tr><td valign="top">1893</td><td> An exhibition at the Chicago World’s -Fair.</td></tr> - -<tr><td valign="top">1895</td><td> To Springfield, Mass., the launching of -his Wayside Press, “At the Sign of the -Dandelion,” and plans for publication -of <i>Bradley: His Book</i> ... his love for -Caslon and the beginning of a new Caslon -era as a result.</td></tr> - -<tr><td valign="top">1895</td><td> The initial Bradley-designed paper -sample book for Strathmore.</td></tr> - -<tr><td valign="top">1896</td><td> Exhibits at Boston Arts and Crafts; -Colonial typography attracts national -attention.</td></tr> - -<tr><td valign="top">1897</td><td> Caslon types on Strathmore Deckle<span class="pagenum"><a id="Page_94"></a>[94]</span> -Edge Papers prove successful; Bradley’s -plant is expanded and moved to a loft -in the Strathmore mill at Mittineague.</td></tr> - -<tr><td valign="top">1898</td><td> Merges business with University Press, -Boston. Opens design and art service in -New York; specialty, bicycle catalogs.</td></tr> - -<tr><td valign="top">1900</td><td> Mr. Bok, editor of <i>Ladies’ Home Journal</i>, -commissions a series of eight full -pages of house interiors for the <i>Journal</i>. -A roman and italic face, used later for -<i>Peter Poodle, Toy Maker to the King</i>, -is designed for American Type Founders. -While recovering from illness, -<i>Castle Perilous</i> is written, later serialized -in <i>Collier’s</i> with Bradley illustrations.</td></tr> - -<tr><td valign="top">1902</td><td> <i>Collier’s Weekly</i> appears with Bradley -cover (July 4).</td></tr> - -<tr><td valign="top">1903</td><td> Heads campaign of type display and -publicity for American Type Founders.</td></tr> - -<tr><td valign="top">1904</td><td> Writing and designing <i>Chap Books</i> for -American Type Founders; setting typographic -style for decades.</td></tr> - -<tr><td valign="top">1906</td><td> Writes and illustrates <i>Peter Poodle, -Toymaker to the King</i> for Dodd Mead.</td></tr> - -<tr><td valign="top">1907</td><td> Art Editor of <i>Collier’s</i>. Introduces new<span class="pagenum"><a id="Page_95"></a>[95]</span> -technique in coordinating make-up, art -direction and typography. Holiday -number becomes collectors’ item.</td></tr> - -<tr><td valign="top"><span class="nowrap">1910-15 </span></td><td> Simultaneous art editorship of <i>Good -Housekeeping</i>, <i>Metropolitan</i>, <i>Success</i>, -<i>Pearson’s</i>, <i>National Post</i>. Revises typographic -make-up of <i>Christian Science -Monitor</i> ... beginning of a series of -stories later published as <i>Wonderbox -Stories</i>.</td></tr> - -<tr><td valign="top"><span class="nowrap">1915-17</span></td><td> Art supervision of motion picture -serials for William Randolph Hearst, -including <i>Patria</i>, starring Irene Castle.</td></tr> - -<tr><td valign="top"><span class="nowrap">1918-20</span></td><td> Writing and directing motion pictures -independently. Production of -<i>Moongold</i>, a Pierrot pantomime shot -against black velvet, using properties -but no sets, shown at the Criterion -Theater in Times Square, New York.</td></tr> - -<tr><td valign="top">1920</td><td> Back to Mr. Hearst as art and typography -supervisor for Hearst magazines, -newspapers, motion pictures, and the -introduction, in <i>Cosmopolitan</i>, of many -typographic innovations.</td></tr> - -<tr><td valign="top">1923</td><td> Writes <i>Spoils</i>, a play in free verse for -<i>Hearst’s International</i>.</td></tr> - -<tr><td valign="top">1926</td><td> Restyles <i>Delineator</i> and Sunday magazine<span class="pagenum"><a id="Page_96"></a>[96]</span> -section of New York <i>Herald Tribune</i> -(not <i>This Week</i>).</td></tr> - -<tr><td valign="top">1927</td><td> Harper & Bros. publish <i>Launcelot and -the Ladies</i>.</td></tr> - -<tr><td valign="top">1930</td><td> Final, but far from inactive, retirement.</td></tr> - -<tr><td valign="top">1931</td><td> Serves on AIGA “Fifty Books of the -Year” jury; delivers address at exhibition -opening, New York Public Library.</td></tr> - -<tr><td valign="top">1950</td><td> Rounce and Coffin Club of Los Angeles -award, October 28, for “Distinguished -Contributions to Fine Printing,” at preview -of Huntington Library exhibition, -“Will Bradley: His Work.”</td></tr> - -<tr><td valign="top">1953</td><td> New type ornaments (used at chapter-openings -in the present book) designed -for American Type Founders.</td></tr> - -<tr><td valign="top">1954</td><td> Completion of a new paper specimen in -Strathmore’s Distinguished Designers -Series, almost sixty years after his first -sample book for Strathmore. Introduced -at University Club luncheon in -New York, March 25.</td></tr> - -<tr><td valign="top">1954</td><td> Award of gold medal by the American -Institute of Graphic Arts at Annual -meeting, May 19.</td></tr> -</table> -</div> - -<p>“I have never known any guide other than -what to me happened to look right.”—w. b.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_97"></a>[97]</span> - -<h2 class="nobreak">AN AFTERWORD</h2> -</div> - - -<p><span class="smcap">Few names</span> in the annals of American typography -gleam as brightly as Will Bradley’s. -Even fewer have made so varied a graphic contribution -as this gentle man, now eighty-six -and revered as dean of American typographers.</p> - -<p>In May, 1954, he was awarded the coveted -gold medal of the American Institute of -Graphic Arts. The citation, necessarily brief -around the rim, recalled one phase of his accomplishments: -“To Will Bradley for a half-century -of typographic achievement.”</p> - -<p>A more revealing summary would be found -in the commendation of the Rounce and Coffin -Club award, presented at the Huntington -Library in October, 1950. The Club held its -special meeting to honor Mr. Bradley (then -living in nearby Pasadena), and preview the -Huntington retrospective Bradley exhibition, -which included examples of his book design -and illustration; articles and stories written; -cover and poster design; type and type ornament -for American Type Founders; and printing. -Some seventy items were displayed, ranging -from the Ishpeming (Michigan) <i>Iron Ore</i> -masthead, designed in 1886, to a Christmas -greeting drawn in 1948.</p> - -<p>The award, for distinguished contributions -to fine printing, read: “<i>Because</i> he has for<span class="pagenum"><a id="Page_98"></a>[98]</span> -seventy years been a source of creative inspiration -in all the varied arts to which he has -put his mind and hand; <i>Because</i> he found -American printing at the end of the last century -in a dreary condition, held up to it the -examples of the early colonial printers, revived -the simplicity and dignity of Pickering and -caused to flourish again the use of Caslon and -the other old style types; <i>Because</i> he created -a wealth of new ornamentation and by his own -demonstration introduced many original uses -of ink, paper and bookbinding; <i>Because</i> he redesigned -the American magazine and gave to -it the charm of a new outer garment with each -appearance; <i>Because</i> he cast the illumination -of his talents upon the art of the poster, the -children’s book, and even the motion picture; -<i>Because</i> his great direct aid and even greater -inspiration have been acknowledged by many -American typographers, including such leaders -as Frederic W. Goudy, W. A. Dwiggins, -Oswald Cooper and T. M. Cleland; <i>And finally</i> -because he has not ceased to be for the printers -of our day, as for those of two previous generations, -an inexhaustible fountain of kindly encouragement -and new discoveries.”</p> - -<p>Despite their glow, these words spell a clear -appraisal of this man’s talents and graphic -spirit. Ahead of his times, Mr. Bradley proved<span class="pagenum"><a id="Page_99"></a>[99]</span> -a pace-setting pioneer whose work was so fresh -that its vitality is as measurable in the specimens -of Strathmore and ATF, as in the Hearst -periodical pages. Particularly when compared -with that of his contemporaries, as Walter -Dorwin Teague points out in his perceptive -introduction.</p> - -<p>Mr. Bradley was born in Boston in 1868. His -father, a newspaper cartoonist, died when he -was eight. Four years later his mother moved -to Ishpeming, a small iron-mining town in -northern Michigan. Here, he became a printer’s -devil on the local newspaper.</p> - -<p>The brief chronology of events in his legendary -career (pp. 92-96) reveals pertinent details -of the early years as art department apprentice -with Rand McNally, Chicago map-makers, and -as free-lance artist. He soon won recognition -for his cover designs and drawings for <i>Harper’s -Weekly</i> and <i>The Inland Printer</i>, and posters -for Stone and Kimball’s <i>Chap Book</i>.</p> - -<p>In 1895 he returned to New England to set -up his Wayside Press in Springfield, Mass. He -was twenty-seven then, had just designed his -first sample book for Strathmore, and developed -publishing plans for <i>Bradley: His Book</i>. -Volume one, number one was dated May, -1896; the subscription price, one dollar the -year. The cover was a poster treatment of a<span class="pagenum"><a id="Page_100"></a>[100]</span> -tree on a grassy hilltop; the frontispiece was -by Edward Penfield, himself the subject of a -lead article. Center spread pages, decidedly in -the Kelmscott manner, were devoted to a poem -by Harriet Monroe, with a floriated border -surrounding the text in caps. The body type -was the ATF version of the Morris Golden -face.</p> - -<p><i>Bradley: His Book</i> was planned as an art and -literary magazine, and also “a technical journal -for those engaged in the art of printing.” -Seven issues comprised its life span; the first -four varied slightly from the initial 5¼ × 10½ -inch size; the last three (of volume two) were -8 × 11 inches. A note indicated that “advertisements -are newly prepared for each number -without extra cost.” Products promoted included -writing and printing papers, type, ink, -periodicals, a “talking” machine, auto tires, -baking and washing powder, and soap. A further -note evidenced concern for design and -typography, mentioning that “advertisements -may be appropriately illustrated by any artist, -provided the character of design and execution -are suitable for pages of this magazine. Text -on electrotypes will be reset in type from -<i>Bradley: His Book</i> fonts.”</p> - -<p>From this point on, the Bradley career -moved into high gear. In 1900 he was commissioned<span class="pagenum"><a id="Page_101"></a>[101]</span> -by the <i>Ladies’ Home Journal</i> to design -eight full pages of house interiors; he also designed -a roman and italic type.</p> - -<p>Three years later, at thirty-five, he headed a -typographic and publicity campaign for ATF -(1903), and wrote and designed their famous -<i>Chap Books</i>. In 1907 he was art editor of <i>Collier’s</i>; -and from 1910 to 1915 the simultaneous -art editor for <i>Good Housekeeping</i>, <i>Metropolitan</i>, -<i>Success</i>, <i>Pearson’s</i> and <i>National Post</i>. -Then in his early forties, he dipped into the -field of the motion picture as art supervisor of -serials for William Randolph Hearst. In 1918 -he was writing and directing motion pictures -independently. Two years later he rejoined -the Hearst organization as art and typographic -supervisor for their newspapers, magazines -and motion pictures. In 1930, age sixty-two, -he retired to southern California.</p> - -<p class="center">*<span class="gap"> *</span><span class="gap"> *</span><span class="gap"> *</span><span class="gap"> *</span></p> - -<p><span class="smcap">Of</span> the Bradley renaissance a quarter-century -later, a single design accomplishment seems -significant: The 1954 Portfolio in the Strathmore -distinguished designer series, begun in -California in 1951, completed early in 1954 -and introduced at a luncheon sponsored jointly -by the Typophiles and Strathmore, held at the -New York University Club. The date was just<span class="pagenum"><a id="Page_102"></a>[102]</span> -a few months short of sixty years from that -significant day when the first paper-use specimen -was issued by Strathmore in Mittineague.</p> - -<p>Among the speakers paying tribute were -Edwin H. Carpenter of the Huntington Library; -Thomas Maitland Cleland, designer -and artist; A. Hyatt Mayor of the Metropolitan -Museum of Art; Frederic G. Melcher, dean -of American publishers; Carl Purington Rollins, -printer emeritus to Yale University; -Walter Dorwin Teague, industrial designer, -F. Nelson Bridgham, Strathmore president, -and the undersigned reporter, who served as -toastmaster.</p> - -<p class="center">*<span class="gap"> *</span><span class="gap"> *</span><span class="gap"> *</span><span class="gap"> *</span></p> - -<p><span class="smcap">The</span> first-hand account of the fabulous years -recorded in this book has been assembled from -separate papers written by Mr. Bradley at different -times since 1949. No attempt has been -made to unify the varying tenses, or modify -the sometimes first-person sometimes second-person -style of the author in these different -memoirs. An attempt <i>has</i> been made to connect -these papers into one continuing narrative. -To this end, some editing of over-lapping -material and cutting of repetitious passages -seemed essential.</p> - -<p>The sources: A booklet titled <i>Memories: -1875-1895</i>, printed for the Typophiles and<span class="pagenum"><a id="Page_103"></a>[103]</span> -other friends by Grant Dahlstrom in Pasadena, -1949; another titled <i>Picture of a Period, or -Memories of the Gay Nineties</i>, printed for the -Rounce and Coffin Club of Los Angeles (also by -Dahlstrom) in 1950; the Huntington Library -hand list, <i>Will Bradley: His Work</i>, 1951 (again -printed by Dahlstrom). The fourth source -item is “Will Bradley’s Magazine Memories,” -from the <i>Journal</i> of the American Institute of -Graphic Arts (Vol. III, No. 1, 1950).</p> - -<p>Like most Typophile projects, this has been -in process for many months. Though obviously -a cooperative effort, much of the muscle and -mind needed to shape and form it has been -contributed by Peter Beilenson. He not only -attended to the design and printing at his Peter -Pauper Press, but also helped materially in its -editing.</p> - -<p>The alluring prospect of additional illustrations -for these pages was reluctantly passed -by. Our physical limitations and resources -proved inadequate to reflect the qualities, and -the scope and variety of Mr. Bradley’s work. -Examples of his colorful designing and illustrating -may be seen in the comprehensive collections -at the Metropolitan Museum of Art, -New York, and the Huntington Library, San -Marino, California. A brief selection is shown -in <i>The Penrose Annual</i>, 1955.</p> - - - -<p><span class="pagenum"><a id="Page_104"></a>[104]</span>Despite his years, Mr. Bradley generously -offered to develop the typographic plan of this -book, and rewrite the entire text to further -illumine certain passages. He also suggested he -make new drawings to replace those on chapter -pages, which were drawn in 1949 to enhance -the solid text pages of the <i>Memories</i> -booklet (The type ornaments on these pages -were drawn in 1953 for ATF.) This considerable -task seemed an unnecessary burden, particularly -since Mr. Bradley had reflected with -characteristic charm and candor the recollections -of his great years. Like every artist and -craftsman of stature, he remains his own -severest critic.</p> - -<p>Numerous other friends have helped with -this book: Among them, Arthur W. Rushmore -and Edmund B. Thompson in its early planning; -Robert B. Clark, Jr., and his colleagues -at Strathmore; Nicholas A. Meyer, David -Silvé, Stevens L. Watts and Robert H. Wessmann—each -has been quick to answer every -call, as has Will Bradley. For myself, it has -been a memorable and rewarding book-making -experience to work with these good friends, as -it is a privilege to record here the indebtedness -of The Typophiles for their invaluable and -generous assistance.</p> - -<p class="right"><span class="smcap">Paul A. Bennett</span></p> - - -<hr class="chap" /> - -<div class="chapter"> - -<div class="figcenter"><img src="images/i_105.jpg" alt="" /></div> - -<hr class="tb" /> - -<p class="ph1">Typophile Chap Books: 30</p> -</div> - -<div class="figcenter"><img src="images/i_105logo.jpg" alt="" /></div> - -<div class="blockquot"> -<p>This thirtieth Chap Book in the Typophile -series has been designed by Peter -Beilenson, and printed on Strathmore -Courier at his Peter Pauper Press, -Mount Vernon, New York. The type -face is Waverley; the binding is by -the J. F. Tapley Company, New York.</p> - -<p>This edition comprises four hundred -copies for Typophile subscribers and -contributors and 250 copies for general -sale.</p></div> - -<p> </p> -<hr class="chap" /> -<p> </p> -<div class="transnote"> -<div class="chapter"> -<p class="ph2">TRANSCRIBER’S NOTE:</p> -</div> - -<p>The cover image for this eBook was created by the transcriber using the original cover and is entered into the public domain.</p> - -<p>Obvious typographical errors have been corrected.</p> - -<p>Inconsistencies in hyphenation have been standardized.</p> -</div> - -<p> </p> -<hr class="pgx" /> -<p>***END OF THE PROJECT GUTENBERG EBOOK WILL BRADLEY, HIS CHAP BOOK***</p> -<p>******* This file should be named 63426-h.htm or 63426-h.zip *******</p> -<p>This and all associated files of various formats will be found in:<br /> -<a href="http://www.gutenberg.org/dirs/6/3/4/2/63426">http://www.gutenberg.org/6/3/4/2/63426</a></p> -<p> -Updated editions will replace the previous one--the old editions will -be renamed.</p> - -<p>Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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