HARDWOOD RECORD 



_i9 



You have for your heading of the advertisement, "Drj- Plain Oak — 

 Juimediate Shipment." Count the number of letters, counting also 

 one extra for each space between the words. You will find you have 

 32 letters. By taking your type book you can then pick out the 

 style of type you want to use. Xow take your rule and mark the 

 3%" on it. Then lay it over the several sizes of that particular style 

 of type until you find the size that will permit of 32 letters in the 

 width of space (3%"). By the way, never use all capitals in small 

 headings or small advertisements because they are not as legible as 

 "caps. & 1. e." (capitals and lower-case letters). And remember 

 also that all capitals take up more width than "caps, and 1. c." In 

 the case above we find that 14-point Cheltenham Bold will do nicely 

 for the space and leave some little room on each side of the head- 

 ing so as not to crowd it. Or we can use 24-point Cheltenham Bold 

 Condensed. In the latter the face of the type is condensed into a 

 smaller width, although the height is just the same as type of the 

 ordinary width. 



Tse the same principles in laying-out the sub-headings or signature 

 for a gi\en space. 



Where there is quite an amount of copy in a fair-sized space, it is 

 usually a good idea to break it up with sub-heads to relieve the 

 monotony and the strain on the eye. This, however, applies generally 

 in the case of solid description. 



The use of borders: Borders are nearly always of the "rule" type. 

 There are, of course, other styles, such as the hand-drawn ones and 

 which, needless to say, must be drawn by an artist and then photo- 

 graphed. This is an expensive process, and as this series of articles 

 will deal with advertising in the simplest form, the expensive processes 

 uill be left out. Border rules are also on the "point'' system. 

 AVhen we speak of a (J-point border, we mean' a rule 6 points lu 

 width — not length. Take H.\ed\vood EecoRi/ and look through the 

 front advertising sections — nearly all the advertisements are enclosed 

 in the same square borders (or borders nearly all the same). Each 

 advertisement is almost identical with its neighbor. It is possible by 

 just changing the border of your advertisement to make it stand out 

 from the rest of the page. To illustrate this, the writer has taken 

 one advertisement, shown it in its original form and then shows the 

 same advertisement with different and distinctive borders taken from 

 a standard type book. This will show you how an advertisement 

 may be made to stand out from the rest on the page. There is one 

 great danger that the beginner of advertising should look out for, 

 and that is, do not make the border so heavy that it fore-shadows 

 the copy. Figure 2 shows a 12-point border and which is really too 

 heavy for such a small advertisement. It lias put in, however, to 

 bring out this point. Some borders and headings are so heavy that 

 they seem to make the body-matter dim and hard to read. It has 

 the same effect on you that a salesman who comes into your oflSce 

 with such giddy attire that your attention is entirely focused on his 

 clothes and you don't catch much of what he says because your 

 attention is directed elsewhere. It is all very well to catch the eye, 

 but don't give the reader too much "punch" in the matter of heavy 

 display. 



When you want to emphasize a word you put it in bold-face type 

 or in italics. ' ' Bold-face ' ' means the same size of type only that the 

 width of the strokes of the letters themselves are heavier. Italics 

 needs no explanation. 



At this point the question of illustration presents itself. The 

 ordinary lumber advertiser thinks he has gone a long way in adver- 

 tising when he has placed a picture of his mill, his log-skidder or a 

 view of his yard, in his advertising space. As a matter of fact these 

 pictures count for nothing except in the reminding style of advertis- 

 ing, which is simply another form of the present-day "standing- 

 card" style. Reminding type of advertising is a dead issue as far 

 as the lumber business goes. It still works or plays its part in the 

 campaigns in lines of goods. In lumber you want to tell in detail 

 about some point of your goods. Take a picture to show this point. 

 Remember, illustration reinforces the copy. So be sure that the 

 illustration bears directly on the copy, otherwise it does not serve its 

 purpose. For instance, you are end-drying maple and your adver- 

 tisement tells all about your process. Suppose you put an illustra- 



tion of the men cutting logs back in the woods. Does that reinforce 

 the copy ? Well, hardly. But in this case it would be well to place 

 a picture of the end-racks and show the maple drying. Then you 

 can call attention to specific points in the picture. Get the point? 

 Always have the picture you take the largest you can get, for when 

 you send it to go into a small space it must be reduced in size. The 

 larger the original picture the better it wUl show up in the suiall 

 halftone, because the detail will be much better. When planning 

 to use illustration, measure the space within the advertisement that 

 j-ou are going to allot to the picture and mark it off on the "lay- 

 out." (We are coming to an explanation of that.) You should bear 

 in mind that when you reduce a picture you reduce it in the same 

 proportion as the ^original. For instance, if the original is a 3M:"x 

 oij" picture, a half-reduction would bring it down to l%"x274". 



So tar in this article matters have been quite technical, but it is 

 the only portion of advertising that is. 



That brings us to ' ' layouts. ' ' A layout is simply a rough sketch 

 of the complete advertisement to give you an idea of how it will 

 look when set up. It also gives the compositor an idea of what you 

 want as to border, styles and sizes of type. etc. Therefore, a layout 

 should always accompany the copy you send to the paper which is to 

 run your advertisement. 



In making the layout get the size of the space you are to use in 

 the paper. Lay the exact size off on a plain piece of paper, drawing 

 in the lines lightly with pencil. Next decide on the style and size of 

 the heading. Count the letters as explained before in this article. 

 Then measuie the height of one capital and one lower-case letter, 

 marking these widths at the top of the layout where your ad starts. 

 Next put in the signature; then the border. Draw the letters in 

 roughly by hand and approximately the size and width of the type 

 you have decided to use. Then draw a light line away from the 

 letter of the heading and write in the size and style of type you have 

 chosen. This tells the printer or compositor just what to set up. Do 

 the same with your border, signature, etc. With the room you have 

 left, find out how many square inches of space you have for the body 

 matter by the method outlined in the first part of this article. Just 

 draw fairly heavy lines across where the lines of the body matter 

 will come, and about the same "heft" as the type will look when 

 set up. Specify what size and style of type you want for your body 

 matter. Kow you have a fairly good idea of what your advertisement 

 will look like when set up and run. 



A word about "balance." Some advertisements you see seem 

 to be " lop-sided. ' ' This is termed ' ' out of balance ' ' and the prin- 

 ciple is the same as the law of balance or equilibrium. Care should 

 be taken not to get too heavj' type for the headings and placed to 

 one side; otherwise it will seem to have the tendency to "pull" 

 the whole advertisement over to one side unless an equally heavy 

 piece of type or other matter is used to counter-balance it. 



Ireland's Last Forests 



Some of the trade journals in the British Isles call attention 

 to the destructive timber cutting now taking place in Ireland. 

 Forests are few there and these few are rapidly disappearing. 

 Whole plantations have been swept away. Those who criticize the 

 methods followed say that when money is needed, the first thought 

 that occurs to the proprietor is to cut and sell his timber. Stands 

 three hundred years old are cut clean in many instances, and the 

 country's wooded area steadily grows smaller. 



The largest novelty works jjlant in Michigan is located at 

 Saginaw. The common method of securing raw material is to buy 

 the output of small mills, paying so much per thousand after 

 sizing up the quality of the logs. Some of the larger mills of 

 the state, especially those at Cadillac, operate novelty works in 

 connection with their plants in order to utilize wood that would 

 otherwise be wasted. The concern makes spools, spindles, toys, 

 W'Ooden clubs, mallets, croquet balls, etc. 



A sawmill without timber to cut is as lonesome looking as a niud 

 puddle without a duck, and just about as valuable. 



