98

There are many aspects of
this never-published type
prototype byJ.J. Herman
that break the mold,
even by today's stan¬
dards. Note how the
bowls of В and R join fat
in the center; the unusual
epsilon shape of E; the
graceful swelling stroke
of K; the funny top of T;
the serifs on the bottom
points of W, V; and the
cool S and hourglass X.
In his heyday (1920s-
1950s), Herman was
just one of a battery of
artists supplying adver¬
tisers with lines of
lettering, frequently
indistinguishable from
type, but offering that
extra punch that metal
type could not provide.
Typical pay in those days
was around $2.50
for a short headline.
I'm so pleased to present
Herman's work here. He
was in his eighties when I
met him and purchased
much of his amazing
lettering book collection.
He cried as I carried out
armloads of his babies. I
felt awful and could only
consolingly suggest,
"Well, they're going
to a good home."

LOGO, FONT a LETTERING BIBLE

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Above, early twentieth century
initials by Marcel Lenoir with
fascinating sculptural strokes
in the Art Nouveau style.

The lowercase b in this
1920s Bluebird logo, center
left, caught my eye. The
initial cap В follows the quirk
through, though less
thrillingly, but the last
letter d should have, also.

A gold star to anyone who can
decipher Stan Endo's logo, left.
It's a dimensional puzzle that
reminds me of Montreal's
Habitat 67.
OK, the letters in this

logo for a fashion outfit
spell Basement.