THEN diet/ lived happily, ever (ijler
By FREDERIC DANNAY
NOW FOR THE SAKE OF YOUR
BABY'S COMFORT MAKE THIS
Although many mother* don't realize it.
there's an important difference in baby
powders. Babies feel it. and so will you
if you mate this little test
One at a time, rub several different
kinds of baby powder between your
thumb and linger. A ou'll find that some
kinds feet harsh and gritty—unpleasant
to vour touch. But when you try
Johnson's Baby Powder
Notice how velvety soft and fine it is
how silky smoothThat's because it
is made from finest Italian talc. This
talc is composed of soft, tiny flakes
but the inferior talc used in some baby
powders contains sharp, needle dike par
tides' You wouldn't want them next
your baby's skin.
Decide wisely—and remember this
important point, too: Johnson's Baby
TWO MORE WAYS
TO MAKE VOl H BABY HAPPY!
Johnson's Baby Soap is made especially
for babies—from purest high-grade olive
and other vegetable oils. It is just a»
bland and soothing as the finest Castile.
It also makes a richer lather than Cas
tile and rinses off more easily—leaving
the skin soft and velvety. Try it and see.
Johnson Baby Cream relieves chaf
ing, chapping, "diaper rash and other
slight irritation* of the skin. Rub a little
on vour baby's face and haiuls before
going outdoors, to prevent painful chap
ping and windburn. The Cream is made
from purest ingredients, and will not
ForhTs largest Manufartwrr*»/Snrei.aittress-
ingsr'/.O"Cartridge Spoot Adknivr tlaslrr.rlc.
The theory of a fourth dimension in modern typogra
phy is not so esoteric as it sounds. True, the theory
resolves itself in the final analysis to an abstract concep
tion but every metier whose expression is the outgrowth
of feeling must include some abstractions as governing
Typography's first three dimensions are best illus
trated by quoting, then analyzing, a run-of-the-mill
type specification. Suppose, for example, the text of
an advertisement is to be set in 10-point Bodoni Bold.
What are the basic ingredients of this type prescrip
tion? The first is clearly the size of the type: dimension
one; the second, the style of the type: dimension two;
the third, the weight ol the type: dimension three. All are
physical properties, if we consider for the moment that
"style" is referred to in its visual rather than connotative
sense; and all are analagous to the length, breadth and
thickness dimensions of our mathematical philosophies.
What then is typography's fourth dimension? Con
cisely stated, it is the relationship of the first three
dimensions, grouped as one unit, to the other elements
of the advertisement the illustration, white space,
etc. It is, more specifically, the layout-significance of
the shape, size and position of the type mass.
As a preamble to a more concrete analysis of typogra
phy's fourth dimension, it may be of advantage to
consider briefly the salient features of the first three:
The First Dimension: SizeIt is an erroneous prin
ciple that the larger the text is set, the greater the
resulting legibility. Up to a certain point, it is true
that legibility improves with increased size. But be
yond this point the tendency toward disproportion and
confusion is so definite as to overbalance any further
advantage in legibility. Naturally, the point of highest
legibility-return varies with each type face.
It should be remembered that most reading is con
centrated in three forms newspapers, magazines and
books - and in all three forms, 8- and 10-point texts
predominate. This being the case, small type should
neither scare off the prospective reader nor prove a
hardship to his eyes. Psychologically, therefore, it is
not necessary to set advertising texts in large size type.
The public has developed a complete acceptance for
8- and 10-point texts and should not be swerved from
this sub-conscious preference unless the change serves a
definite layout purpose.
The Second Dimension: Style— Two factors are of
paramount importance in the selection of type style: