TYPOGRAPHY'S N€W DIM€NSION THEN diet/ lived happily, ever (ijler By FREDERIC DANNAY 35 NOW FOR THE SAKE OF YOUR BABY'S COMFORT MAKE THIS THUMB-AND-FINGER TESTI 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 turn rancid. (jptvevtw^XvMu»-. 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 factors. 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:

Advertising Arts en | 1932 | | page 51