Style 9, the Broadside. Round 1

You asked for one vastly different from the eight. The eight are paper objects with hand-lettered or drafted type. This one is a letterpress poster, the kind a print shop set from wood type for a fair, a sale or a show. Nothing on it is written by hand and nothing on it is a scrap. The type is the object. Every line of the headline is set to fill the measure: a short word gets a huge face, a long phrase a small one, and the faces change line by line, a condensed gothic, a fat wood type, a slab, a Tuscan. A line that hits its cap is letterspaced out to the edge. That is your fill-the-space rule turned into the construction itself. The ink is printed, not drawn: it sinks into the paper's grain and wears thin in speckles. The job sits in the top slug between the rules. The paragraph is in a book face, justified. The last line is reversed out of a solid band. The printer's slug at the foot carries the kit mark as the printer's device and you as the client the sheet was printed for.

What to rule on. The faces: Holtwood and Alfa Slab are the wood-type end, Rye and Sancreek the fair-poster end; say which end you want, or both. The grounds: cream, kraft, navy. The ink: one color, two colors, reversed. The portrait in the slug. And whether the band at the bottom belongs, or the last line should be set as another line of type.

The faces and the inks

**BS-black**Black ink on cream stock. Anton, Holtwood, Alfa Slab down the stack. The baseline.

**BS-red**Two colors, the way a press runs: the key line and the band in red, the rest in black.

**BS-reverse**Reversed: cream ink on navy stock. No wear, the way a screenprint sits.

**BS-portrait**The client's portrait in the printer's slug: a halftone in a keyline oval beside the name.

**BS-count**The market note: the numeral set biggest, letterspaced to the measure, in red.

**BS-tuscan**The Tuscan and the ornamented faces on the first and last lines. The fair-poster end of the range.