Decluttering A Layout

Carl Shank • June 21, 2023

How do you go about decluttering or revamping a busy image? The image below was a local ad for a hardware store emphasizing lawn work equipment. The type should be easy to read and the graphics and fonts used should enhance the theme of the ad. I find the original ad "clunky" and hard to decipher what is really important. Is it the hardware store? Is it the lawn equipment? Is it the emphasis on servicing the local communities for quite some time?


One major problem is using fonts that are sized incorrectly for the ad to stand out to the viewer. The remade ad uses a family of fonts, namely Avenir Next Condensed in various styles. Using the same font clarifies and highlights rather than obscures the message of the flyer. While the revamped flyer is limited to one major font style, you can generally use as many as three fonts in a publication to keep it from being cluttered. Because of the variety of font styles in the Avenir Next family, we can have both display fonts and text fonts from the same basic font family.


About those graphics. The graphics chosen to illustrate lawn equipment are scattered, not sharp and stand in contention with the companies advertised — Toro, Echo, Husqvarna and Troy-Bilt. Are we supposed to focus on the companies or the products of these companies? That is unclear. The Hostetter logo is indeed central to the ad, but the hours of operation are not emphasized. I suppose the yellow marker used is suppose to highlight those times as well as long standing service to the community.


The point in a display ad such as this one is to increase readability and invite the reader to investigate what is being offered. The revamped ad does this in a clean and clear way.

Successful Layout & Design

English Penman Calligraphic Fonts

By Carl Shank • July 13, 2026
George Bickham the Elder (b. 1684) was one of the most influential English engravers, calligraphers, and writing masters of the eighteenth century. Although he was a capable print engraver, his lasting significance lies in his role in preserving and popularizing English Round Hand (later known as Copperplate script) through beautifully engraved writing manuals. His work shaped business handwriting, penmanship education, typography, and ornamental lettering for generations. He trained as both a writing master and an engraver, two professions that were closely linked before the advent of modern printing. Rather than merely copying handwriting, he engraved elaborate penmanship examples onto copper plates, allowing thousands of identical, highly detailed specimens to be printed. He became renowned for his extraordinary ability to translate handwritten originals directly onto copper plates with exceptional fidelity, a skill admired by his contemporaries.

Compositors & Type: Origin and Use of “Uppercase” and “Lowercase”

By Carl Shank • June 13, 2026
Compositors & Type: Origin and Use of “Uppercase” and “Lowercase” Carl Shank, CARE Typography Most everyone knows what “uppercase” and “lowercase” letters are. They refer, of course, to our “capital” letters and our “regular” small print. But not many know why or how they came to be known by such terminology. The answer is found in the history and development of typography and printing. “Case” here doesn’t refer to “circumstance” or “condition.” It refers to the wooden trays used to store metal letters, the top case for capital letters (“uppercase”) and the lower case for small letters. Each tray was divided into compartments to hold the type. The lower case also held the punctuation marks and other pieces of type, like “spacers.” The type case was a shallow wooden tray divided into compartments of various sizes. There were about thirty styles of type cases, and some of these were made in different sizes.[1] The most common, or standard, size was 32¼ by 16 inches, outside dimensions, and ⅛ inches deep, inside. One of three traditional plans or schemes for such type cases involved (1) all characters in one case; (2) capitals, small capitals and a few other characters in one case; or (3) the small letters, figures, points, spaces and quads in another case. The two latter cases formed a pair and would nearly always be used together.(See Images) Hand compositors (or “swifts”) would take individual letters, spaces and punctuation marks or other characters from the type case and place them in what was called a composing “stick” in such a manner that when the type characters are properly assembled, they form words, sentences and paragraphs. The work of the press room compositor was divided into two fundamental operations — the “setting” of type and the “unsetting” of type. The former was called composition and the latter, distribution. A visual example of such typesetting can be seen in some of the episodes of The Waltons, an American historical dramatelevision series about a family in rural western Virginia in the Appalachian/Blue Ridge mountains chain, during the economic hardships and mass unemployment of the Great Depression in the 1930s and the subsequent United State home front during World War II in the 1940s. The series aired from 1972 to 1981. John-Boy, a leading character of the series, opened a print shop in a shed by the family home with an old-fashioned mechanical printer that required setting cold metal type from a type case. His brother was the compositor while John-Boy ran the printing machine.
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