Moving Picture World (Jan-Feb 1927)

510 MOVING PICTURE WORLD February 12, 1927 Reducing A Mat Gave A Good One Column Ad Two Nice Displays Use Only Type Face There is a nice study in type display in this double space from Rochester, New York. They run a total of two sevens, with the Regent getting the best of the space allowance for The Scarlet Letter. As the houses are under the same management, they are held together by the twelve point border on the left, running into a similar twelve across the bottom. The Regent gets the best of it so far as name plate is concerned, for this signature is far more legible and outstanding than the shaded outline of the Piccadilly. In a town where there are many houses, that light signature might prove a handicap, but Rochester has few houses large enough to take display ads, and here the signature is less important — though a signature is never unimportant. OVER THE TOP IN A MERRY INVASION OF GLOOMLAND I “TIN HATS” With Conrad Nagel, Claire Windsor Bert Roach, George Cooper and Tom O’Brien The lait grouch stronghold falls to the Laugh brigade in thia jolly tale of 3 doughboy* who are miitaken for the Army of Occupation. “Hanging Gardens of Comedy Babylon " “Dizzy Dancer a" PICCADIL.lt JAZZ ORCHESTRA Piccadilly Pictorial Thun, to Sat. — GEORGE SIDNEY In -MILLIONAIRES” Entire Week Matinee* 1J-I. He REGENT . “This, il seems to me, is Lil "Here is a lien Cish's finest performance." infinite poicer, — Robert Shericood in Life. beauty." — N. Y screen drama of sincerity and Eve. World. Lillian Gish la Nathaniel Hawthorne’* celebrated American Cla»*ic THE Scarlet Letter A powerful drama of a badge *f »hame and a g*e*t sacrifice With LARS HANSON and HENRY B. WALTHALL GLADYS ST. JOHN Brilliant Young Coloratura Soprano Telia th« Cat Cartoon, “Reverie Englnh” Novelty. “Sunbeam*” Regent New* Review TWO IN ALL TYPE But the chief thing to notice is the type display. In the top space only the title gets a large display line, and so it stands out with due prominence. The star names below do not suffer through being cut down. They still have sufficient prominence through the use of a light six for the sales talk and eight point for the smaller features. In a word the title has nothing to fight, and so it comes through with a force that would not obtain were there other lines of nearly equal value in the same section. In The Scarlet Letter both Miss Gish and the title are important, so they are given an equal play-up, but instead of being put so close together that each line kills the other, the use of one light line of billing and a small “The” for the title, they are held so far apart that each stands out. At the same time this use of the article gives more room for the remainder of the title. It was entirely possible to set all three words on the same line in the same face. But to have done so would have crowded the line through depriving it of the display value of the white space, and it also would have brought star and title that much closer together. This was realized and provided for in advance, with the result that this space forms one of the best examples of proper balance that we have been able to offer in a long time. The instinct of the average printer would be to jam the space just as full of display faces as he could get. The impulse of the average manager would be to encourage the use of as much black type as possible. And the result would have been a terrible mess. Using only three display lines in a seven inch space gives ample display to those lines and gives the house a better chance than it could get from a three column space proportionately deeper, but wrongly set. It is not the amount of black ink you get into a space that counts. It’s the amount of apparent blackness that you give the main lines. Here there are no very large lines, but there are three very prominent ones. It forms a fine example of precisely the right way to do advertising with all type. For that matter we think that with this composition a cut would have been thrown away, since type works so much better. If you do much all type work, be sure and take' this over to your printing office. It will do more for you than hours of unillustrated argument. Gets a Single Cut By Reducing a Mat This single three from the Waverly Theatre, Baltimore, is apparently made from a press book cut of a larger mat. The house probably pasted down a clipping from the plan book, had it reduced to fit the single column space and got an illustrated single at a cost of less than two dollars. Mon. and Tues.— R IN-TIN-TIN In "WHILE LONDON SLEEPS" Wednesday — Thursday — Friday ► The Triumphant Return / of a Film Masterpiece RUDOLPH VALENTI in A IM6RAMU r» |J R c hi *. ♦ ♦ Sat.— BUCK JONES In "30 BELOW ZERO” A REDUCED PLAN BOOK CUT The reduction of a cut from the plan book does not make for perfection of detail. The figure is a bit blurred, most of the letter outlines are not precisely sharp, and “of the Apocalypse” is almost entirely lost, which does not matter much since the average reader can supply the missing words, and “The Four Horsemen” is virtually the title of this picture. This seems to be a new idea in getting cut material for a single, and where the original is clearly printed, you can get a sufficiently good result to make it worth while. This small space gives the three changes for the week, announcing the Monday and Tuesday attraction above and the Saturday feature below, but giving most of the space to the real money maker of the week. Too Many Capitals Hurt This Display There is a certain display value to this space for the Metropolitan Theatre, Washington, D. C., on Just Another Blonde, but it is spoiled with too many all-capital lines. — lllllllllllllilliiniiiii^ = tiP*f^Bcn /i tanieii Campanil of Qmerica j| n DOROTHY MACKAILL JACK MULHALL WITH WM. COLLIER JR.— LOUISE BROOKS PICTURIZATIOX OF THE LATE GERALD EEA.VMOXT'S STORY OF "EVES STEPHBX " JUST AHOTHER BLONDE THE LIVELY ROMAXCE OF A HOSTESS IX A COXEY ISLAXD DAXCE PALACE. THE CASHIER IX A DITTO SHOOTIXO GALLERY ASD TWO EXPERTS IX AFR1CAX OOI. F" PROS! SEW YORK'S GAUDIEST GAMBLIXG HOUSE — WITH. s AH 0. HENRY COMEDY, “ BABES IN THE JUNOLr SPECIAL WORLD SURVEY -OVERTURE — Selection*. "The Vagabond ICinyY CFriml) F~1 — DANIEL BREESK.N, CONDUCTING WASHINGTON’S FINEST ORCHESTRA llllllllllllllllllllllllllllllllllllW TOO MANY CAPITALS The device of lining the background to get more effect for the white space is well thought out. That linear work gives splendid prominence to the white spaces, but the printer has nullified the work of the artist by using far too many all capital lines. That entire center panel does not carry a single lower case letter. There are four lines of light all caps under the star names and five under the title, and few will bother to puzzle these out. It would have been much better to have dropped them out entirely, for then there would have been the display value of the white space. So far as argument is concerned, these all-cap lines have less value than white space. They clog the area without getting a chance of being read. There is a little upper and lower in the circles and one line in the lower box, but the rest is monotonously even and impossible to read without intense application, and