THE DESIGN OF PLAYING CARDS involves a balance between utilitarian constraints and artistic possibilities.  The basic purpose of playing cards hasn't changed much in the last 625 years, but the fundamental precepts and principles of design and print have been continuously developing and improving to the present day.

Tradition - or conservatism - bears quite heavily on the design of standard cards, especially the court cards, but originality can be refreshing in a well-designed pack.

In around 1820 Hunt was the first manufacturer to modernize his design with a complete redrawing, in which he attempted to rationalize some of the idiosyncrasies which had crept into playing card designs (below left). These designs were subsequently adopted by Hunt's successors, Bancks Brothers, who also produced a double-ended version. In 1832, after an attempt to introduce new 'modernized' designs (centre), De la Rue imitated the earlier wood-block style in the new technology of letterpress (below right). These designs were subsequently redrawn with more decoration and became the basis for all their double-ended courts.

Above: Some modernized court designs, 1820-1834
a) Hunt, c1820 b) De la Rue, c1832 c) De la Rue, c.1834

In 1840 Reynolds also modernized their court card designs with an overlay of decorative scroll-work and patterning on the clothing. Other makers experimented with novelties or variations in the design details, such as headgear, crowns, faces, etc. Charles Goodall, for example, produced 'modernized' court card designs, with some unusual features, which did not last long.

n 1860, Goodall produced a completely new design in double-ended format only, and which is still in use today in multiple imitations world-wide (below centre). The reduction of Playing Card duty from one shilling to threepence in 1862 led to expansions in playing card sales, and no doubt new players were tempted to enter the market. Manufacturers, in general, began taking pride in the quality and elegance of their designs, so as to attract the best clientèle, and from this time onwards special personalised Aces of Spades were designed, instead of the 'Old Frizzle' duty ace.

Above: Court designs, 1860-1875
a) Reynolds, c1860 b) Goodall, c1865 c) Willis c.1870

Around this period card players began to want indices and often these are found pencilled in the corners of packs dated around 1870 onwards.

Above: Ace of Spades designs, 1862 onwards
a) Charles Goodall, c1864-68 b) James English, c1867 c) Willis and Co., c1869.

Playing card decoration reflects the fashion of the day, and is likely to be guided by prevailing tastes and styles. For example, in the 1875-76 season, Woolley & Co. brought out a series of Japanese designs which were announced as follows: "The quaint figures and effective colouring of the Japanese workmen have been adapted… to the ornamentation of the backs of playing cards, producing most effective designs." [The Stationer and Fancy Trades' Register, August 5, 1875].

The 19th century was a period of innovation and trial and error for printers and industrial designers: changing technologies opened new possibilities; many beautiful designs began to emerge from house artists such as Owen Jones (De la Rue), Harrison Weir (Willis & Co.), Mr Aymer Vallance (James English & Co./Peerless Card Company) and George Cruikshank, Richard "Dicky" Doyle and George Clulow (Charles Goodall).

Above: Special Joker, Ace of Spades and back design by Chas Goodall and Son, for Sanderson Bros & Newbould Ltd. Sheffield, c.1912.

 
The Ace of Spades and Jokers are not the only cards to receive the attention of the playing card designer. However, one card player's appraisal of the result might take into account functionality, whilst another may value other features in the pack which the former ignores.

Portsmouth Souvenir Playing Cards, Copyright © (1998) TARGET="_top">Simon Wintle

The "Portsmouth Souvenir playing cards" illustrated left are a simple study in typography on playing cards. An elongated typeface has been chosen for the indices whilst the caption is also in a matching typeface. Thus the typography complements the plain black and white photographs to make up a simple souvenir playing card design which is integrated. Further typographic refinements and pictorial motifs can be added to build up the overall 'feel' of the pack, on the backs as well as the box, so that the result looks consistent and natural, as though there had never been a problem! What is left out is just as important as what is included.

Bearing in mind the requirements of the job, a playing card typeface must have a good regular weight - not too thin, preferably vertical, very legible, probably serifed, and narrow so as to fit economically into the margin. The top typeface (left) is the Goodall Indexes found from c1910 onwards. The second set is in a modern typeface, as used on the above "Portsmouth Souvenir" example. The third example is the typeface used by Games & Print Services Ltd for their early packs (1997), which has now been superceded by the fourth set, which works much better, especially in Jumbo-size. The lowest sample is the typeface used by Richard Edward Ltd.

Gothic Architecture Playing Cards, Copyright © (1998) Simon Wintle

The "Gothic Architecture cards" illustrated left are designed to assist in identifying the date and period of construction of the parts of a typical English parish church. The typeface is a Gothic font, which goes with the traceried windows and mouldings. The idea is that the pack would be available to visitors to old churches and heritage sites as an aid to identification whilst they peruse the building.