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A 8 Oe 5 +S Pet aa -... 3a Phat, APPENDIX, fo. ce 5 by bp seems a et ee 791 LEADING TRADE AND CLASS PUBLICATIONS |, 2200s 808 ADVERTISEMENTS. 6.0. 00g 4 0 oe us ulsis om Se ee 821-838 INDEX. oo 6 ce hee ee ees ee ee err 809 INSERTS FACING PAGE PRINT MADE BY THE PHOTO-GELATIN PROCESS............. 520 STYLES OF COPPER PLATE ENGRAVING. |... Joe ee 536 PRINT MADE FROM AN ENGRAVED COPPER PLATE........... 540 STEEL DIE ENGRAVING AND EMBOSSING: |... 2.255 548 PORTRAIT FROM AN ENGRAVED STEEL, PLATE) >= eee 552 PRINT MADE BY THE PHOTOGRAVURE PROCESS) =e 560 PRINT MADE BY ROTARY. PHOTOGRAVURE.....) 568 AN EXAMPLE OF ROUGHING OR. STIPPLING, . 5 3.3 eee 678 A VARNISHED PRINT... o,55 55.5. .0. +. 44 Oe 680 RULED. FORMS «000 600000 Wa oa oe oe 682 *Fig. 20. HE value of a commercial illustration is determined by its worth as a selling influence. It stands to reason, therefore, that a little extra time or expense in procuring the best possible photograph— when this is the basis on which the illustration is to be built—will, in most cases, prove to be a paying investment. There are probably more poor halftones chargeable to poor photo- eraphs than to any other cause. It is, of course, impossible to obtain as good a photograph as might be desired in every instance; but there would be a noticeable improvement if every photograph were made as perfect as conditions would permit. In the production of an ideal piece of work of any kind, it is necessary that every step leading up to that ideal be taken in an ideal manner. To obtain the most perfect reproduction from a photograph at the lowest cost, the customer must do his part by providing a sub- ject as nearly ideal as possible for the photographer; the photographer should do his part of the work in an ideal way, and this will give the engraver an opportunity to complete the work in an ideal manner. In order to be certain of a thoroughly satisfactory photograph, the handling of the work must not only be taken care of properly from start to finish, but every detail in the equipment must be right—the camera, the lens, the plates, the printing paper, etc. Where circumstances will permit, the best results will be obtained with the least trouble and expense, if the work is done by a first-class commercial photographer, one who is experienced and a specialist in this particular line of work. While some photographers who specialize in portraits have the equipment for commercial work, many of them are not prepared to handle it outside of their galleries, or even to handle certain classes of work in their galleries. The hand camera has its place for amateur photography and can frequently be used to good advantage in collecting data, but it is usually more expensive in the end to attempt to make engravings from its product than it would be to get a good photograph from a professional photographer. *Square halftone, no finishing line, 150 line. A miscellaneous lot of 8x10 photographs was arranged on a table top and a photograph of the group made from an overhead rigging. The gray border and lettering were drawn on the photo- graph from which the halftone was made. The halftone screen in the white of letters and background was eliminated by first outlining with a tool and then routing. 10 COMMERCIAL ENGRAVING AND PRINTING Where the services of an experienced photographer cannot be obtained locally for photographing heavy machinery, or subjects on which there will probably be a great amount of retouching, a few dollars extra expense in getting the services of an expert photographer from a nearby city will prove to be money well spent in the end, as the foundation for a good machinery illustration is the photograph. Many poor photographs cannot be put in proper condition, regardless of the amount of retouching. Manufacturers who have many photographs to make often arrange skylights in their own plants, instead of delivering their goods to a commercial photographer; and, if they are not equipped to do the actual negative and print making, they may have the photographer come to their plant to make the negatives, the developing of the plates and printing of the photographs being done later at his own shop. This saves crating and shipping of goods, and if proper lighting and spacing arrangements are made, the plan is entirely satisfactory to all concerned. CAMERAS Cameras of many different designs and sizes are required to meet the demands of different classes of work, such as the view, commercial, postcard, studio, banquet, laboratory, photomicrographic, panoramic, Cirkut, sky scraper, lantern slide, stereoscopic, reflecting, moving pic- ture, copying, reducing, enlarging, etc. The view camera is usually of light construction for convenience in handling and is used in connection with a tripod. A rising and falling front is used, and in order to accommodate a long-focus lens the bellows is long, and made tapering so as to telescope when folded, which allows the camera to close up completely, and permits of the use of very short focus lenses for wide angle work. It must also be equipped with back and side swing. Cameras for commercial work are usually provided with square bellows because they generally permit more rise and fall of the lens and there is less danger of cutting off some of the image; also less danger from scattered light from reflections from the bellows which causes foggy pictures. If the camera will not close up enough to accommodate a wide angle lens, an inverted cone can be used. The portrait camera is generally built with a comparatively short bellows, the same size the entire length. It is of heavier construction than the view camera and intended for gallery use on a wheeled stand. The panoramic or Cirkut camera is especially adapted for views of industrial plants, very large groups and other subjects which require © a wide-angle view impossible to show on a single plate made with the usual view camera. The exposure is made on film placed in the camera ona spool. The camera revolves by clock-work during the process of exposure, the film unwinding simultaneously and exposure being made through a slot. The exposure can be stopped at any point, making it unnecessary to expose the full length of the film, it being possible to use any part from a few degrees to the full circle of 360 degrees. Groups to be taken by this camera are posed in a circle, or such part of a circle Pages 1 to 16, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. COMMERCIAL PHOTOGRAPHY 11 *Fig. 21. Commercial camera. *Fig. 25. Studio camera. *Fig. 22. View camera. *Fig. 23. Cirkut camera. *Fig. 27. Hand camera. *Fig. 24. Reflecting camera. *Fig. 28. Banquet camera. *T]lustrations courtesy Eastman Kodak Co., Rochester, N. Y. : : ¢ Halftones, 150 line, made from retouched photographs. Nos. 21, 24, 26 and 28 are in outline finish and Nos. 22, 23 25 and 27 in outline-vignette finish. 12 COMMERCIAL ENGRAVING AND PRINTING *Fig. 30. Laboratory outfit. *Fig 31. Photomicrographic outfit. }Fig. 33. Panoramic view camera. Fig. 34. Motion picture camera—open and closed views. as may be necessary in order to make figures or heads of equal size throughout the group and to avoid their appearance in a curved line. For manufacturing plants, the position chosen for the point of view should be from a corner, so as to show little or no curvature, such as ~ would be obtained if the view were taken broadside or at an elevation. The longer the focus of the lens used the greater the distance may be from which the photographing is done, and use of this advantage will result in better perspective and less distortion. A reflecting type of camera is especially adapted to getting pictures of moving objects under various light conditions, as well as from *Tllustrations courtesy Eastman Kodak Co. tlllustration courtesy Gundlach-Manhattan Optical Co., Rochester, N. Y. Halftones No. 29, 30 and 31 are outline-vignette finish and Nos. 32 and 33 outline and all were made from retouched photographs. No. 34, both views, outline, made from halftone prints in catalog. All plates 150 line. COMMERCIAL PHOTOGRAPHY 13 *Rig. 35. Cirkut view of a manufacturing plant. *Fig. 37. Broadside Cirkut view showing pronounced curvature. almost any position and with brief exposure—as quick as 1/1500 of a second. The operator looks into the focusing hood and sees the picture on the ground glass screen, exactly as it will be reproduced in the finished print. A slight turn of the focusing button adjusts the focus and permits instant action. A tripod is seldom used, and no focusing cloth or finder other than the hood is necessary. This camera is especially suited to the use of newspaper men, and others who require a camera for making good out-of-door pictures under almost every condition. *Fig. 38. Cirkut view of landscape showing little distortion because of distance. *Nos. 35, 36, 37 and 38 are square finish halftones, 150 line, no line. Made from photographs, each about 36x7 inches. 14 COMMERCIAL ENGRAVING AND PRINTING a *Fig. 41. Long focus lens. *Fig. 42. Motion picture lens. LENSES A wide range of lenses is necessary to cover all branches of pho- tography. Certain types may be used more or less successfully for several classes of work, including landscape, architectural, flashlight, interiors, commercial and scientific work—as well as for busts, por- traits and groups in the studio—but the best results are obtained by using a lens adapted to the special kind of work being done. All rapid rectilinear lenses are more or less defective from an optical standpoint on account of their curved field, which causes a falling off or dished appearance toward the edges of the plate when the object is sharply focused in the center. This is overcome in the anastigmats, which give good definition to the extreme edge of the plate. Anastigmat lenses are also faster than the rectilinear type, as they can be used with a larger opening. However, generally speaking, two lenses exposed with the same stop number, will have the same — speed. For head and shoulder work in studios the type of lens known as the portrait lens has been used from the earliest days of photography. This type of lens has a limited covering power, so that it is generally used in a focal range much longer than is required by modern lenses. It gives pleasing perspective or proportion of parts because of the long focus of the lens, but if used to cover large size plates it is not at all *Nos. 39, 40, 41 and 42 are combination plates. The halftones are outline finish, 150 line, made from photographs of retouched photographs. The sectional views are line etchings on zinc made from catalog illustrations and are tacked on the same blocks with the halftones. COMMERCIAL PHOTOGRAPHY 15 satisfactory to the photographer who wishes to do group work, standing figures or home portraiture. The use of such lenses is confined to head and shoulder work, and the curved field which is peculiar to the lens comes in just right in connection with the old-fashioned vignette or fading away of the image at the bottom of the picture. Modern anastigmats are replacing the portrait type of lens for the reason that they have a flat field and will do head and shoulder work, group work and all of the varied work of the studio. Telephoto lenses give big images of distant objects in a way similar to that of the ordinary telescope. They duplicate the effects of tremendously long focus lenses, but do not have the disadvantage ee - bo Oy eel ese Ez) A rales [ | [ofa fa a IEEE EEE *Square halftones, with line, 150 line. The upper left view was reproduced in same size as copy from photograph made with a fixed focus hand camera on plate 214x314 in.; that at upper right, reduced one-half, with a focusing 4x5 in. hand camera fitted with a rectilinear lens; that at lower left reduced three-fourths, with a commercial camera fitted with a wide angle anastigmat lens, on an 8x10 in. plate and that at the lower right, reduced three-fourths, with a commercial camera fitted with a long focus anastigmat lens, on an 8x10 in. plate. The original chart was about 20x24 in. and all exposures were made from same point. *Fig. 43. Same subject photographed with different lenses. 16 COMMERCIAL ENGRAVING AND PRINTING of requiring a correspondingly long bellows extension. The usual way of arranging telephoto apparatus is to use an attachment, which will not in itself take photographs, but when combined with a good anastigmat may be set to give magnifications of from three to eight times what the regular lens will give. The telephoto lens proper does not give variable magnifications as does the telephoto attachment, but is a lens of telephoto construction, where the magnification is a fixed one. Such lenses are of course faster than the telephoto system above mentioned. Telephotography is used for landscape, architec- tural and geographical views and by naturalists, and of course, the higher the magnification, if the size of the plate remains constant, the less the angle embraced in the view. With regard to their construction, there are two general classes of lenses, symmetrical and unsymmetrical. In a symmetrical lens the glasses consist of two elements which are alike in construction. Either one of these elements may be used separately in combination with the diaphragm, thus making possible two lenses in one, or three lenses in one if the front and back single elements are of different foci. This is not possible with unsymmetrical lenses, which can only be used when properly combined. Lenses are also classified in accordance with their focal length, speed, and angle of view. For instance, a lens working with aperture larger than f/6 is extra rapid; aperture f{/6 to {/8, rapid; aperture of less than f/11, slow. A lens with a narrow angle is one with an angle up to 35°; medium angle, up to 60°; wide angle, up to 100° or more. By focal length is meant the distance between the ground glass and the optical center of the lens, when sharply focused on a very distant object. The focal length governs the size of the image produced by the lens on the ground glass. For instance, a lens of twelve-inch focus will produce an image twice the size produced by a lens of six- inch focus. The speed of a lens is regulated by the amount of light that passes through it, and varies with the different apertures of the diaphragm. The method commonly used to designate the speed rating of the lens FOCAL PLANE, GROUND GLASS, PLATE AND HOLDER FOCUSING’ CLOTH ! STANDARD ANGLE OF VIEW J SEVERING CAPACI | LENS, DIAPHRAGM, = ap BELLOWS. 4 SHUTTER-LENS CAP | a rr? eee BOAR tl qm wu eT —— se = = eee IN FOR RISING AND FALLING FRONT EXTENSION RACK AND PINION === FOCAL (LENGTH=——=—=» POINT OF VIEW <—— DEPTH OF FOCUS — > Line etching on zinc from pen drawing. Fig. 44. Explanatory of camera parts and photographic terms. COMMERCIAL PHOTOGRAPHY Ly is by the “‘f’’ system, which indicates the largest aperture at which it will cover the plate properly. For instance, if a lens is designated to work at {/6, the diameter of the lens (effective aperture) is one-sixth of its focal length. Speed is one of the important advantages, but a lens that possesses great speed does not have the same depth of focus that is to be had in a slow working lens, as the larger the aperture the less becomes the depth of the focus. The quality of the lens which makes it capable of producing an image is known as definition. There are different standards of sharpness of definition for different kinds of photographic work. Usually the portrait photographer desires to give his pictures a certain softness and makes use of an indistinctness of depth; the view pho- tographer should get sharpness, which will allow for the enlargement of negatives. When the photograph is made for reproduction by the halftone process, sharpness of line in the negative is usually essential. The covering power of a lens has reference to the size of the plate it will cover with the diaphragm wide open and still give good defini- tion to the corners of the plate. On account of the flatness of field of anastigmat lenses and their large image circle they have considerable reserve covering power which becomes available by stopping down. The angle of view is determined by the focal length of the lens and the size of the plate on which it is used, and when not otherwise spect- fied means the angle in a horizontal direction. This regulates the amount of the subject shown on the ground glass. For illustration, a seven-inch-focus lens, used on a 5x7 plate, embraces an angle of view of 53°; while the same lens, used on an 8xio plate will take in an angle of 85°, provided it will cover the plate. A wide-angle lens, used for interiors, groups, etc., gives exaggerated perspective to objects near the lens, while a lens having a narrow angle is not practical in confined situations, as only the lens angle is included in the view. Depth of focus is the ability of a lens to render sharply objects at different distances from the lens. The longer the focus of a lens the less is this depth of focus. The shorter the focus the more the planes that can be sharply photographed. Depth is controlled by the dia- phragm. The more the diaphragm is closed, the greater becomes the depth of focus and vice versa. The focal plane is the plane on which the image made by the lens is brought to the sharpest focus. This is the position at the back of the camera occupied by the focusing screen when placed in position for exposure. In roll film cameras the film unrolls across it. A camera with a long-focus lens will naturally tend to produce more satisfactory results than if the same subject were made with a short focus or wide-angle lens. Such equipment produces more nearly what we are accustomed to seeing with the eye, which embraces a narrow angle of about fifteen degrees. The more nearly the point of view is taken as it would appear to the eye, the better proportions and more natural looking the view obtained. Pages 17 to 32, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 18 COMMERCIAL ENGRAVING AND PRINTING OTHER EQUIPMENT In addition to the different kinds of cameras and lenses necessary for a well-equipped commercial studio, there are such items as camera stands, printing machines, enlarging outfits, backgrounds, tripods— Outline finish halftone, 150 line, made from retouched Square finish halftone, 150 line, no finishing line. Made photograph. from retouched photograph—the group of parts on floor was drawn on the photograph. Fig. 45. Tilting tripod. Fig. 46. Overhead rigging. regular and tilting—printing frames, mounting presses, print dryers, print trimmers and numerous small appliances. One of the important requisites is an overhead rigging for sus- pending the camera for a downward view of objects or groups of parts, which have been arranged on a table or the floor, directly underneath. PLATES AND FILMS Both glass plates and films are used in commercial photography. Each has advantages for certain classes of work, although films are used exclusively in the Cirkut and moving picture cameras. Film is light in weight, not subject to breakage and requires but small space for storage; qualities of considerable advantage for work away from the gallery, shipping and filing. It is also practically non- halation, being so thin there is no chance for the reflection of light. Numerous brands of dry plates are on the market, each having some special qualification for a certain kind of work. There are varia- tions for the purpose of getting latitude in the time of exposure neces- sary for different kinds of work; some being slow, some medium, some fast. Some plates are made for obtaining extreme contrasts, others are especially sensitive to the great variations in color that are encoun- tered, and so on. The sizes of plates most commonly used are 5x7, 64%x8¥, 8x10, COMMERCIAL PHOTOGRAPHY 19 IOxI2, I1x14 and 14x17, although smaller, intermediate and larger sizes are obtainable. For commercial work, the 8x1o plate is the size most extensively used. The ordinary dry plate does not render correctly all of the color values of objects photographed. With the ordinary plate, red, orange, yellow and living green will photograph about the same as black, while blue and violet will photograph almost the same as white. The use of orthochromatic plates upon which the emulsion is sensitized to a wider range of colors will improve the rendering of yellows and lighter greens, though for any noticeable correction it is usually necessary to use a filter as well. They are well adapted to landscape views, pho- tographs of furniture and other objects that will be encountered in the average run of work. When the emulsion of the plate is further sensitized, so as to be capable of rendering practically every color value in its true tone, the plate is called a panchromatic. PREPARATION OF SUBJECTS FOR PHOTOGRAPHING It is not only necessary to have good photographic equipment for the production of good photographs, but it is also necessary that the subject be properly prepared. Different classes of things require dif- ferent treatment, and only experience will enable the photographer to get really superior results when handling a difficult subject. While comparatively few may be interested in the photographing of furni- ture, silverware, etc., the principles, or theory, involved would be the same in the preparation of any subject of a similar nature, therefore modifications of the following methods may be adapted to an almost unlimited variety of subjects. FURNITURE If ordinary plates are used, furniture should be photographed before it is varnished, preferably just after it has been filled, or in some woods, in the white. In making up patterns that are to be photo- graphed, the lumber should be carefully selected, using only that EASTMAN | Be FILM CARTRIDGE | te ra For IRKUT OUTFITS fy HROMATIC Outline-vignette halftone, 150 line. Made from slightly retouched photograph. Fig. 47. Plates and films. 20 COMMERCIAL ENGRAVING AND PRINTING having clear and well marked grain with rather pronounced figure. Boards having crossed grains should not be used, as when these are joined together some pieces will show the grain when viewed from one direction and others when viewed from the same point will show little, if any, grain. Sap wood, knots and other imperfections should, of course, be avoided. The grain may usually be brought out by painting the piece over with gasoline and kerosene, half and half. The gasoline brings out the grain, but if used alone would evaporate too quickly. The combined gasoline and kerosene will not evaporate, but has to be taken out before the piece is finished if a water stain is to be used. Outline finish halftones, 159 line. Made from unretouched photograph. These three pieces, all of the same pattern were photographed at one time on one plate; that at the left was in the white, that in the middle was filled and that at the right had been varnished and rubbed. Fig. 48. Comparison of results obtained when photographing oak furniture in the white, filled and varnished. This is not necessary if an oil stain is used. Cedar oil will produce the same grain effect, but will require more time to evaporate. The figures or flakes in the wood are sometimes brightened with sand paper or a sand eraser, such as stenographers use. Care must be taken, however, in the use of the sandpaper or the results will be a spotted or a too contrasty effect in the photograph. The careful selection of the lumber and the proper filling or staining of it, usually gives the desired result without the necessity of touching up the piece before photographing it; and the more per- fectly this part of the work is done, the less retouching will be required on the photograph to bring the grain out properly in the halftone to be made from it. Owing to the dark finish of weathered oak, it is very difficult to show its grain in a photograph. Results may be greatly improved by COMMERCIAL PHOTOGRAPHY PAI using the sand eraser on the grain flakes, after the pieces have been properly prepared and filled in the regular way. Where one part of an article takes the filler more rapidly than another, thus causing this part to appear different from the rest, color should be applied so as to gain uniform results for the entire piece. As the grain in mahogany is not so well defined as in oak, it is necessary to exercise even greater care in selecting the wood. Ma- hogany pieces must be left in natural wood, applying solutions to bring out the grain properly. If birch or other wood is used in con- nection with mahogany, it should be stained so that it will photograph like mahogany. The stain will not make the wood look like mahog- any to the eye, but it will bring out the desired result in the photo- graph. These woods can also be well rendered with a panchromatic plate and red filter, even when the articles are finished. No mirrors or glass should be placed in the frames of furniture that is to be photographed. The negatives are blocked out so as to leave the plain white surface where the mirrors are to appear in the pho- graphs and these are later painted in by the engraver’s artist. In painting in the mirrors and glass, the artist indicates the clear glass by transparent flashing with the air brush over the indicated space. Mirrors are indicated by flashing over the white ground where the negative has been opaqued for the mirrors. An illustrated description of the method of treating the mirrors will be found elsewhere under the heading of ‘“The Air Brush.’” When engravings are ordered from photographs of furniture requiring the painting in of mirrors, the engraver should always be advised as to whether the glass is to show with plain or beveled edge. In photographing a piece of varnished furniture, results may be improved if it is tented in. A piece of common white sheeting may be stretched from the background to the camera from either side, and also one over the top. When so arranged, all of the light that falls on the object is diffused, and the reflections are greatly lessened, if not entirely done away with. In connection with this plan, it is neces- sary to use a color filter and an orthochromatic or panchromatic plate. In photographing upholstered furniture, where fabric is used in connection with wood, fabric should be selected, as far as practicable, that will harmonize in color with the wood when photographed. Pan- chromatic plates and yellow filter can also be used to good advantage. Plush is difficult to photograph as the nap lies in different directions, producing spots in the photograph that have little or no detail. Plush should be handled as little as possible before photographing and the nap should be brushed so as to lie in the way to produce the best effect in the photograph. The tufted and leathery effect in furniture that is upholstered in leather—such as couches, chairs, etc.—will be brought out to the best advantage by lighting strongly from one end of the subject. Pieces upholstered in leather must be handled very carefully prior to pho- tographing, as sitting on a piece or laying a heavy object on it may put the upholstery out of shape, causing an imperfection in the photo- eraph which will make necessary the expense of retouching. DD COMMERCIAL ENGRAVING AND PRINTING SILVERWARE AND OTHER POLISHED OBJECTS The greatest difficulty in photographing any object with a highly polished surface is to avoid reflections on the surface. Sometimes these surfaces are dulled by daubing with putty or some other oily substance, and, after the negative has been made, the article is cleaned off with gasoline and a soft brush. This plan is successful in many instances, but should not be tried without the full knowledge and consent of the owner of the article being photographed. Polished silver, for instance, has a most delicate surface, and a slight scratch will call for a considerable amount of repolishing. There are prepara- tions on the market for coating silver and other polished ware to avoid reflections in photographing, some of which are guaranteed not to tarnish. The tent or curtain idea, previously described as applied to *Fig. 49. Reflections on polished surfaces. varnished furniture, may be successfully carried out in the photo- graphing of many objects that have a highly polished surface. Prevailing conditions, as well as the nature of the object being photographed, must largely govern the choice of the plan to be fol- lowed; and, regardless of the plan followed, more or less retouching by the engraver’s artist will usually be required on the photographs to put them in the best shape for reproduction in halftones. GLASSWARE The attractiveness of a piece of cut glass lies in the manner in which the light is reflected from the numerous facets or cuttings. If photo- graphed in the ordinary way the reflections in such a subject are so confusing as to mar the appearance greatly, unless the glass is specially prepared for photographing, or the photograph is extensively re- *Square halftone, no finishing line, 150 line, Made from two photographs mounted together as shown. Line tooled between. Separate photographs were made of the group which had been placed on a dark cloth on top of a table. The view at left was made without any attempt to avoid reflections, while when making the one on the right the group was surrounded with a white muslin curtain extending to the camera, and excluding all light except that reaching the subject through the curtain. The negatives were made from an overhead rigging. COMMERCIAL PHOTOGRAPHY 23 touched by the engraver’s artist. The former plan is more satisfactory, because of the greater naturalness of the effect attained. A common way of preparing glassware for photographing is to go over it with the air brush or an atomizer, using a pale blue, aniline dye, in water and gum. Another method is to coat the surface with aluminum bronze which has been cut in banana oil and alcohol. Should there be a grain to the bronze, this can be overcome by dusting the surface with powdered graphite. While by the foregoing method photographing without reflections is an easy matter, the results do not show the transparency nor the full sparkle of the natural reflections. To get better results the object being photographed may be placed in a tunnel made of muslin or tissue, so that all light reaching it will be diffused, and color filters and orthochromatic or panchromatic plates used. The transparency of the article will be emphasized by having the tunnel run towards a window, from which it is separated by a piece of ground glass, muslin or tissue, which will also serve as a background. By increasing the size of the tunnel or tent, and lining it with smooth black or red ma- terial the facets on the cut glass will be brought out to better advan- tage. Ora black background, a little larger than the space occupied by the objects being photographed, placed a little in advance of a window, thus giving some side illumination by transmitted light will improve the rendering of their transparent nature. The transparency of glassware may also be increased by placing a piece of black paper on the inside of the piece and nearest the back- ground, carefully trimming it to fit and so that it will not extend above the top. Black velvet is used for background and to arrange pieces on. The engraved work on glass will be shown to better advantage if these parts are rubbed or dusted with red opaque, graphite or rouge, wiping and polishing the plain surface before photographing. CASKETS Caskets are usually very difficult subjects to photograph. The exteriors are mostly of dark material, while the interiors are lined with light materials, which gives the two extremes of color immediately adjoining. This and the plush and the sheen effect of the cloth, and the bright metal parts with small detail, make a combination very difficult to handle. Results depend very much upon the experience and ingenuity of the operator in lighting and in handling the details. The dulling of the polished metal, the use of the tent, top lighting, and the covering of the light interior with dark cloth while giving part of the exposure for the dark exterior; removing the covering and exposing the entire subject during the remainder of the exposure—as well as other special methods—are necessary for the best work. STOVES Extreme contrast in light and shade is also met with in photo- graphing stoves. The nickel trimmings must be kept from photo- graphing too white or chalky, as well as from reflecting surrounding objects; and, at the same time, the black iron—oftentimes ornamental 24. COMMERCIAL ENGRAVING AND PRINTING —must show all of the detail and not appear flat. The nickel parts photograph best if puttied, and the putty may be applied to the large surfaces with a printer’s ink roller of a small size, running the roller over the putty and then over the metal. The putty can be applied to the irregular corners and surfaces, and the overlapping edges can be smoothed, where the roller has been used, by a tuft of cotton. The black iron should be painted with a dull, flat grayish-black. This paint can be made of lamp black cut in alcohol and thinned with water, and if grayish tint is wanted, whiting, which is soluble in water, is added. The tent system of lighting can sometimes be used to good advantage in diffusing the light. MACHINERY Mechanical subjects of metallic construction should be painted with a temporary coat of steel gray, the paint being mixed of materials that will dry quickly and absolutely flat and without gloss. Subjects _ Square halftones, no finishing line, 150 line. Made from unretouched photographs. The subject in No. 50 was painted a steel gray before photographing, while that in No. 51 was painted a gloss black with parts in red. Fig. 50. Fig. 51. Proper and improper method of preparing machinery to be photographed. that are painted in black, red, yellow, blue, etc., do not have the same photographic values, hence there is a great loss of detail and lack of uniformity in the color of the parts, unless the subject is specially prepared. The preliminary cost of coating a machine, by the use of inexpensive labor, will be a great deal less than that of retouching a poor photograph by an expensive artist. All brightly polished parts should be rubbed over with soft putty, or other suitable preparation. Lettering that has been cast on parts will appear white in the photo- graph if the surface in relief is carefully chalked. A mixture of lamp-black and whiting with gasoline to the con- sistency of paint, and in proportions to produce a medium tone of gray, makes an excellent paint for this purpose. This preparation may be applied to nickel parts as well as to the rough iron surfaces and will prevent reflection as well as insure good separation of detail. It may COMMERCIAL PHOTOGRAPHY D5 be easily dusted off after the negative has been made, thus causing very little inconvenience or extra work in putting machinery or parts in original condition. When it is desired to show an illustration of some part of a ma- chine more prominently than others, the usual procedure is to pho- tograph that part separately, or to make an enlargement of it from the photograph made of the complete machine. Or if it is impossible to photograph the part, it can be drawn in phantom effect, taking the same point of view as was used in photographing the complete machine. Defects in the finished surface of a casting that are only slightly noticeable to the eye, as well as spots from oil and other discolorations, appear very much stronger in the photograph. These can be almost, if not entirely, eliminated by the temporary painting. However, the best of photographs of mechanical subjects usually require some work on the part of the engraver’s artist, for the correction of light and shade effects and the more careful working out of small details; but this work will be nominal compared with that required for retouching a subject that has not been properly prepared for photographing. The better class of machinery illustrations are made from photo- graphs that have been almost—if not entirely—painted over by the engraver’s artist, regardless of the clearness of detail in the original photograph. The subject is usually enlarged from the original negative, thus obtaining sufficient size in all details to permit ample surface for the artist in retouching. MEDALS AND CASTS It is a violation of the Federal Law to photograph any kind of United States money. In photographing medals, seals, etc., when the color is such that they cannot be successfully photographed direct, or cannot be tinted by air brush, they may be successfully photographed by first making a plaster mould and from this producing a plaster copy to photograph, made of a gray composition which may be obtained by mixing ink with the plaster. FLOOR AND BACKGROUNDS In photographing subjects having a considerable amount of detail, and in which there are numerous openings through which the floor and background will be noticeable, much of the artist’s time will be saved, where the background is to be retouched or eliminated, if a clean smooth cloth or sheet of paper, of a contrasting color, is used as a background and floor covering. The indication of a floor under a machine is usually painted in by the artist, and it can be put in at much less expense if the surface is white when the photograph comes to him. This white ground can be obtained by blocking out the negative, but it is well to use the floor covering, on account of the definition of detail that results from the light reflected to the machine parts and to facilitate the blocking out. While many of the backgrounds in portrait work, especially home portraiture, are photographed with the subject, many of the striking effects are produced through special work on the negative before the Pages 17 to 32, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 26 COMMERCIAL ENGRAVING AND PRINTING - prints are made. The negatives are made using either plain white or plain dark background, and the film of the negative is then lightened or darkened to produce the effect desired. POSING The most natural looking photograph is one which appears to the eye the same as though viewed from a point at a distance equivalent to about twice the greatest length of the object photographed. To obtain good perspective and proportion the camera should be placed as far away from the object—and at about the same height—as one would ordinarily view it with the eye. A three-quarter view, or at least one with slight perspective, is nearly always preferable to a straight front view. Some very effective photographs are obtained by placing the camera practically on the floor level, with an upward view toward the subject. This method is much used in photographing automo- biles, live stock, etc., and gives the object a somewhat enlarged ap- pearance. The placing of the camera and the manipulation of the rising and falling front and the horizontal and vertical swings are such as to avoid distortion. It is practically impossible to overcome distortion through retouching. Vertical and horizontal lines should be parallel, and the camera should be placed far enough from the object to keep the parts in the foreground from not appearing out of proportion. If the object is slightly tipped to obtain a partial top view, the plate in the camera should be swung so that it will be parallel with the vertical lines of the tipped object. The size of many objects is not evident when they are photo- graphed alone, and where the photograph is to be submitted to those not familiar with the actual size of the subject, it is well to have a workman, or some object of a commonly recognized size, appear in the photograph with the main subject, thus bringing out the compara- tive size. The size of smaller objects may be indicated by photo- graphing a scale, foot rule or yardstick in connection with the main subject or subjects, provided the figures when photographed will be large enough to be read. The measure may be placed either hori- zontally or vertically, depending upon whether height or width is to be indicated. Identifying numbers, printed on clean cards, may be placed against or attached to objects being photographed, to indicate factory numbers, sizes, etc. Where many pieces appear in a group and each is to be numbered, or to be designated by name, it is better to add these numbers or names to the photograph, or to the halftone plate that is to be made, by double-printing—which is explained elsewhere—than to attempt to make them a part of the photograph. In photographing a series of any kind of articles it is well to keep the sizes of the articles in the photographs in the same proportion. By fixing a standard distance between the camera and the object, as well as a definite position in which to place the objects, each may be pho- tographed in the same perspective and in relative size. The sale of many an article has been seriously affected because of its incorrect COMMERCIAL PHOTOGRAPHY Diy. proportionate size in a series of illustrations, and by which a wrong impression was created in the mind of the observer, who did not take the trouble to read the detailed specifications concerning it. In lines that are to be added to, from season to season, a record should be kept and the same distance and angle of view used con- tinuously. A practical and convenient way of doing this, in many lines, is to place a long and wide sheet of paper on the floor, extending from the camera to the piece being photographed, marking the posi- tion of the camera on one end, and position and angle of the piece on the other, retaining the marked sheet from season to season for refer- ence. Or the distance may be measured with a tapeline, and recorded Outline halftone with square panel at bottom, 150 line, no finishing lme. Made from unretouched photographs mounted together of subjects especially filled fer photographing. Line tooled between. Fig. 52. A customary view. Fig. 53. A worms-eye or upward view. for subsequent use when photographs are to be made. This will not only insure uniformity in the photographs but also aids in readily and accurately determining the proper size for each illustration to be made from the photographs. A little time spent in the proper placing and adjusting of the movable parts of a machine or any other object, before making the negative, may save considerable time of an expensive artist for altera- tions and redrawing on the photograph. As every manufacturer knows better than any one else the special selling features of his own goods, it is advisable if possible that he set the goods up or pose them for the photographer. When he cannot do this in person, it is desirable that he give very explicit instructions to the photographer on this important point. If the manufacturer ‘poses the goods, it will frequently prevent misunderstandings, loss of 28 COMMERCIAL ENGRAVING AND PRINTING time, and disappointment in results. The manufacturer should always see a print of the photograph before the engraver does any work either in the way of retouching or actual plate making. When making photographs of groups made up of a number of pieces—as the separate parts of a machine—it is easier to lay them out on the floor or on a table than to hang them on a background in a vertical position in front of the camera. The camera may be sus- pended from the overhead rigging and pointed downward while making the exposure. In the absence of the overhead equipment, a tilting tripod may be used for the smaller groups. By this plan, if the parts have been properly painted and prepared, and placed on a clean back- ground of a contrasting color, little if any retouching will be required to bring out the details definitely. Care should be taken in the ar- ranging of the articles in the group that the proportion of length and width over all will reduce to the proper proportion in the plate to be made. For example, if a halftone plate 6x8” is to be made from the group, the pieces must be so placed that the ground they cover will reduce to this size. Where the pieces are hung in a vertical position on a background, and the photograph is made with the camera in the ordinary position, it is necessary to paint out the nails and hooks from which the pieces have been suspended, if they are not to appear in the illustration. This is a small matter, of course, where there are only a few pieces, but it is a considerable item in a large group. It is also more difficult to arrange pieces to best advantage in a group when they are photographed in a vertical position, as each change means a change of a hook or nail; while, if the pieces are placed on the floor or a table, a change merely means the moving of a piece from one location to another. In the photographing of groups of jewelry and other subjects, where an artistic, as well as practical effect is being sought, and a background in a figured or pattern design is desired, various materials may be utilized, such as loosely woven cloth, lace, figured paper and ne Square halftone, 150 line. Made from part of a print of 120 line halftone magazine advertisement, 914 in. wide. Solid black border painted in on plate before etching. White line tooled in. Fig. 54. Group photographed on a decorative background. COMMERCIAL PHOTOGRAPHY 29 Square halftone, no finishing line, 150 line. The original photographs (5x7’s), without trimming or retouching, were mounted on a plain gray card, which shows as the background. Fig. 55. Photographs of a model for use in a series of advertisements. specially made backgrounds almost without number. The back- erounds must be prepared first and mounted in such a way as to re- move all wrinkles and other lines that might be detrimental to the view. A plain ground glass is often used for a background for such subjects. Proper care should be taken in the arrangement of the pieces in the group, and it should be checked over to see that no piece is missing, but if it is found necessary to add to the group or change the location of a piece, this can sometimes be done at less expense and trouble than by re-photographing the entire group. The piece to be added is photo- eraphed in its relative size, trimming away the background to the outline of the piece and mounting this down on the photograph in its proper position. A thin edge can be obtained by beveling underneath, which will permit close mounting, and with a slight amount of re- touching, patches can be made that will scarcely be noticeable. Many illustrations are made from specially posed photographs. The view complete may be obtained by photography, or a partial view photographed and the rest retouched or painted in on the pho- tograph. In making such photographs it should be kept in mind that the more attention given to the details of posing, lighting, and the actual negative making, the better the results will be. MODELS Most commercial photographers have a list of persons whose services may be obtained for posing to add life to photographs to be used for advertising illustrations. An extra charge is always made for model’s service. The amount of charge for this service should be agreed upon before the negatives are made, and a written agreement be entered into with the proper party as to the right to use the photo- graph. To obtain acceptable photographs at least cost, it is also neces- sary to carefully plan all details in advance of the actual negative making. TOP VIEWS Many times when a top view is desired the nature of the object is such that it is impracticable to make a photograph in the gallery with regular equipment. Various devices may be employed, such as building 50 COMMERCIAL ENGRAVING AND PRINTING a scaffold around and above the object to be photographed, and sus- pending the camera from the scaffolding. When the subject is readily moved, as an automobile chassis, it is possible to run it under a bridge ‘and take the photograph looking down from the bridge. The camera should be centered directly over the object, and at such distance as will prevent any distortion. In many factories, where subjects of this nature are photographed frequently, platforms are built at proper height for regular use. The plan of turning an object on its side to make a top view is not so satisfactory as placing the object in its natural position and photographing down from a scaffold above. When a considerable number of subjects are to be shown in one photograph but it is impossible to pose all of them at the same time, it is sometimes practicable—in the case of still subjects—to make a mask corresponding to different sections of the plate on which different Square halftone, no finishing line, 150 line. The photographic negative was made from a bridge, under which the truck stood on a track. Negative was blocked out, bromide enlargement made and this retouched. Fig. 56. A top view. exposures are to be made, posing the subject and exposing only that part of the plate assigned to that particular subject. The mask is then changed to another section on the plate, photographing the sub- ject for that section, and so continuing until all the subjects have been photographed and all sections of the plate covered. All of the exposures being on one plate, and this being the original negative, better results will be obtained in the photograph than if a separate negative is made of each subject and a print from each is placed in group to be photographed again. Some retouching and blocking out of the negative will be required, on account of the edges of the mask, but a little experience enables the operator to overcome any bad looking lines that might separate the views. LIGHTING A very important step in the making of a good photograph is the proper lighting of the subject. This is often very difficult of accom- plishment unless the work is done in a gallery. Large objects that can not conveniently be moved must, of course, be photographed under as favorable conditions as circumstances will permit. Objects small enough to be taken to a gallery should be photographed there, where arrangements are such as to obtain the best lighting effects. COMMERCIAL PHOTOGRAPHY Ba Mechanical subjects should not be photographed out of doors, nor directly under a skylight, as too strong a toplight will cause deep shadows. The best results will usually be obtained with a good light from the north, falling at a downward angle of 45° to 70°. The light may be controlled to some extent by the placing of a temporary back- ground of paper or other material. INTERIOR VIEWS In photographing interiors the camera should not be pointed toward windows if possible to avoid it, but if this can not be avoided, then the windows should be covered with curtains or thick wrapping paper, fastened well around the edges, so that no bright margins of light are visible. After the exposure has been nearly completed, the window covers should be removed and an additional short exposure given. This will give the window a natural appearance and will often show objects in a natural way outside. When conditions will permit, it will generally add to the appearance of an interior to show in the photograph a view through an open door into another room or hallway. This adds to the interest of the view by showing the relation of the room being photographed to the other parts of the house. Conditions vary so much with regard to interiors that it is difficult, if not impossible, to lay down more than the most general rules as to the way in which the work should be handled. The operator must use his best judgment in regard to the focusing, the point of view, etc. FLASHLIGHTS Flashlights are necessary in making a great many interior views, especially if there are persons or life in the view. There is usually a tendency toward very strong contrasts and lack of detail in the high lights and shadows of a photograph from a negative made by flash- light. In reproducing photographs by the halftone process there is a tendency toward a still greater lack of detail in these parts; hence a poor photograph made by a flashlight is a very poor subject from which to make a halftone. The flashlight is used in making home, office and shop interiors, banquets and other public gatherings, also in photographing subjects that can not be otherwise lighted. EXTERIOR VIEWS East fronts should be photographed during the morning, west fronts during the afternoon, south fronts any time during the day, depending on the point of view wanted, north fronts early in the morning or late in the afternoon, or when the sky is overcast with thin, light clouds. The camera should never be pointed toward the sun. WINDOW DISPLAYS Sometimes considerable ingenuity has to be exercised in taking photographs of a store window. The glass in the window is very likely to cause reflections of objects across the street to show much We COMMERCIAL ENGRAVING AND PRINTING better in the photograph than the goods in the window. By fully illuminating the display the photograph may be very successfully made after dark, the reflections of the buildings across the street being thus avoided. A long exposure is required, but people passing between Outline halftone, 150 line. Made from two unretouched photographs mounted together. White line tooled between. Fig. 57. The same show window photographed by daylight (at left) and by artificial light (at right). the camera and the window will not affect the exposure, so long as they keep moving. A lighted match in front of the lens, or the headlight of an automobile or street car, would impair results. The camera should be so placed as to avoid taking in reflections from electric signs across the street. It is sometimes necessary to request that such signs be turned off while the exposure is being made. PORTRAITS A great many of the portrait photographs from which halftones are made were not originally intended for that purpose, but as other copy is not obtainable, the engraver must do the best he can with the material at hand. However, when a special sitting is made for a photograph from which a halftone is to be made, the photographer contributes largely toward a successful outcome when he works along the following lines: If the halftone is to be used for newspaper work, or the plate printed on a moderate grade of paper in job work, a light or medium light background should be used. The darker backgrounds may be used where the halftone is to be well printed on a good grade of paper. The light and medium backgrounds will also work well in the higher grades of printing. Dense black backgrounds are difficult to print. The engraver’s proof may show an exact reproduction of the photo- graph, and be very artistic, but the plate will require very careful handling on the part of the printer—with frequent wash-ups through- out the run—in order that sharp, clear impressions may be continu- ously obtained. Pages 17 to 32, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. COMMERCIAL PHOTOGRAPHY 33 Focus for sharp detail and clear outline of figure against the back- ground. The negative should be retouched, if necessary, before the print is made. Glossy black and white prints, sharp in detail, printed without too much contrast, will produce the best halftones. Prints on linen-finish paper are hard to reproduce, as the pebbled surface causes small reflections which make it impossible to make a sharp halftone from such a print. Also the grain will frequently com- Combination halftone and line etching on copper, 150 line. Pen drawing made for border from which line negative was made. Subject was posed for special photographs from which the halftone negatives were made, which were stripped into their positions. The lettering was drawn in white on the photographs and the screen tooled out of it in the plate. Fig. 58. Backgrounds for portraits: LSA, light; LTA, medium; LUA, dark; LVA, black. 34. COMMERCIAL ENGRAVING AND PRINTING bine with the screen of the halftone in such a way as to make a pattern or moire effect. Very unsatisfactory results follow the making of a halftone from such copy larger than the copy. Sepias and strong reddish-brown prints are very poor for reproduc- tion, as they havea tendency to come much darker than the photographs. Rough-surfaced papers make very artistic photographic prints, but they can not be reproduced to good effect, because the uneven surface chows in the halftone as a defect and produces a muddy and unsatis- factory result. It is just as necessary that the engraver be furnished with a good print from which to make a halftone that will please the customer, as it is that the photographer furnish him with a good photograph to please him, if no halftone was to be made. It is best that the prints be not trimmed or ovalled out, and it is preferable that they be delivered flat, or on a plain, closely-trimmed mount, rather than in a folder, or in an expensive and elaborate mount. The customer may want a square-finish halftone, which it might be impossible to make from an ovalled print, while it is an easy matter for the engraver to make an oval from any square print on which suffi- cient margin has been left. PHOTOGRAPHIC PRINT PAPERS In Fig. 59, the same negative was used in making the prints on different kinds of paper and these prints grouped. The reproduction is about one-half size of the original photographic prints. A glossy, soft black and white print was used for section LO; a semi-gloss, semi- matte, black and white for LP; a dull-matte black and white for LQ; glossy solio for LR; a regular semi-gloss, semi-matte Velox for LS; a semi-gloss, strong contrast, semi-matte Velox for LT; a dull buff, semi-matte for LU: a dull buff, rough matte for LV; a green carbon, semi-gloss, semi-matte for LW; a semi-gloss, semi-matte sepia for LX: a dull rough sepia for LY, and a dull sepia linen finish tor LZ; DEVELOPING PLATES Practical experience is the only safe guide in the developing of negatives and the handling of imperfect plates. Broadly speaking they may be classified as normal, underexposed, overexposed, under- developed and overdeveloped. The normal negative has had approxi- _ mately the correct exposure and development, and a print from it will show detail in the deepest shadows, as well as in the high lights. Negatives that have been slightly underexposed may be built up, but practically nothing can be done with one that is very much under- exposed. An underdeveloped negative may be brought to good printing density by the process known as intensification, while an overdeveloped negative may be brought to proper printing condition through the process known as reduction. As an imperfect negative can never be remedied so as to produce prints equal to those from one made properly, a new negative should be made to replace the imper- fect one where practicable. Usually no retouching is done on nega- tives of commercial subjects. COMMERCIAL PHOTOGRAPHY 30 Square halftone, 150 line screen, no line. Made as one plate from group, white line tooled between sections. Lettering drawn in white on photographs and screen not tooled out in plate. Fig. 59. Showing relative results in halftones made from different photographic print papers. 36 COMMERCIAL ENGRAVING AND PRINTING Square halftone, no finishing line, 150 line. In making the halftone negatives, which were stripped into positions as shown, the lights were directed against a sheet of white paper placed a short distance back of the negatives illustrated in order to show the transparency of the plates. Fig. 60. Negative before (left) and after (right) opaquing. Square halftone, no finishing line, 150 line. Made from unretouched prints mounted together. This view also illus- eas ae small objects may be easily held in special positions by the use of putty or modeling clay while being photo- graphed. Fig. 61. Prints from negative before (left) and after (right) opaquing. BLOCKING OUT, OR OPAQUING AND ETCHING NEGATIVES In making photographs of furniture, machinery, etc., a much better appearing print is obtained, if the background is blocked out in the negative, making it possible to get good, clear prints of the object alone or that part of it to be used, without confusion of a mis- cellaneous background. Prints from blocked out negatives are always preferable, but not necessary, for the making of halftones. A con- siderable saving in the artist’s time for retouching is effected by having negatives blocked out before the prints are made. In blocking out a negative, the photographer covers the film side of the negative, after developing and drying, with an opaque paper or paint, coming up to the edges of the article that has been photo- graphed. The opaqued surface of the negative coming next to the sensitized paper when the print is being made, keeps light from getting to the paper forming the surrounding background and permits the light to pass through the negative only in the parts of the object photographed. In opaquing a portrait negative the edges of the parts that gen- erally appear too abrupt when blocked out in the ordinary way may COMMERCIAL PHOTOGRAPHY aK be outlined with a soft retouching pencil, thus obtaining a blended edge instead of the abrupt line. The additional expense for blocking out a negative depends upon the nature of the subject. To block out the background around a simple subject would involve little, if any, additional expense; while a complicated group would call for an extra charge. Negatives of interior or exterior views are seldom blocked out, unless it is to block out the edges so as to leave a broad, white margin around the print to center attention on the main part of the view. If it is desired to obtain a black background in a print the back- ground in the negative may be made transparent by removing the film with an etching knife. PRINTS The paper on which prints are made is finished in a wide range of surfaces, weights and qualities. A paper possessing a smooth, lustre- less, dead surface is known as matte; one with a dull surface, showing a light sheen, as semi-matte; one with a smooth, glossy surface as glossy. Prints are mostly made in blacks, browns and grays, and there are a few in blues, greens and reds. Prints that are to be reproduced by any of the photo-mechanical processes are to be preferred in black. Prints of a commercial subject will show the detail best if on a glossy paper. Silver or solio paper, while not used as extensively as formerly, produces excellent prints for retouching and for reproduc- tion. It is so little used now, however, that it is inconvenient for photographers to supply it, as this paper will not keep; and prints are often unsatisfactory on account of lack of practice in handling. If solio paper is used the prints should be of a brownish gray or purple tone. Strong reddish toned prints do not make good reproductions, as red intensifies in reproduction, causing loss of detail. These prints are sometimes known as sun prints, since printing can be best done by sunlight, the image being developed on the paper by the action AXL AXN Outline finish halftones, 150 line. The photographic negative was made from a retouched photograph. A norma] print from it was used in making AXK, an undertimed print for AXL, a too contrasty print for AXM and an overtimed print for AXN. Fig. 62. Varying photographic prints from the same negative. 38 COMMERCIAL ENGRAVING AND PRINTING of light, the print being toned, washed and fixed after it has been printed to the required tone. The developing out papers, which are now almost universally used, are furnished in a number of grades for different degrees of contrast, and afford the possibility of much greater speed in making prints than the printing out papers. In making prints on developing paper it is exposed to artificial light under the negative, and the print on the paper is afterward developed in a manner similar to that in which the negative was developed after being exposed in the camera. There is no visible image on the paper until after the developing begins. Most photographers now have machines for printing. These are of box-like construction with glass top, the lamps being arranged inside. The negative is placed on the glass top, the paper on the negative, and over this a hinged pressure pad. As the hinged pad is closed and opened the lamps are automatically turned on and off. All prints that are to be reproduced should be made on gloss paper. The matte or dull finish paper gives better wear in albums and port- folios used by salesmen, but matte prints do not reproduce as well as glossy prints because of lack of depth in detail. The prints, by what- ever process made, should be sharp in detail and fixed in a neutral tone. Under or overprinting should be avoided, and the prints should be thoroughly washed to avoid the possibility of any chemical action later, which would prevent the artist’s retouching paints from adhering and remaining permanently. A highly glossed surface, which increases sharpness of detail, is given to the print by drying it on a ferrotype plate, a thin, highly-pol- ished enameled sheet of metal, on which the print is placed face down and brought into contact by the use of a squeegee roller, the plate -being first treated with a solution to prevent the adhering of the print. Outline-vignette halftone, 150 line. Made from re- Outline-vignette halftone, 150 line. Made from touched photograph. slightly retouched photograph. Fig. 63. Printing machine. Fig. 64. Print drying machine. ee a ee ee COMMERCIAL PHOTOGRAPHY 39 Square halftone, no finishing line, 150 line. Made from a group print which was made from the same negatives used for the photographic prints in Fig. 55. Photograph not retouched. Fig. 65. Prints from different negatives on one sheet of print paper. If unmounted prints curl when dry they may be flattened by drawing them under a round-backed ruler or over the edge of a table. Prints should never be rolled, as handling, either for examination or in reproduction, will sooner or later cause cracks to appear, and these will show in the reproduction. Where a large number of small prints are to be made, time will be saved by first making a sufficient number of prints in duplicate, which when mounted together will cover a larger size plate. By making a new negative of the large size several of the prints may be made at one operation instead of the single print. After the large prints have been dried they may be cut into the small sizes. Where prints are reproduced in large quantities, the drying of them quickly and satisfactorily was formerly a difficult problem, but such work is now done by what is known as an automatic drying machine. The prints—of various sizes and kinds — are placed on a continuous web, which passes over and around large, heated, drying cylinders, the dried prints being deposited in a basket. Prints are usually delivered unmounted unless otherwise ordered, but they may be mounted on paper or muslin backs, with or with- out hinge for binding in portfolios, or mounted on cards. GROUP PRINTS To obtain in one print, without indication of patching, several different views, each of which has been made on a separate negative, a rough sketch or diagram is first made locating the position in which each of the different views is to appear. The negatives are then printed on the large sensitized sheet one at a time, the sheet being covered with a mask so that only the part is exposed under the negative in Pages 33 to 48, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 40 COMMERCIAL ENGRAVING AND PRINTING use. A mask, with change of position and negative, is made for each view, and, after all of the views have been printed, the sheet is de- veloped and fixed in the usual way. Negatives are sometimes trimmed down and mounted together, opaquing or masking out parts that are not to print. To obtain a vignetted effect for each view, the usual method of vignetting is followed when printing from each negative. PATCHING PHOTOGRAFHS Many views are made by patching photographs together. All of the negatives are made with the camera in the same position, simply turning it sufficiently after each exposure to catch as much of the Square halftone, no finishing line, 150 line. Made from two photographs mounted together. Fig. 66. Patched photograph. adjoining field as the plate will cover. A camera with a sliding bed block, which permits the camera to slide back so the lens is directly over the tripod screw is necessary, as it is the lens that sees the picture and the lens must not move, except to revolve on its own axis. The negatives should be timed exactly alike and developed together, so that they will have the same printing quality. Then, after making several negatives showing the continuous view, the prints from each negative are trimmed and mounted together, and the joints between the photographs matched in the best possible manner. In the case of large manufacturing plants, comprising one or many buildings, it is sometimes impossible to make a satisfactory photo- graph, and the most satisfactory way of illustration is through a wash- drawing made by a competent artist, as neither the Cirkut photograph nor the result obtained by patching views together will produce as satisfactory a picture. COLOR FILTERS A subject in one color placed against a background of another color, or a subject that contains two or more colors would, if photo- graphed in the ordinary way, lose greatly in color value in certain of the tones. The ordinary plate is sensitive to blue, violet and ultra violet rays; the orthochromatic to the same colors, and to some degree to the greens and yellows; while the panchromatic is sensitive to all the colors of the spectrum. Best results are therefore obtained by nee, ae ee) COMMERCIAL PHOTOGRAPHY Al using color filters. The best color filters are made of stained gelatine cemented between optically hand-worked glass. These are expensive, but filters may be obtained cemented between the best parallel plate glass, or the stained gelatine films themselves may be used, though they are likely to be quickly spoiled. Filters are placed in front of the lens while making the exposure. All plates are supersensitive to blue, violet and ultra violet, so that it is necessary with orthochromatic plates to use a yellow filter, which will cut out all ultra-violet, and enough of the violet and blue light, to bring these tones to the proper relationship with the other colors to which these plates are sensitive. With panchromatic plates various color screens should be used, the color of the screen depending upon the colors in the subject to be photographed. While these filters cut out a surplus of the blue light, they in no way increase the sensitive- ness of the plates to other colors. They necessarily increase the time of exposure because they cut out a part of the light to which the plate is the most sensitive. Subjects in which there is a large amount of blue will, if photographed with a red or yellow filter, be left so as to have more nearly the same shade or tone value as the eye sees. Red, orange, yellow and green cannot be photographed without a filter, and will only be rendered with the same relative degree of brightness that the eye sees when a panchromatic plate and a fully correcting yellow filter are used. 7 For general work the yellow filter with an orthochromatic or pan- chromatic plate is about all that is needed. However, other contrast filters are made for use in commercial work, in conjunction with a Figures 67 and 68 are square finish halftones, no finishing line, 150 line screen. Both were made from the print in color of this subject as it appears elsewhere. Fig. 67. A color subject reproduced Fig. 68. Same subject as in Fig. 67 with an ordinary plate. reproduced with filter and pan- chromatic plate. 42 COMMERCIAL ENGRAVING AND PRINTING panchromatic plate, such as strong yellow for photographing oak, walnut, and similar woods, orange-red for mahogany and rosewood and articles of a similar color, green for purple typewriting, deep red for dark mahogany, blue prints, etc. HAND COLORED PHOTOGRAPHS Photographic prints are frequently colored by hand with the air brush, or a sable brush, and used by manufacturers for showing their products in natural colors. They are also much used for calendars and art subjects, for decorative purposes, etc. Prints for hand coloring should be made in black and white on matte or semi-matte paper and slightly underprinted. Most commercial photographers have facilities for hand coloring prints for their customers; the cost depending entirely upon the amount of detail and the manner in which they are handled. COLOR PHOTOGRAPHY The various processes are classified under two distinct headings, additive and subtractive. By one method, in the former class, three negatives are made through red, green and violet-blue filters. From these negatives, monochrome (black and white) positives are made which are projected on a white screen, from separate lanterns, so the images fall upon each other in perfect register. The light from each lantern must be projected through a color filter similar in color to that from which the respective negative image was formed. The opaque images in the different positives permit the right portions of light to pass to produce the various colors when the combination is trans- mitted to the screen. The Lumiere process involves the sprinkling of the plates, by the manufacturer, with a fine deposit of colored starch grains, each one hundred parts carrying a proportionate mixture of green, blue-violet and red-orange. This method of photographing in color is better known commer- cially as the ‘‘autochrom”’ process. Aside from the ordinary photo- graphic equipment, the materials necessary are the autochrom color plates, a special color filter, two chemical solutions—which can either be purchased ready for use or prepared by the photographer himself— and “‘virida”’ papers, used as light screens when developing. The plates are loaded in the holders and exposed with the glass side, sprinkled with the color grains, toward the lens. A special yellow screen or ray filter is used, and as the light passes through both the color screen and the layer of colored starch grains before reaching the sensitized side of the plate, time exposures are necessary. The first step in developing the plate after exposure is in the dark- room where the lantern, or other source of illumination, is screened with the “‘virida’”’ papers. The plate is here passed through the first solution, which gives a negative image, and the positive image is ob- tained by the use of the second solution in daylight or strong artificial light. The first solution is now poured back over the plate and it is redeveloped. By the Warner-Powrie process of color photography a screen plate COMMERCIAL PHOTOGRAPHY 43 with recurring fine lines representing the three colors is used. The plates are coated with an emulsion so that negatives in color can be secured with very brief exposures, and from these negatives positives in natural colors can be produced indefinitely. The negatives may be taken anywhere with an ordinary camera at a single exposure and de- veloped with an ordinary developer. Results by the additive method are not suitable to apply to paper and the subtractive process must be employed for making prints on paper. In the subtractive process of color photography the additive operation is reversed and wherein red, green and violet-blue light were added to obtain white, the red, green and violet-blue are now sub- tracted from white to get black. In photography the operations result as negative. White is repre- sented as black in the negative, which protects the paper on which the print is made so that it remains white, and black, on the contrary, does not photograph but appears as clear glass and allows the light to pass through and prints as black. So in color printing, as well as color photography on paper,:the red, green and violet-blue sensations are subtracted from the white with colored pigments which are light mix- tures of the colors that have not photographed. For example, in photo- graphing through a violet-blue filter the red and green do not photo- graph. Red and green light added together produce yellow and there- fore the violet-blue image is printed in yellow. Similarly, the image through the green filter is printed in red (magenta), a mixture of the red and blue light. The image through the red filter is printed in blue which is a mixture of green and blue light. All color printing processes are subtractive processes, so called color photographs by superimposing carbon tissues of the three colors, yellow, magenta and greenish-blue made from their respective negatives. There are also methods in which dyed positives are used to transfer the image in dye to a gelatine coating on white paper, the wet paper being applied to the respective stained positives and the color being transferred from the plate to the gelatine coating on the paper. This is known as the imbibition method and of which the Pinatype process is probably the best example. A process invented by Dr. Traube utilizes three black and white positives, made from the separation negatives, in which the silver is bleached to a silver iodide taking up the dye stuff. The positive films are stripped off and superimposed over each other after the silver image is dissolved away and the colors fixed with tannic acid. This is known as the Diachrome process. PHOTOMICROGRAPHS Magnified pictures known as photomicrographs of specimens or sectional views are often used in scientific and explanatory work. Minute pathological specimens from the human body may be photo- graphed in the following manner: Any tissue, after being removed from the body, is prepared by fixing in a 10% formaldehyde or other fixative fluid to prevent decomposition and it is then decalcified, if it contains hard substances, such as bone or tooth-substance, in a 5% nitric acid until it is soft enough to be cut. The specimen is then 4A. COMMERCIAL ENGRAVING AND PRINTING washed and the acid neutralized and it is imbedded in paraffin and mounted on a block. This block is attached to the microtome, an instrument which cuts the specimen into very fine sections. Some of the sections are selected and stained by one of the various pathological or histological staining methods and then mounted on a microscopic slide. It is now ready for microscopic examination. Round halftones, no finishing line, 150 line. Made from photomicrographs, from which considerable of the sur- rounding subjects were trimmed to conserve space and at same time show the images same size as in the original copy. The view at left is soda fibre and that at right sulphite fibre as used in making paper. Fig. 69. Photomicrographs. The work of reproduction of this specimen or part of it can be done in either of two ways—by having an artist make a drawing or painting of the microscopic picture, or by the photographic process. For the latter is used a special photomicrographic apparatus, which consists principally of an intense light, such as an arc light, the rays of which are directed by means of lenses through filters to the condenser of an especially fine microscope. Various magnifications can be obtained, the low power lenses usually giving a picture of the entire specimen, while different combi- nations of high power lenses and oculars give various magnifications of the small parts of the specimen. The microscopic picture is thrown on the screen of a camera and finally photographed on a photographic plate, from which prints are made in the usual manner. X-RAY PHOTOGRAPHY This is also known as radiography and is the process of making photographs with x-rays. It is extensively used by the dental and medical professions in diagnostic and research work, and many half- tone reproductions are made from such photographs for use in books and journals published in the interest of these professions. Its use for commercial illustrations is somewhat limited. A radiograph differs from a photograph in that it shows a shadow of the image, or subject, which has been cast on the photographic plate by the x-rays instead of showing the exterior as a camera would see it. The x-rays are produced by an electric current of high voltage gen- COMMERCIAL PHOTOGRAPHY 45 erated by an x-ray machine through an x-ray glass tube, from which they are projected through the object being photographed to the photo- graphic plate or film. No camera is used, and the film or plate is exposed while enclosed in a double wrapper of special light-proof paper. The sensitized plates are in this manner protected from injury by daylight or all artificial light except the x-rays. While the films and plates used in ordinary photography may be used in this work, better results are obtainable by using those made especially for x-ray work, which may be obtained in the different standard sizes up to 14x17 inches. The special films for dental use, obtainable in sizes 144x1%% to 314x3 inches, have an outside wrapper of oil paper that the film may be placed in the mouth under or back of the tooth or teeth to be photographed, without injury to the film. In making the exposure the sensitive side of the plate is toward the tube. The object being photographed is placed in as close con- tact to the plate as possible, and between the plate and tube. The switch is turned on and the x-rays are directed toward the plate, penetrating the object being photographed and the paper around the plate. The more opaque parts of the subject make a more dense shadow than the less opaque parts. The x-rays are invisible, although they give rise to a varying fluorescence. The time required for exposure varies, depending on the subject, the power of penetration of the tube and other conditions, but at most it does not exceed a few seconds. While the wrapped plate may be handled and the exposure made in daylight or artificial light, the plate must be unwrapped and de- Outline finish halftone, 150 line. Illustration of the machine made from a retouched photograph. Upper view at left made from a print from a positive of the original negative and shows the usual form in which X-ray photographs are used. The view just below was made from a print from the original negative. Fig. 70. X-ray photographs and outfit for making them. 46 COMMERCIAL ENGRAVING AND PRINTING veloped in a dark room, and the methods of developing, making contact prints, bromide enlargements or lantern slides from these negatives are the same as those used with photographic negatives made in the usual way. However, as the original negative is usually used for study and demonstration purposes, when photographs or reproductions are used they are usually made from a positive made from the original negative. BROMIDE ENLARGEMENTS Enlarged prints for retouching, framing, etc., are made by enlarging from negatives, usually 8 x 10, 5 x 7, or smaller, and are known as bromide enlargements. The process of making a bromide enlargement is very similar to that used in throwing a stereopticon view on a screen. In the stereopticon a slide is used which is positive in character, and the visible image on the screen is likewise positive—or, in other words, the same as objects would appear in real life. In making a bromide enlargement a negative is used, instead of a positive. In the order in which they are placed, the printing light comes first; then a piece of specially ground glass which diffuses the light; then the negative, then the lens; and finally the printing paper which corresponds to the screen in the case of the stereopticon. To the eye the impression on the printing paper would be negative in character, or exactly the same as the negative from which the print is being made. In the development of the printing paper the negative is changed to a positive, so that the final result is a positive print of the subject on the paper. If the positive used in the stereopticon were used to make a bromide enlarge- ment, the appearance to the eye on the paper would be positive in char- acter, but the development of the print would change it to a negative. To obtain enlargements with good detail, the negative from which they are made must be sharp. The size of the enlargement is optional with the operator and is determined by the distance the paper is placed from the lens, and the focal length of the lens used. The modern way of making en- larged prints is by the use of a pro- Square halftone, 150 line, with line. Made from geet printer aS shown 10 Fig. 71B. a retouched photograph. The negative is placed in the camera, “Fig. 71B. A Projection Printer, Just under the lamp in the dome, with the lens below, and the image is pro- jected to the printing paper on the table beneath. The camera is raised or lowered on the swinging arms to expand or contract the image, which is automatically kept in focus, and when in position for size wanted is locked at that point while the required prints are being made. *Tilustration courtesy of Eastman Kodak Co. COMMERCIAL PHOTOGRAPHY Ag. b. ACETYLENE FOR EVERY PURPOSE | BocsTope EVERY PURPOSE at Square halftones, with finishing line, 150 line. Made from unretouched photographs. The view at left is an exact reproduction of the original photograph and that at the right shows a partial correction of the distortion by tipping and bringing the top of the copy nearer the plate than the bottom. Fig. 72. Distortion. ENLARGING NEGATIVES A negative can be reproduced in a larger size by first making a positive from it, then making the larger negative from this positive. Too much enlargement will produce a granular effect. Prints from the enlarged negative—if it has been properly made by the above method—will be better and have sharper detail than if a bromide enlargement is made from the original negative and a new negative made from the enlarged print. By the last named method it will be possible to do retouching or make alterations in the subject which would be impossible under the former method. CORRECTING DISTORTION If a photograph shows much distortion—caused from pointing the camera upward—and it is impractical to get another photograph of the subject, a negative can be made which will eliminate the distortion to some extent. The negative is placed in a frame, tilted at such an angle that the widest lines are nearest the lens, and from this a posi- tive is made, tilting the ground glass at an equal angle but in the opposite direction. A new negative is then made from this positive. HALATION Halation in a photograph is produced by the strong rays of light from a window, artificial light, or other source, which conflict with the middle tones and destroy detail in the part affected. It may also be caused by the reflection of light from the back of the plate. This is avoided, to some extent, by the use of non-halation plates and film. This kind of plate is first coated with a slow emulsion, which prevents extreme high lights from reaching the glass and reflecting back to the film. After this slow emulsion is dry, the plates are again coated with a somewhat faster emulsion, which will pick up the details in the Pages 33 to 48, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. A8 COMMERCIAL ENGRAVING AND PRINTING Square halftones, no finishing line, 150 line. Made from unretouched photographs. The halation in view at left was caused by the electric lamps, and that in the one at right. by pointing the camera toward the sun. Fig. 73. Halation. middle tones and shadows. Halation is also avoided by backing the plate with some non-actinic material having the same refractive index as the glass. BLUE PRINTS Comparatively few blue prints are made from photographic nega- tives, as blue print paper does not give good results from negatives and quickly deteriorates so that it is unfit for use. It is not practical to make halftones from them. Most blue prints are made from trac- ings which have been made on transparent tracing cloth. These tracings are usually drawn with black drawing ink, and when the cloth is placed over the sensitized paper and exposed to the light, the image on the tracing cloth or negative is fixed on the print paper. When this is developed and washed it leaves the object as represented by black lines on the tracing, white on a blue background. Most of the blue prints from tracings are made on automatic machines, constructed especially for making prints for architects, mechanical engineers, etc. These machines work very rapidly and the paper used by them is not suitable for printing from a negative. While blue prints can be reproduced through the aid of color filters and special plates, the expense will be greater and results may not be as good as if black and white photographic prints from negative or original tracings are used. LANTERN SLIDES Lantern slides are produced by first making a negative, reducing or enlarging the subject to the required size, and from this negative making a positive on glass in a copying camera, or by contact exposure in practically the same manner as a photographic print is made from a negative. This positive is then specially mounted with a cover glass so as to bring the film side between the two sections of glass, which are tightly fastened together with binding strips of some sort. Thestandard size for lantern slides is 4x3]4 in. lh COMMERCIAL PHOTOGRAPHY 49 When this positive is placed in the projecting machine, the image which is cast on the screen is positive in character, the same as the slide itself. Halftones or line etchings may be made direct from lantern slides by placing the slide in a holder and projecting light through it to the plate in the camera, instead of reflecting light from the copy on the copy board in the usual way. Line etchings, of course, can only be made from slides that are in line. MOTION PICTURES The negatives for motion pictures are made on a flexible film, fed rapidly behind the lens, the shutter of which is mechanically operated. The principles involved in the use of the film and the lens are, of course, the same as in other cameras. The distinctive features of the motion picture cameras are the square magazines or retorts, one of which contains the roll of unused film, while the other takes up, rewinds and holds the film after it has been exposed. The progress of the film as it passes behind the lens in exposure is controlled by a special cam and shuttle intermittent movement. A new section of film appears behind the lens after each exposure, being forced into position by a claw movement which engages in sprocket holes on each side of the film; the shutter opening and closing after each exposure, and at a speed of from fifteen to thirty times a second, which is the equivalent of 900 to 1800 separate pictures a minute. An indicator on the side of the camera informs the operator at any time the number of pictures which are being taken per second. FOR SALE BY Square-outline halftone, 150 line. Made direct from the original Outline finish halftone, 150 line. Made slide. Two negatives were required, one for the binding and face from section of the film, from which 15 of the plate up to the transparent section and another (a positive) exposures was eliminated between each of for the transparent section. These were stripped together and the those reproduced. The film for projection lines where the negatives joined were painted in solid on the plate is a positive (as illustrated) made from before it was etched. the original negative film. Fig. 74. Lantern slide. Fig. 75. Moving picture film. 50 COMMERCIAL ENGRAVING AND PRINTING The films are one and three-eighths of an inch wide and any length up to 1,000 feet. In the making of any subject, of course, many parts are entirely omitted and new scenes inserted, the film being patched to complete it in the manner desired. To reproduce the pictures a positive strip is printed directly from the developed negative, and this strip is passed through the moving picture projecting machine, in the same order in which the original film was fed through the camera, the pictures being projected on the screen, through a lens, by a strong light, similar to the showing of a lantern slide. Motion pictures, in addition to their uses for entertainment, in- struction, historical, demonstrative and advertising purposes, are often made use of for reproduction to obtain illustrations of unusual or special poses or scenes that it would be impossible to obtain by the usual methods of commercial photography. ENLARGEMENT OF PHOTOGRAPHS While it is possible to enlarge photographs in making halftones, as well as to reduce them, it is not always practical. The result depends on the sharpness and detail of the photograph that is to be copied, the kind of print, and the amount of enlargement desired. Halftones as large as 14 x 17 have been successfully made from a 4.x 5 photograph, but as all photographs will not enlarge satisfactorily, it is advisable to consult the engraver regarding the copy before making definite plans for enlargement. While occasionally satisfactory plates are obtained from penny photographs or the poorer quality of postcard portraits, it is not safe to depend upon them. The experienced, high-class photographer, with a well-equipped gallery, is the one that should be depended upon for satisfactory results, and it is hardly reasonable to suppose that his work can be equalled by those who specialize in cheap pictures. As the small photographs nearly always require enlargement to get a reproduction of the size wanted by the customer, it is all the more probable that results will be unsatisfactory, as there is little detail in a small picture that has been made with an imperfect or cheap lens. The small picture, however, that has been properly made can usually be satisfactorily enlarged, although a reduction, rather than an enlarge- ment, should always be contemplated. SUGGESTIONS The making of a halftone is simply a process of copying the pho- tographer’s work, and any imperfections therein, instead of being reduced or obliterated, are reproduced in their entirety. The photograph of the object should be slightly larger than the halftone that is to be made from it, if the best results are to be obtained. There is no percentage or scale for the best results in reduction—this depending upon the conditions in each case, but an allowance of 10%, to 25% is usually ample. It is usually more convenient and less expensive to make an enlarged print from a smaller negative, when the print is to be retouched, than to make an original negative of large size. COMMERCIAL PHOTOGRAPHY sa It is, of course, possible to make halftones the same size as or larger than the photographs from which they are made, but the results are usually not so good as when a slight reduction, at least, is possible. It should be the aim of the photographer to produce prints that will require the least retouching when making halftones. This is advisable for two reasons: first, the retouching of photographs for halftone work is expensive; secondly, prints that require the least retouching give the most natural results in the halftones. A print which requires very little retouching to produce a first- class halftone is a good one for all other purposes, but a print that is good for all other purposes may be a very poor one from which to produce a first-class halftone. In order that the halftones for a series of catalog illustrations may be uniform, great care should be exercised to develop or tone all of the prints uniformly from which the halftones are made. Thick print papers with a greasy surface are very unsatisfactory for retouching. While the paint used for retouching may be made to stick to the surface temporarily, a great deal of difficulty is experienced with copy of that kind when it is used continuously for plate making, as sooner or later the paint begins to crack and fall off. This necessi- tates frequent retouching for there will be imperfections in the plate, if the scaled off places are allowed to go unrepaired. As the contrasty print has hard, chalky highlights and extremely dark shadows, such a print will, in the ordinary course of handling, almost invariably become more contrasty in the finished plate. Such a photograph is also usually lacking in detail except in the middle tones. With an even toned effect in the photographic print, a wider range of manipulation is possible in the process of rephotographing and etching. Prints should not be trimmed before sending to the engraver, and Square halftone, no finishing line, 150 line. Incisions were made in a sheet of light gray cover stock in which the orners of the photograph were inserted. The upper corners show one method of inserting and the lower another. Fig. 76. Temporary mount for unmounted photographs. be, COMMERCIAL ENGRAVING AND PRINTING fond their condition on arrival will be much better if sent flat and not rolled. Special mounting may frequently be required for the work in which the prints are to be used, so it is best to send them to the engraver unmounted. Care should be taken not to mar the print by the em- bossing of an imprint on any part of it that is to be reproduced in the halftone. The embossed imprint very seldom reproduces in a legible manner. In fact it usually gives the appearance of a defect in the halftone plate. An imprint may be more neatly shown by drawing it on the print with pen and ink or brush. When lettering is to be added to a negative, to be reproduced in all prints from that negative, it will appear in white on the print if it is put on the negative in black or opaque, or in black on the print if transparent on the negative. Unless such lettering is neatly done on the negative it is advisable to have it painted on the print by an en- graver’s artist, or otherwise. Such lettering is often added by first printing it from type or plate on a thin sheet of celluloid and then placing the sheet of celluloid between the negative and paper while making the print. Figure 76 illustrates a method of temporarily mounting prints by using stiff paper or thin cardboard, in which incisions have been made for inserting the corners of the photograph. When a print is used in this manner the same number should be placed on the back of the photograph as is used on the mount, that no confusion will be experi- enced in case the instructions which have been written on the mount become separated from the photograph belonging to it. It is not advisable to attach a mask with wire clips, showing how to trim. These clips are not only likely to mar the face of the photo- graph, but, as they are easily moved—by accident or otherwise—the instructions may not be properly carried out. Better to slightly notch the edge of the print with shears, or to indicate by a small mark with pen or pencil on the margins what part of the print is to be omitted in the plate. Or, in the case of thin unmounted prints, they may be placed with the face against a window, and that part of photograph which is to be reproduced indicated on the back with a soft pencil. The photographer fixes his charges on the basis of so much per negative of a certain size, with so much additional for each print from the same negative. An additional charge is made for time consumed in the special preparation of subjects that require particular care and attention, and also for traveling expenses and the waiting time in case the subject is not ready to photograph after the photographer has been called to do the work. The use of color filters and orthochromatic and panchromatic plates, also a view taken with the camera overhead, usually call for an additional charge. The price charged per negative is based upon the supposition that the subject may be readily posed and the negative made at the gallery without loss of time. Any work deviating from this is subject to an additional charge, depending upon the time consumed and materials required. An additional charge is always made for use of flashlight. *Fig. 100. must be kept in mind that one dimension reduces proportionately with the other. It is possible to reduce or enlarge either height or width the smallest fraction, but in changing one the other must be changed with it in the same proportion—not the same measure. Of course, if both dimensions of the copy are the same, they will remain equal in any enlargement or reduction, as, for instance, if the part to be reproduced measures 4x4 inches, it is apparent that when it is re- duced one-half it will come two inches in height and two inches in width. However, if the copy is four inches in width by three inches in height, and it is to be reduced one-half, it will come one-half the width and one-half the height, making the size of the reduction two inches wide by one and one-half inches high. Intermediate sizes or smaller sizes would, of course, reduce in the same proportionate way, while an increase in the size of the original 4x3 would mean a propor- tional enlargement of both dimensions. It must also be kept in mind that each and every object, line or detail in the copy will be reduced in the same proportion as the design over all. A copy that is reduced two-thirds will appear in the plate just one-third as high and one-third as wide as in the original, thus occupying only one-ninth of the area of the original. See Fig. 104. A convenient method of ascertaining the size of a reduction of any copy is to lay out on the back of the photograph or drawing, or on a tissue overlay covering it, a rectangle of the exact size of the part that is to be reproduced and draw a diagonal line from the lower left corner to the opposite upper corner. Locate on the diagonal line the known width or height wanted in the reproduction at the point above the bottom line of the rectangle, or at the point opposite the vertical line on the left and the distance from the bottom or the vertical line will be the other dimension. For illustration, suppose a copy measuring four inches left to right by three inches high is to be reduced to two and one-half inches left to right. Starting from the lower left corner of the rectangle measure off the size wanted on the lower line. From this point extend a perpendic- ular line to the point on the diagonal line directly above, and this will indicate the height of the reduction. A line from this point extending to the left line of the diagram will complete the outline of the proposed size, and in this case it is 2%4x17% inches. If the height is given and |: enlarging or reducing copy by photographic process, the fact *Line etching on zinc from pen drawing. Tints in border and background obtained by the use of the shading machine on the plate before etching, while the tint in the lettering was obtained through the use of the machine on the negative before making the print from it on the metal. 54. COMMERCIAL ENGRAVING AND PRINTING *Fig. 101. TFig. 102. A simple method for obtaining dimensions of enlargements or reductions. the width is to be ascertained, measure up on the left line from the lower left corner and then to the right to the point opposite on the diagonal line. The printed scale used by engravers or that used by electrotypers will also be found convenient for determining sizes and proportions of reductions and enlargements. By placing a ruler or string on the scale, extending from the lower left corner to the point of known size, width and height, the direct line between the two points will cross every point of correct proportion. Ora hand-made, accurately ruled diagram with string, as illustrated, will effect a great saving of time to those who have much of such estimating to do. The string as shown on the diagram in Fig. 103 indicates the exact measurements of any reduction that can be made from a copy measur- ing six by three inches, the points cut by the string showing sizes: 2x1, 3x14, 34x14, 4x2, etc. Proportions of reduction or enlargement may also be determined by the rules of proportion; that is, when three of the measurements ORIGINAL SIZE v4 REDUCTION Mo ORIGINAL AREA Ve REDUCTION — ¥4 ORIGINAL AREA 34 REDUCTION “6 ORIGINAL AREA Line etching on zine from pen drawing. Line etching on zine from pen drawing. Fig. 104. The area of reproductions Fig. 103. A convenient scale. compared with that of copy. *Fig. 101 is a square finish double print halftone, no finishing line, 150 line, made from photograph over which tissue overlay, or cover, had been placed. The upper edge of cover was folded over and pasted to the back of the photograph, and the lower right corner of tissue was rolled back and tipped down with paste. The ruled lines and lettering were drawn on the tissue sheet and from this drawing a line negative was made which was used in making the double print halftone. Fig. 102 is a combination double print halftone and line etching on copper, 150 line screen. Made from same photograph as used in Fig. 101. Pen drawing was made of the diagram and lettering from which a line negative was made and used in making the double print. Border line around halftone obtained by double printing, the halftone screen being trimmed and routed away outside the border line. PROPORTIONS 55 are known, the other may be obtained by a simple problem in propor- tion. For example, a copy 35 inches wide by 49 inches high is to be reduced to nine inches high. How wide will it come? (35 : 49:: (?) :9.) Multiplying 35 by 9 and dividing the product by 49, we obtain 6.42+ which is the width of the proposed reduction. There is also published in booklet form a schedule of tables of re- ductions and enlargements, and simplified charts and devices are ob- tainable, but owing to the fact that all dimensions cannot be tabled, it is more practical to use a scale or diagram in the manner suggested. If copy is not rectangular, but is outline, oval or vignetted, simply take measurements of extreme width and extreme height. Large copies may be scaled by dividing each of the two dimensions with any common divisor, obtaining a size that will come within the LOGARITHIBIC a £ OF PROPORTIONS Line etching on zinc from pen drawing. Outline finish halftone, 150 line. Made direct from the original. Fig. 105. To obtain size in the repro- ke : ; duction of a given part when size Fig. 106. The Logarithmic. is given for entire copy. scale in use and using that in connection with scale or chart. Ex- ample: A copy 28 inches wide by 42 inches high is to be reduced to nine inches high, what will be the width? Using seven as a common divisor, the resulting proportions are four by six, and now employing the printed scale with these dimensions it is readily found that when enlarged to nine inches high the width will be six inches. The plan is simply reversed by multiplying to obtain the dimensions of an enlarge- ment from a small copy. Frequently, a desired proportion may be obtained by trimming off or adding to the background by drawing, but subjects having a definite outline are more difficult to handle. Some, such as borders, designs, etc., can be changed by patching, while others, as machinery and other objects of fixed outline, cannot be changed. The following plan will be found practical when desiring to de- termine what size a certain part will come when the entire copy is to be *The Logarithmic is a device for finding the dimensions of a reproduction of any size made either larger or smaller than copy. It consists of two circular pieces of cardboard, the smaller of which is mounted over the larger in a manner permitting it to turn. On the outer edge of each card is printed a scale to be used in determining sizes. This device may be obtained from the publishers of CommerciaL ENGRAVING AND PRINTING, price 25c, postpaid. Pages 49 to 64, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 56 COMMERCIAL ENGRAVING AND PRINTING enlarged or reduced. In Fig. 105, panel ABCD contains an inner panel EFGH. To find the size and position of the inner panel, when panel ABCD is reduced to size A’B’CD’ first extend sides EF and GH until they meet line BD. Then extend sides EGand FH until they meet line AB. From points JKLM draw diagonal lines JC KC LC and MC. Where these diagonals strike sides A’B’ and B’D’ determines the height and width of the reduced inner panel E’F’G’H’. To obtain the boundary of the inner panel draw lines L’E’ and M’G’ parallel to A’B’, and J’G’ and K’H’ parallel to B’D’. Where a suitable camera is available, its use for determining new proportions of complicated copies will be found advisable, because of the accuracy and quickness with which the dimensions may be found by simply focusing the copy to proper size and then taking the measurements as shown on the ground glass. HE materials and equipment required in the production of line and wash drawings and for the retouching of photographs are more numerous than the layman would surmise. Inks, crayons, water colors and oil colors in a wide range of colors, pencils in various degrees of hardness, pens of different sizes, fountain and regular ruling pens, compasses, dividers, brushes of various sizes, paper for rough sketches, tissue paper, tracing cloth, tracing paper, penboard, wash- board, mounting board, frisket paper, silver print paper, erasers, thumb tacks, palettes, T-squares, scales, rules, straight edges, curves, drawing boards, drawing tables, card trimmers, pantographs, air brushes, shading machines, oval and circle cutting machines, books of reference, etc., are among the articles in use. An extensive assortment of paper is, however, not usually kept on hand. In the preparation of a dummy for booklet or catalog in which special papers are used, a selection of the paper is made from the sample files of paper jobbers and the jobber is furnished with specifications for the special dummy. On this the sketches and other suggestions pertaining to the work under consideration are submitted. TRACING PAPER When the size of the subject is to be the same in the new copy as in the old, tracing paper is often used in transferring the outlines of it, in part or entire, to another sheet for drawing. The outlines are first traced on the transparent paper and after the reverse side of the sheet has been given a covering of color with a soft pencil, the sheet is placed on the surface that is to receive the new drawing and the design is transferred by re-tracing the lines on the face of the first sheet with a hard-pointed pencil. Or, the design may be transferred by using a sheet of carbon paper between the sheet of tracing paper and the surface to which it is to be transferred. SILVER PRINT PAPER This is the trade name for a special sensitized paper extensively used by artists for making pen drawings. A photographic negative of the copy to be re-drawn is made in the usual way, except that extreme care is not necessary in making the negative. The negative *Line etching on zinc from pen drawing. The tint in the oval border was obtained by the use of the shading machine on the plate before etching. 58 COMMERCIAL ENGRAVING AND PRINTING may be made of any size convenient to the artist, either larger or smaller than the copy, or of the same size, the size usually being determined by the size of the plate to be made from the drawing. A print is made from the negative on silver print paper in the same manner that a photographic print is made from a negative, except that here again special care is unnecessary. After the print has been fixed, washed, dried and mounted the artist in making the new drawing follows the outlines of the image on the print, using pen and water proof ink, and makes the new drawing or such part as is wanted right over the image on the silver print. After the drawing is com- pleted, it is bleached with a weak solution of potassium cyanide and washed in clean water. All traces of the photographic print on the Outline-vignette finish halftone, 150 line. Made from photograph slightly retouched. The various articles were placed in position as shown and the entire group photographed at one time. Fig. 116. Some of the instruments and materials used by commercial artists. paper disappear in this bleaching and washing process, leaving on the white surface only the ink lines, which are suitable for repro- duction by the line etching process. Usually some additional work is required on the drawing after it has been bleached and, since the general outline of the subject and the essential detail have been obtained, the shading and finishing lines are easily applied to complete the drawing. Owing to the stretch in the paper which comes about in the process of bleaching, washing and mounting, care must be exercised when exact proportions are to be maintained, and borders or rectangular subjects should be corrected with the square. The silver print method is also often used to obtain a print from which to trace the outlines of a subject to be drawn in wash, or by some other method, but it cannot be used, without bleaching, as a basis on which to make a wash drawing. | __ As every detail in the sketch or drawing of the subject to be copied is enlarged or reduced photographically, correct proportions are Art Room ACCESSORIES 59 *Fig. 117. Process of making a pen drawing over a Silver Print. obtained and a considerable amount of time is saved over that which would be required if the layout for the new drawing were made through free hand sketches, drawing, or by the use of the pantograph. ROSS PAPER Although it is little used now, Rossboard, or paper, was, before the invention of the shading machine, extensively used in making ruled or other shaded surfaces similar to those now produced by the use of the machine for reproduction by the line etching process. The board, so named after the inventor, is made with printed indented lines, stipples, etc. Some of the boards are suitable for use with pen and ink, others may be scratched with a special knife, while others may be drawn upon with crayon for obtaining effects similar to those obtained by the use of the shading, or ruling machine. The surfaces of these papers are finished in a variety of textures, varying from fine to coarse, as well as irregular patterns and various forms of geometrical ruling. SCRATCH BOARD This is also a cardboard with a thick enamel surface of special finish. Drawings are made on it with pen and ink and are afterwards Combination outline halftone and line etching on copper, 150 line. The view in circle at left in the upper row is a reproduction of the original photograph; the view in center of top row a reproduction of the silver print, made from the original photograph; the view at right in the upper row the silver print after having been inked in; the lower left view a halftone of the drawing after the print was bleached, and the lower right view a line etching from the finished drawing. In making this group a pen drawing was first made of the group of circles and from this a line negative. Into this nega- tive was stripped the four halftone negatives as shown in the three upper circles and the one at left in lower row, while a line negative was stripped into the lower right circle. 60 COMMERCIAL ENGRAVING AND PRINTING Al f m \ Line etching on zine. Line etching on zinc. Fig. 118. From drawing Fig. 119. From drawing on Rossboard. on scratchboard. finished by scratching with a knife or other instrument to obtain special shaded effects. It is also especially adapted to machine shading when this is to be applied to the copy, instead of to the print on metal or the negative. THE PANTOGRAPH This is a device used for transferring the outline of sketches, prints, drawings, photographs or illustrations of any kind, or even of objects themselves that are to be copied in a larger or smaller size in either line or wash drawings. The graduated bars on the device may be adjusted for any scale of reduction or enlargement that the operator may desire. After adjustment, the original that is to be copied is placed under the tracing point and the paper on which it is to be copied under the pencil. The pencil (A) is then moved over the paper, carefully following the lines of the original with the tracer (B). Square-vignette finish halftone, 150 line. Made from slightly retouched photograph. Fig. 120. The Pantograph. Art Room ACCESSORIES 61 OVALING MACHINE In the trimming of photographs or the laying out of pen or wash drawings there is no fixed rule as to the proportion of length to the width of ovals and usually the nature of the subject, the purpose for which it is to be used, or the ideas of the artist will determine the pro- portion. As almost an unlimited number of sizes and proportions are used, it would take a very large amount of time to draw or cut patterns correctly for the various sizes that are required. Hence an oval and circle cutting machine, of which there are several makes, is almost indispensable. The Ellipsograph shown in our illustration is an instru- ment that will draw with pen or pencil, or cut film or paper in circles of any diameter up to 20 inches and ellipses of any proportion up to 18 by 30 inches, and do the work in a way that is scientifically and mechanically accurate. The adjustment for size is made on two arms that are graduated to thirty-seconds of aninch. This machine is largely Square-outline finish halftone, 150 line. Made from retouched photograph. Fig. 121. The Ellipsograph. used by photo engravers for trimming rectangular photographs to ovals or circles for mounting in groups and for cutting halftone or line negative films that are to be stripped into other negatives of back- grounds or groups, or that are to be finished in oval or circle style. It is also largely used by photographers for trimming portrait prints to any required size for mounting, and by lithographers for laying out ellipses and circles on stone or zinc. THE AIRsBRUSH In the retouching of photographs and the making of wash drawings the air brush has an important place. With it the color is applied to the flat surfaces evenly and in any tone desired. It is also extensively used by photographers, portrait artists, architects, mechanical draughtsmen, monument designers, sign and show card writers, and manufacturers of novelties, for hand coloring photographs, prints, etc. It has also been adapted, in a larger form, to factory use for tinting, eraining, painting, and varnishing such articles as furniture, auto- mobile bodies, machinery, etc. It is a great time saver in the appli- 62 COMMERCIAL ENGRAVING AND PRINTING cation of liquid color, paint, oil, varnish, lacquer, etc., to smooth or to irregular and uneven surfaces. Color, applied with it to a drawing, lies smooth and even, while if put on by hand with a sable brush it is more or less uneven with brush marks, which will sometimes show to more or less disadvantage in the halftone reproduction. It is also practically impossible to obtain with the sable brush by hand the smooth, even blending of high-lights and shadows that is easily obtained with the air brush. Hand work, how- ever, with the sable brush is usually required for lining up the angles and bringing out the small details, such as gear wheels, nuts, and the small parts on mechanical and other subjects. It requires a skilled and experienced artist to combine properly the hand work with the air brush work in the production of high class retouching or wash drawings, but an inexperienced operator can within a very short time properly handle the air brush for the application of plain color. In applying color with the air brush it is sprayed or blown on to the work by compressed air; thus all rough and uneven surfaces are smoothly covered. A small cup, or jar, carrying the color is attached to the side of the brush. In some brushes the color is carried in the barrel of the brush. The mixture of the air and color is regulated by the operator in the manipulation of the brush. The air is supplied from a tank that is usually charged by an air compressor driven by motor, or by hand or foot pump. The color is applied by strokes (of spray), as with a hand brush, except that the instrument does not touch the work. Full color is obtained by repeating the stroke, while the middle tones and high- lights are obtained by fewer strokes, according to the color in use and Square-outline halftone, 150 line. Fig. 122. From a drawing made with the air brush. results desired. The width of the spray is varied by moving with the finger the color-distributing lever, also by varying the distance the brush is held from the work. The needle is adjustable for the production of fine sharp lines or a wide volume of spray, as the work may require. In photo retouching with the air brush a frisket, or mask, is made to cover the parts of the work on which the color is not to be applied. This mask, which is also sometimes called a stencil, is usually made ArT Room ACCESSORIES 63 of a special thin transparent waxed paper, from which the parts cover- ing the sections that are to be colored are carefully cut away with a sharp knife, leaving exposed only the part of the work to which the color is to be applied. This cutting of the mask must be very carefully done, otherwise the edges of the air-brushed surface will be rough and uneven in the finished work, making it unfit for use. The edges of this mask are held closely to the work with weights or with rub- ber cement, which is also transparent and permits of easy removal without damage to the work. Since mask and cement are transparent, and Square-outline halftone, 150 line. Made from slightly Line etching on zinc made from pen drawing. retouched photograph. Fig. 123. The air brush in use. Fig. 124. A complete air brush outfit. the weights are movable, the artist is able to see the density of color and determine its proper handling for correct combination with the color on adjacent parts. Small parts in a subject, that are near each other, require the cutting of a separate mask for each—otherwise in giving the proper finish to one the spray would interfere with the proper handling of the others. Drawing for Fig. 122 was made with an air brush. The border and letters were first laid out in pencil outline. A mask was cut for the border and the face of the letters, leaving all background exposed. After the color was applied to this, the mask was removed and a new one made covering the background, leaving the face of the letters and border exposed. After the color was applied to these, a few touches by hand with a fine sable brush gave the proper finish to the small details. The two pieces of furniture as shown in Fig. 125 were photographed on separate negatives. To get these together on a background that would not show a patched line, it was necessary to cut away all back- ground from both pieces. The cut-outs were then mounted on a plain white background as shown in the upper view. A mask was then made that the bevels (see dresser) might be air-brushed in the mirrors, and following the air-brushing of these, masks were made to cover the 64 COMMERCIAL ENGRAVING AND PRINTING *Fig. 125. Showing method of putting mirrors in photographs of furniture with the air brush. *Fig. 126. Completed group in which mirrors and background were put in with the air brush. *Square finish halftones, no finishing line, 150 line. ArT Room ACCESSORIES 65 bevels to air-brush the reflections (see dressing table) in the main part of the mirrors. After the bevels and mirrors had been completed in the group as shown in Fig. 126, a mask was made covering the two pieces of furniture entire, including the mirrors, and then the back- ground was air-brushed in. Fig. 123 is an actual view of putting in this background. : The little silhouette in Fig. 124 very compactly and strikingly illustrates the artist with a complete air brush outfit in use, consisting of (1) the brush, (2) the adjustable working table, (3) the air com- pressor, and (4) tank of compressed air. THE SHADING MACHINE Frequently it will be noticed in line etchings that some of the flat surfaces are filled in with a stipple, grain, line or other mechanical shading. While such effects may be obtained by hand, the process would be slow and painstaking, and more or less imperfect. For these reasons, practically all such work is done with a shading machine. This machine may be used to make backgrounds; to make original effects in border designs; to strengthen part of an illustration by sub- duing the other parts; to soften the unpleasant effect of large lettering and solid backgrounds; to give individuality to advertising layouts; to relieve blank spaces in illustrations and to produce the texture effect of cloth in fashion illustrations; in short, for almost any kind of special effect that may be desired. It is also much used in the making of line color plates, as by its use several tones of each color may be obtained through only one printing of each color, and by the combination of the different tones and the different colors an almost unlimited number of effects may be produced. It is also used for black and white as well as for color plates for newspaper illustrations and for making tint plates that are to be printed in connection with a halftone key plate. Lithographers use it extensively in making their engravings of vignettes, backgrounds, borders, and for color work, etc. It is often used to produce different gradations of color for printing with only one color of ink. For example, if a part of the engraving is solid, another part shaded with a heavy film, and still another with a fine film, these three different parts will show up in different tones of the same color in the finished print. Line illustrations of many subjects in which machine shading has been used are better than coarse screen halftones from wash drawings for printing on the cheaper grades of paper. The lines in the former are reproduced in their entirety and the shading added by the machine gives color and body to the picture, while more or less detail is lost in the halftone because of the use of the coarse screen. While the machine may be used in a number of different ways, the usual method is to transfer the impression from the film to the paper on which the drawing is made or to the unetched print that has been made on metal; or, when a white line or dot is wanted on a Pages 65 to 80, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 66 COMMERCIAL ENGRAVING AND PRINTING black or dark background in the finished print, the work is sometimes done on the negative before the print is made on the metal. The method depends largely upon the desire of the operator and the effect sought. The process cannot be successfully applied to finished halftone plates. PREPARATION OF DRAWINGS AND PLATES FOR SHADING Illustrations that are to be shaded by machine are usually first drawn in pen and ink, all parts not to be shaded being finished in the usual way. The spaces to receive the shading, which must be smooth, clean, and free from patches, are left blank; and where the edges of the shading do not join lines of the drawing proper, a thin guide line is placed on the drawing for a guide in transferring the film. These guide lines may or may not be removed from the drawing or plate after the film is placed, this depending upon the effect sought by the operator. Referring to Fig. 132, it will be noticed that the artist in making the working drawing left a definite line to indicate the separation line for the different films. In the finished print, Fig. 131, it will be noticed that some of these guide lines have been eliminated while others remain. After the working drawing has been completed, a line negative is made in the usual way and a print is made from this negative on sensitized metal, usually a special zinc, or metal used for ordinary line etchings. The shading is then placed on the plate. The work is usually done on the plate, as, in so doing, the fineness or texture of the shading is reproduced in the same size in the finished impression as Is originally used. Thus the operator will know exactly the effect that the texture used will produce. In making pen drawings most artists prefer to make the drawing larger than the finished plate is to be, so that in the reduced reproduction the small imperfections in lines will not be visible. If the shading is done on such drawings instead of on the plate made from the drawing, it would mean that a much coarser texture would be necessary on account of the reduction. If a fine texture were used on the drawing it might make a very good appearance on the drawing itself, but when reduced in the plate it would be so fine as to be unsuitable perhaps for printing on the kind of paper to be used or too fine to reproduce satisfactorily. This is especially true with drawings from which plates are to be made in different sizes. It is not practical to patch or overlay a drawing with cut-outs from printed sheets of paper or transparent films that have been printed from plates made to represent different shaded patterns, and usually the results appear amateurish. It is impossible, or rather impractical, to get as perfect results by this method as may be obtained by the proper use of the shading machine. The original treatment of the drawing, together with the ingenuity of the operator in the combination of different shading patterns, will produce any number of strikingly distinctive and original effects. Art Room ACCESSORIES 67 THE MACHINE One of the best known and most generally used shading machines is the Ben Day, which is named for its inventor. This machine is made in two styles or forms. The first, or board machine, shown at the left of the illustration in Fig. 127, is the style generally used by photo engraving houses because of the convenience in attaching copy or plate to the copy board, which is part of the machine, while it is being worked on. The holdfast, or stand machine, illustrated at the right of Fig. 127, is largely used by lithographers, newspaper publishers and others *Fig. 127. The Ben Day shading machines. who make large plates. As the base of this machine is weighted, it may be placed in any position on any part of a large drawing, stone, sheet of metal, paper or other surface, and will remain in rigid position while in use. The principal feature of the machine is the film, or screen, which transfers the pattern to the copy or plate to be engraved. This film, or screen, is a thin transparent sheet of a gelatine-like substance stretched in a wooden frame. The under surface of the film is engraved with the pattern while the upper surface is smooth. These films are made in a large variety of shades and effects, there being about 125 different patterns in use. These consist of straight and curved lines, dots, stripes, stipples, grains, texture and miscellaneous effects. THE le I he Combination halftone and line etching on copper, 150 line. A pen drawing was made of the border and background on which was pasted proof from type of the key letters. Into the line negative from that copy was stripped the separate line and halftone negatives of the different views. Fig. 301. Building and birdseye view treatments. 156 COMMERCIAL ENGRAVING AND PRINTING Copyright by The Aeolian Co. Outline halftone, 150 line. Made from print from a newspaper highlight halftone 14 inches wide. Fig. 302. A group view of headquarters and the several factories of an organization located in different cities but assembled in one drawing. Very often views are made of buildings or plants before they are constructed, or during construction; rough sketches, blue prints, written or verbal data being given to the artist from which to work. Drawings are nearly always made somewhat larger than the largest reproduction likely to be required from them, as it is an advantage to the artist to have the copy sufficiently large to work in detail easily and it also provides for loss of roughness in the drawing through reduc- tion in the reproduction. Ordinarily a birdseye view drawing is made in wash in black and white. A drawing made by this method is not only suitable for reproduction in any required size by the halftone process but is also suitable for reproducing by photographing, or by the photo-gelatin process, for framing, and by making fine or coarse screen halftone reproductions as required, they may be satisfactorily printed on almost any quality of paper. If the view is to be reproduced in colors by the halftone process the drawing should be made in colors. Then if it is to be reproduced for printing in one color, a photographic copy should be made, using a special plate and color filter to obtain copy from which to make the plate. Such a photograph will probably require some retouching to put it in proper condition for reproduction. When a view is to be used extensively for advertising purposes, it is advisable to have both a wash drawing, which may be reproduced by the halftone process for printing on the better grades of paper, and a pen drawing suitable for reproduction by the line etching process, for use on the lower grades of paper. The pen drawing is usually made much smaller than the wash drawing, so that there may not be too much reduction when reproducing for the smaller sizes. In the group shown in Fig. 301, views AKA, AKB, AKG, AKH, AKI, AKJ and AKM are reproductions from line drawings; AKC and AKK are from wash drawings; AKD and AKE are from un- retouched photographs; AKF is from photograph used for AKE after retouching and AKL is from an architect’s sketch. MetuHops or TREATMENT 157 Owing to the wide variance in the detail and size of buildings and plants, it is impossible for any artist to name a fixed price for a drawing of this nature, without first considering all detail and possibly first making a rough sketch for the approval of the customer. The price in each instance depends upon the amount of time required to produce the work, rather than upon the size of the drawing. The time will also vary with the amount of detail, such as the number of stories, buildings, windows, etc., and how carefully they must be worked in. Old drawings can often be altered to show additions and altera- tions, although it is usually better to make new views, or make photo- graphic copies of the old ones on which the additions may be made. A first-class 8 x 10 photographic negative should be made of every wash drawing of such a view as soon as it has been approved, and a good print from this should be filed with the engraver from which to make reproductions that may be required from time to time. This will make it unnecessary to send the drawing back and forth each time a plate is needed, and thus not only avoid possibility of damage to the original drawing while in transit, but will be much more convenient and will make it possible to frame the original drawing for office use. BOOKS To obtain a striking and satisfactory view of a book is more difficult than it would appear, and if obtained through photographing, more or less retouching will usually be necessary before a satisfactory repro- Copyright Banihe Stafford Engraving Co., Indianapolis. Square halftone, 175 line, no line. Made from a wash drawing. Fig. 303. Birdseye view of Indianapolis, Indiana. 158 COMMERCIAL ENGRAVING AND PRINTING JAA JAB JAD “JAH JAI JAS KAE : To KAR Double print square halftone, 150 line, no line. Views JAA to JAR, inclusive, are from unretouched photographs of the same book at same distance from camera, but in different positions, and all others are from printed clippings. Photo- graphs and prints were trimmed and mounted on large white card from which the halftone was made. Proofs from type were arranged for double printing the key letters. Fig. 304. Posing books and other rectangular solids. duction can be made. Owing to the color of binding materials, printing and stamping, to obtain correct color values when photographing it is sometimes necessary to use special plates and color filters when making the negatives, and then it may be necessary to retouch some of the detail that may have been lost or impaired, and it is nearly always found advisable to give added size or thickness to the book by retouching. In photographing to show at an angle in perspective the apparent loss in size, comparatively, is surprising and such a photo- graph will require considerable adding to by retouching to give it the MetTHODS oF TREATMENT 159 size and thickness to make it impressive. In showing the front cover and thickness effectively it is well to photograph the front cover almost straight on, showing very little of the top thickness of the book in the photograph but adding this by retouching and adding as well the thickness of the backbone and the lettering on it. CALENDARS In the group of calendars reproduced in Fig. 305 are shown a few of the many possibilities that may be adopted in the making of special calendars to give them individuality and to make them an effective means of advertising as well as attractive and serviceable. The illus- tration for the back may be made up in any number of colors and of size to suit any requirement. Calendar pads may be obtained in almost every suitable size and printed in colors that will harmonize with almost any color scheme that may be adopted. COVER DESIGNS As the original covers reproduced in Fig. 306 were printed in many different colors, also on paper stocks of different colors, their real effectiveness cannot be shown in a one-color reproduction. These are details, however, that may be worked out by the designer and conform to conditions under which a design is being produced and the purpose for which it is to be used. The illustrations, nevertheless, will serve idiot OP NAOKO 9S Sseercencis ANA oy cee QUSLITY UNISOR METY- SERVICE 6789101112 13.14 1516 17 18.19 2021222924526 Double print square halftone, 150 line, no line. The several calendars were photographed on one negative and a photographic print from same was cut to give a separate photograph of each calendar. These prints were trimmed and grouped on a gray card. Proofs from type were arranged for double printing the key letters. Fig. 305. Individualized calendars. 160 COMMERCIAL ENGRAVING AND PRINTING Fist fa Thad Cass ATP fatale What to dev . owithold fetie; STAVE FF 3 Double print square halftone, 150 line, no line. Photographs were made of the covers and these trimmed and grouped on a gray background. Proofs from type were arranged for double printing the key letters. Fig. 306. Catalog and booklet cover designs. MeETHODS oF TREATMENT 161 to show a number of different treatments and styles of drawing as well as display and arrangement of the text matter, etc. ENGROSSING The designing and execution of special certificates, testimonials, resolutions, memorials, etc., as well as engrossing the names and other matter on diplomas, charters and similar documents is a class of work often brought to the commercial artist. While such designs are often all hand-work, it is sometimes less expensive, where there is consider- able body matter, to set this in a suitable type, following a layout furnished by the artist, and leaving spaces for the prominent lines, Fn Memavian “Daptain dowrence 45. Bertsch RB "be guiding band for many yeara of Bertach & Company, and one of the master if inds of bia father’s family, was born a citizen of Cambridge City, Indiana, October 18th, 1879, and paid the debt of nature at @ashington, D. C., October sath, 1918. Some five months before be offered his vervices to the Government in its war extremity, and wao given the rank of Captain and assigned to the Ordnance Division of the Gar Department, in- which service be died. fe ¢ not only served big country well, but at the same time kept in mind and in such =” t dose touch with the business of the Company with which be was 90 intimately associated, that we who are united with bis family in the relationsbip of business, and as stockholders, ows hia memory this tribute, Fis ¢ waa one of the leading officers of the Company, and bis discernment, industry, “Gikg extensive acquaintance, and manner of mecting men and inspiring their interest and confidence, brought a large and valued amoumt of business to hie Company. Especially was this esacntial to the auceesa of the Company in ita inception and through the early otages that marked ita transition from the old works with its inadequate equipment, to the new and present home with ito modern improvement. Much of thio progress can be attributed to Capt. Lawrence Bertach. | Oe ¢ was broad and liberal, with a mind sopeciafly trained in some of the bear | ic institutions of learning in this State and elsewhere. This gave bim unuaual capacity and efficiency which we atl recognize in the aplendid reauita of the yeare just Paat. Pity 'tis that he could not stay longer to enjoy with us the fruite of hie labor. sane ig e le who have known him intimatelp and who baye loved him realize the greatness of 8 bar Binks ond Faery ther De ha: been re ; our loss, and bow in solenn oympathy with thove of his own flesh and blood. won be lst teed er foe shes oa Be : gic, 18 work bere ia finished, and we are bereaved by bis going, bur we are grateful for the legacy of noble example which he bao left to us. RESOLVED, That this tribute be placed upon the atockholdera’ minute-book, and that we, the officers and members, take due notice. 5. L. McDanicte O. L. Callaway H.R. feemoter i i Committee | Square halftone, 150 line, no line. Made direct from Square halftone, 150 line, no line. Made direct from the original copy the size of which was 11 x 14 inches. the original copy the size of which was 12 x 15 inches. Fig. 307. Fig. 308. initials and decorations, which are drawn in by the artist in one or more colors, on the copy, or copies, printed from the type. The head- ing and names were drawn on the original reproduced in Fig. 307, the body matter was printed from type and the memorial was signed by the party presenting it. The portrait was an original photograph mounted on the memorial. The two lines of display at the top and the initials beginning each paragraph in Fig. 308 were drawn in colors and the remainder of the memorial was printed in black from type. ENVELOPE DESIGNS As the envelope offers special opportunity for the display and distribution of advertising, various methods of utilizing the space are in use—a number of which are illustrated in group as shown in Fig. 309. Pages 161 to 176, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 162 COMMERCIAL ENGRAVING AND PRINTING DALY ANS WEEK Coan Double print square halftone, 150 line, no line. The original envelopes were arranged as shown and mounted on a large card. This group was photographed and in retouching the photograph the edges of the envelopes were lined up and the postage stamps, post marks and addresses were painted out. Proof from type was arranged for double printing the key letters. act : Fig. 309. Envelope return card and advertising designs. MeETHOopbs or TREATMENT 163 BURNING OFL8 anc OABOUNE PD ae, mypebeHeneocs Grano Rapios.Micn. April 21, 1919. Service Motor Truck Co., Bond & Michigan Streets, Grand Rapids, Mich. Gentlemen: We wish to express to you our unbounded appreciation of the excellent service your 2-ton has given ue. Thies truck was purchased last November, and up to April lst it cost us practically nothing for maintenance. This cost not averaging above $3.00 per month. We will be glad to give our opinion of this truck to anyone who is contemplating a heavy duty oar. Yours truly, GRAND RAPIDS OIL COMPANY, Line etching on zinc. Fig. 310. Puows Gnamwronry { 2398 AMERICAN SHOW CASE CO. MANUFACTURER AND DESIGNERS STORE FIXTURES. CABINET WORK AND SHOW CASES YOR EVERY BUSINESS 289-291-2933 GREENPOINT AVENUE BROOKLYN N V Mar. 13, 1919, The W L. Russell Co._ Boston, Mass. Gentlemen:- Replying to your inquiry, beg to advise you that we have been using a one~and one-half ton SERVICE Truck for our business for the last six months, and so far wa are well pleased with it. as it stands up to specification well, and are certain- ly pleased to recommend same to anyone 88 we would bay another of the same make, should we have occasion to use one, Very traly yours, American Show Case Co. Line etching on zine. Border line drawn around edge of original letter. Fig. 312. On, Go, cas 3, AVERY & SONS ¥ Pus PLOWS, PLANT! -LAGE IMPLEMENTS asaeadan Cte teh PrBveny Station t. Loursvitie, Ky. Apr. 16, 1919. Jacob Weber's Sons, Market bet. Jackson & Hancook Sta., City. Gentlemen:- We have your letter of April 14th inquiring &s to our experience with our two-ton Service motor truck. This truck has been in constant use without any lose of time for about seven months and up to date has been satisfactory in every way. Present indications point to a continuance of this good record. Yours truly, B. F. AVER sons, GH dere Mech- Rngineer, Combination vignette halftone, 150 line and line etching on zinc. Fig. 311. ~ s J tsar Faowe Ganxvemoser | Et AMERICAN SHOW CASE CO, MANUFACTURERS 8Nn URRIENEHN STORE FINTORES, CABINET WORK AND SHOW CASES POR EVERY BUSINKSH RSO-2O1-NGS GREENPOINT AVENUE BROOKLYN, XY Mar, 13, 1949, The W, L. Russell Co., Boston, Meas. Gentlemen :- Replying to your inquiry, beg to advise you that we have been using @ one-and one-half ton SERVICR Truck for our business for the last six months, Sand so far we are well Pleased with it, ag it stands up to specification Well, and are certseine iy pleased to recommend sama to anyone, as we would buy another of the sama make, should we have occaeion to use one, Very truly yours, Ameriaan Show Case Co., Square-outline halftone, 150 line, with drawn line border. Fig. 313. Fac-simile reproduction of letters. FAC-SIMILE REPRODUCTIONS There are a number of methods of reproducing in fac-simile testi- monial letters, newspaper clippings, and other papers and documents of which plates for printing purposes may be desired. The method of reproduction, whether halftone, line, or combination of both, is largely determined by the nature of the copy and the use to be made of the 164 MELLETT & AUSTIN Wholesale Bakers 211 Ean Twelfth Stren : Line etching on zinc. The original letter was inked in to make it black enough for reproduction, and the border line drawn around the edge of the sheet. Fig. 314. F, E. Weber, Manseer Merchants Truck & Transfer Co. 216-18 East Market Street Genera) Forwarders Tolophones Draymen and Distributors A 1101 Main 79 Rigging and Safe Moving Main 4588 Los Angeles, Cal. April 26th, 1919. Service Motor Truck Co Mr Walter Ziegler, 1719 S. Los Angeles St- Los Angeles, Cal. Dear Sir: We have now been using your Service Truck for more than & year, and we wish to say thet it is on the jog continuously, and that we are so very well pleased with the service it has been giving us that we highly recommend them to all truck users. The cost of maintenance of your truck is far below any other truck we have tried. Trusting that this good service will continue, and that you are enjoying ® prosperous business we ere Very traly yours, MERCHANTS TRUCK & TRANSFER CONPARY. : Maneger. Line etching on zinc. The border line and turned corners were drawn on the edges of the original letter. Fig. 316. COMMERCIAL ENGRAVING AND PRINTING vaore Guenrronmy {3208 AMERICAN SHOW CASE CO. ] |) MANUPACTUNERA AXD STORE FIXTURES, CABENET WORK At FOR EVERY BUSINESS REY-LO 1-2 GREENPOINE ANPNUE BROOKESN. N. ¥ Mar, 15, 1929 The ¥. I. Roesell Co., Boston, Maes. Gentiemen:= eS Replying to your ings © yoo that we have teen using a: o: SERVICE Truck for our bueiness for the months, and a0 far we are well please At stands up to specification well, and ® : 2 ‘recommend sama to anyone, a@ we would Double print outline-vignette halftone, 150 line. A drawing was made to represent a plain sheet but showing the creases from folding. Halftone negative was made of this and double printed with line negative of letter. Fig. 315. manotnct « ‘Pom prospect 9% EA MACHINERY LIGHT TRANSFERRING | AUTO OVERLAND WORK A SPECIALT 118-120 EAST @eorais STREET anaroussito, So ath, 1928 491 ino! D a Dear Sir:~ SERVICE firet In December of last year we purchased our te thet it in daily vee. with euob pstisfaotory resal potting 4 8 second SERVICE jruok in galy xs heave been in constant 08e, wr makes Of Trucks, ¥e ICE} for dependability and Trock, of thie yesr- we parchsse and from oor Both Trac can conscientiously othe th several experience wt is! better then SERV. easy thet there is none economical operation. very truly yours, THR BAFRIS TRAUSFER COMPANY py Cc bees —— Combination line zinc and square halftone, 150 line, no line. Original letter was mounted on pen board and the border, decorations and references were added by drawing. Fig. 317. Fac-simile reproduction of letters. METHODS OF TREATMENT 165 siLvenman SPOS: vauapnona evaga 2008 Bushwick Glass Co- 2opanns 3 PLATE on pow fear GLASS BEVELED CLASS RNITURE ps ror FU in STREET ouass TO zuw-2it McKie wick AVENEM LIBERTY MOTOR CAR COMPANY 4 DETROIT ‘ , axt Bes paronse toler an08 pnvunnys, Ne ¥-—— Irvin Bobbins & Co., Indianapolis, Int, Attention: Mr.Jemes 4,Daugherty, General Manager. Gentlemen: - q I om very pleased to sdvise you that we feel thet there io @ | considerable increased demand for closed bodies of the type whioh we have | q ordered frop you and that we, therefore, heve oonciderably increased the quantity whioh we have originally ordered and I beg to otate that me feel furthermore that the demand for closed bodies will continue the year round i{notead of in ueasone, eo in the pact, and we feel that you may expect con inetant ¥¢ tinued orders from us if you are able to give ue estiofectory terns and och ine® Gentienen: ar letter of the Lath q dclivery. in repiy to 9° service Truck ual We are greatly pleased aith the quality of the bodies which you ating @ one Tor iy have delivered to uo thie eenvon and we ere very pleased to note the | thet we are OPer oi improvenent in the quality of the workmanship which you have put into your peg to 867 atisfied- Pe product. and ere sell © gon truck \\ for six monthe market for # T° Wy de you know, the complaint which we have hed hee been that vne i Wo will be *P ke 1 not ¢ rr ang other 5 and wil ti you ore not able to give ue bodiee in oufficient quantities and I hope that onp ide) t ae you may be able to secure inorenued facilities, tn order that there may be | to} no further reasone for complaint upon our part. With inoreaved facilities ear futurn. 1 and proper prices, ¢ see no reason why you should not be able tq seoure in the 1 — wa ample business to justify your plans of extension, j otter, pot the Service 9 will ansrer your } Guisoniiara mo doubt) eavieeds} there su/aletendiiy increas ing that thi | demand for closed bodies, People are beginning fully realize that a closed Hop body {0 euch more comfortable {n all seasons than en open body and especially eal ye gre they underetanding thet the closed body 18 ae cool in summer en an open pea to raaeit youre very body and, therefore, the one criticiem of the closed body heo been eatiafactori}; anewered by thenselves. Thie in iteelf te going to make the denand for closed bodies ever an increasing one. pUSFHICR GLASS CO 4; spe Tautey ay, LIMERTY MOTUR Cyy CO-PamY WILL NOT CONSIDER ANY OTHER MAKE BUT THE SERVICE Line etching on zinc. Copy prepared in same manner : Line etching on zine. Copy prepared in same manner as for Fig. 317. : as for Fig. 317. Fig. 318. Fig. 319. IZS Ont GO. Aoren Cars oF BOS8 OA Foont,Micw. duly. 29, 1919. Irvin Robbins & Company, Morrig & Division Ste., Indienapolis, Indians, Gentlemen: Att, of Mr. Daugherty, Jacob wober’® Soorket Ste g | 623 Be Yr 4 ean, Bade Fes aa 21 ia recetved in angwer O OUTB 0: 8 , Fegarding en additional ; of the 14th+ 4 f quantity of closed bodies and you do not soem i Gentlemen: your anquiry 3 | to feel very certain as to whether or not you qn reply vo ton Service 4 should take on an additional order with the j peer woing & two gnee #nst- ! idea of making deliveries within three or four H we mere nave hed no oxmgroable- months, ! qruck f0F apout ce not giving thet truck, FOX iH 8 sore, trae on eome. x market fo It is true that wo have parchssed closed pene from two sources but we-placed on order q a hy 3 Uf way we ey JOOTB a p gddition to the one with your company be —— x co cause we wanted to be sure of getting enclosed m 3C Nt é | bodies ot the proper timo and wa felt that we would BY -W. g H surely be taken cure of by one of two sources, **** t It is not our idea to continue purchasing bodies 3 from two cources as this is not purchasing to the } beat of sdvantare and now that ve sre familisr with the kind of work thu t you are turning out, wa feel perfectly satisfied in buying closad bodies from your company. The work you have done ig quite satisfactory and Fe will seriously oonsiter plact gn additional order with you provided you ere zble to ative us deliveries as required. You have not said anything in your letter regurd— 4 three passenger coupe bodies and we would like to have ‘you alvige us wh.t you cin do on fifty of these boties. Yours very trely, We As Pale. On CO, Purdheting Derartment, Combination line etching on copper and outline- Combination line etching on copper and outline- halftone, 150 line. Copy prepared in same manner as halftone, 150 line. Copy prepared in same manner as for Fig. 317, mounting photograph of truck in connec- for Fig. 317. tion in addition. Fig. 320. Fig. 321. Fac-simile reproduction of letters. plate. The different methods may also be elaborated on to obtain more striking and effective results if the purpose for which the plates are to be used will warrant the increased expense. 166 COMMERCIAL ENGRAVING AND PRINTING PADDELFORD is CONTRACTORS KING Wo Wo TATED SdDN Coxcrern Coxtricro AQuUNey, MLCME By. Storms Mfg. Co. Crawfordsville, Ind. ntlemen [ am in receipt of your letter aaking wi think of the Storms One Man Collapsible Culvort { am now using them in building concrete culverts on the Chicago and Detroit pike, I cover the top plank with ter building paper so 1t will drop down nice and clean shea the frames are removed, which requirea not more than five winutes time. It makee @ culvert porfectly straight and true vo 11ne and eaves me 6 great deal of time, lumber and worry. You deserve succose Truly youre, BOR Oh om fro Line etching on zinc. The original letters were grouped and mounted as shown, and the outlines and shading then added by drawing. Fig. 322. Grouping to conserve space. HAA Wes Witten AEAt-o7 Sévevmade HA B Do off Wd Calijerrla ~ HAC HAH att Line etching on zinc. Made from group of printed clippings. Proofs from type for key letters were pasted on the group. Fig. 323. Fac-similes of characteristic marking styles. As explained under Line Drawing, letters written in longhand or with the typewriter seldom permit of reproduction without special preparation. The size of such reproductions is determined largely by the use to be made of them. Legibility is usually the first considera- tion, if the reproduction is to be made smaller than the original copy, and if the available space is limited. In making enlargements of such copy for display purposes, a drawing of larger size than the reproduc- tion is to be made is advisable, since a reproduction by direct enlarge- ment of the original copy would probably be rather rough. When preparing newspaper or magazine clippings for reproduction, altera- tions are often made to make the more essential features as effective MetuHops oF TREATMENT enecKk tor $50 from William R. Secacr;,| Mrs. manager of the Hotel Lincoln. Mr s retus = ADVERTISING IN 1920. Gaylo oon ri ae Se Milfo jeg | Predicted at Convention That New aren cal Record Will Be Set. home lis] LAKEWOOD, N. J., December .5.—|holid ra}A new record for money spent in ad-|riag dy,| vertising will be made in 1920, mem- |Catb >’ |bers of the Association of National] Cheat din Advertisers, who are in convention] Whicl ¥’.| here, predicted. The delegates repre-|of th sent firms which spent $115,000,000 in| at 4 advertising this year. Increased con-|rela *nds|sumption rather than decreased pro-|in Jt ver | duction’is responsible for the manu-| dent of facturers’ failure to meet demands]isS a for their products, it was said. the i en Mr , nd Huff-Hurst. the use \ this | [Special to The Indianapolis News] lev Line etching on zinc. Made from clipping from newspaper. Fig. 324. bis Tbe ulY . ' «ARAL Oe (Lael VERSA Wiphrain Ry St | Mrs / GCeT of the} Q T.jzgoin. ty : ] 2 retuy ADVERTISING IN 1920. Gayla oon ee Milfo ee Predicted at Convention That New pi al Record Will Be Set. _ ghome his|_ LAKEWOOD, N. 5, December .5.—|20N9 ra|A new record for money spent in ad-friag dy,| vertising will be made in 1920, mem- fCath' din| Bers of the Association of National JCheat in| Advertisers, who are in convention {whic @. I’.|here, predicted. The delegates repre- fof t sent firms which spent $115,000,000 in fat 44 advertising this year. Increased con- }rela ends/sumption rather than decreased pro-|in J ver | duction is responsible for the manu- fdent, of facturers’ failure to meet demands |is a for their products, it was said. the ac- ener prerrrrrrerernsnmsnasnsene fj Rts M EDS Huff-Hurst. _}the ALISE bthis Ba {Special to The Indianapolis News : ; Combination double print outline halftone, 150 line, and line etching on copper. The longhand notation and border line with shadow were drawn on the copy and negative from this was double printed with negative of plain halftone screen. Fig. 326. check for $50 from Will: sf manager of the Hotel Lincoln. ADVERTISING IN 1920. Predicted at Convention ‘hut Record Will Be Set. LAKEWOOD, WN. J., December 5-— A new record for money spent in ud- vyertising will be made in 1920, mem-|©2 bers of the Association of National Advertisers, who are in convention here, predicted. The delegates repre- sent firms which spent $115,000,000 in advertising this year. Increased con- Sumption rather than decreased pro- duction is responsible for the manu- gaeturers’ failure to meet demands for their products, it was said. ssenneranconmneoomaenamnsereceatrevenvend fetes -ntueee-waeuegunrensenen a Haff-Hurst. “pecial to The Indianapolis News Among the gifts at the frolic was a check for $50 from William R. Secker, manager of the Hotel Lincoln, ADVERTISING IN 1920. Predicted at Convention That New hal Record Will Be Set. lis LAKEWOOD, N. J., December 5.— ra|A new record for money spent in ad- dy, | vertising will be made in 1920, mem- ae bers of the Association of National Advertisers, who are in convention I".| here, predicted. The delegates repre- sent firms which spent $115,000,000 in advertising this year. Increased con- sumption rather than decreased pro- ver | duction’ is responsible for the manit- of facturers’ failure to meet démands for their products, it was said. ee ee Huff-Hurast. {Special to The Indianapolis News] CORYDON, Ind., December 5,—,&% Line etching on zinc. Made from same copy as used for Fig. 324, but including date line and pen drawn outline additional. F Fig. 325. cneck tor $56 trom Winam R. Secncr;} Mtss manager of the Hotel Lincoln. Mr : Be AD ; retyy ps ADVERTISING IN 1920. (3 ven Milfo: \es| Predicted at Convention That New| {iPS al Record Will Be Set. home lis|. LAKEWOOD, N. J., December 5.-—} ra/A new record for money spent in ad- iyi Ay,{| vertising will be made in 1920, mem- |: ai bers of the Association of National} Rl} Advertisers, who are in convention f Hj) here, predicted. The delegates repre-| sent firms which spent $115,000,000 in} ‘ advertising this year. Increased con- n@S}sumption rather than decreased pro- ver | duction is responsible for the manu- {¢ of | faeturers’ failure to meet demands | i for their products, it was said. cssanmneeneheeeteneensaneenneenttlin” aunmemmmnanemmemenanentanmadl aoe Double print outline halftone, 150 line. Made from same copy as used for Fig. 324, but the line negative was double printed with a halftone negative of plain screen. Fig. 327. _ MOVE TO SAVE PAPER. | Western Publishers Propose Ban on i Comie and Magazine Sections. | KANSAS GITY, December 5-—-The | government was requested, either by |i flesislation or by an executive order |] |of the postoffice department, to for- tia the issuance by newspapers of comic supplements ands magazine sections, aS &@ means of conserving jj print paper, in resolutions adopted by publishers from Kansas and Mis-. sourl. Copies of the resolutions were forwarded to Postmaster-Geneéral |, Burleson and. the members of the} congress from the two states, sereteenesennenmnamnnenseateansanemnnan-sirnenesrenanannamenmnt acne Square halftone, 150 line, no line. Clippings were mounted on a dark gray background. Fig. 328. 168 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 150 line. Made from retouched photograph. The pieces were grouped and photographed as shown. The photograph was slightly retouched and the vignette painted on. Fig. 329. Folders, broadsides and mailing cards. as possible, by patching to obtain more suitable adjoining matter, closer proximity to date line, the omission of nonessential matter or other changes that may be desired. FOLDERS, BROADSIDES AND MAILING CARDS These are popular forms of advertising and there is practically no limit as to the attention-getting features that may be developed through the use of different kinds, qualities and colors of paper stock, - 46,786 lines 44,440 tees 33,036 lines « 24,993 fnen Reakes CLUREB HEARSTS COSMOPOLITAN METROPOLITAN AMERICAN ME HOW COLLECTIONS AND SALES AGREE INU DOWNTOWN DISTRICT is 3 vise HALT ne TN TNS HN Ry RY AXX AXY AXZ Line etching on zinc. Made from printed clippings on which had been pasted proofs from type of the key letters. Fig. 330. Comparative charts. Metuops oF TREATMENT First Pri “LZ@ ALP Good taste guidin ALQ C four g of our buyer Canama ALR Crane's nen lawn ALS Who ts Letter-L2 fect ln ALT Prerticularly accepta ALU eet iie li Von ALV (Frank Waterhouser ALW (he daintiness of Fifth Avenue Jvew 6 The Watch with the AMA We invile mail orders and Softest antelope leather~ Costumes Jailleur AMD Gorham Sterling Silve ron LR: ings C ‘Che Most Seautful mn Ohree ‘Lacher Girls Vanily Jair AMJ GilbatS Washburn Wouldn't you like for Those. Who [now Your boy needs a Exclusive Villinery a “Greena A C freshness Ready for Emergen AMQ The Aluminum Six F eA Real Dor sformer AMS PIERCE-ARRO AMT HIGHWAY CAR AMU CIGARETTE SE AMV GRENOVILLES AMW WEDDING GIFTS-IIustr AMX pv lpia 7A Ore AMY HAVE DECIDED VP DIAMOND GRO ANA 169 CRESCENT ROUTE UNDERWOOD D MODERN ART AND HOLEPROOF C ANE Lithographs Stephens Motor C To your favorite Farts ANH lis use and enjoyments ee eee ANJ Paris Importations 15 ANK For Everywhere ANL Where to Live t ANM Well Rally’Round T ANN Peanut Butte ANO Keep Within the La ANP The judgment of ANQ GraG@lnecicmiep ANR St. Patricks Cathedral 16 New [ork Gallecies 8 Line etching on zinc. Printed clippings of the several styles were selected and to obtain pe. uniformity in size the odd sizes were photographed, some being reduced and some enlarged in size. These photographic black and white prints and the original prints of usable size were then grouped and retouched as required. Proofs from type of the key letters were pasted on the group, which was reproduced in one plate. Fig. 331. Drawn lettering. the size of page, manner of folding, layout of text and illustrations, number of colors in which they may be printed, manner of trimming, etc. In addition to those shown in Fig. 329 a number of suggestions for folding will be found herein, under Letterpress Printing. Pages 161 to 176, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 170 COMMERCIAL ENGRAVING AND PRINTING GRAPHIC CHARTS For visualizing comparisons some form of graphic chart is often used and a few suggestions of some of the methods used will be found in Fig. 330. Comparisons may be further emphasized by printing in more than one color. HAND LETTERING An individuality and attractiveness may be had in hand lettering that it is impossible to obtain from printer’s type, which of necessity must be handled in a more or less mechanical way and within certain limits. Hand lettering is not only extensively used for the main lines in the best display advertising, but often also for short paragraphs of < ATRine SicveR Srezc SAn5— AYD DOCK A OAM. Our Boys AS.OF38.88 AYE We RustnesiCducaisr ® AYF AY' " SARE LUS ERE ERTS NIT RITE RAEI REESE Ags L REMINGTON Notes u¥ Raa: ee ae Te AYR Mealology ri AAO Ry AE MERE AZG ss AYU GE” Wheretolive, RY ® YELLOWSTONE PARK # ee ; AZH : AYV Double print square halftone, 159 line, no line. The printed clippings, some of which were from halftone and the remainder from line plates, were arranged as shown and this group was photographed. The photographic print was retouched to eliminate the edges of the clippings and to get background of uniform color. Proofs from type were arranged for double printing the key letters. ; ; Fig. 332. Page headings. text in connection, thus giving the matter a distinctness and appear- ance that greatly increases its advertising value. It is usually made in line drawing and reproduced by line etching, but it is also frequently made in wash and reproduced in halftone, and very often a combina- tion of both line and wash is used. There are unlimited’ opportunities for original combinations of hand lettering in connection with designs, and illustrations, as style, form and size may be made to conform with any special need. HEADINGS In the making of booklets, catalogs, and other printed matter, often headings of special design in line, wash, or combination are made for the embellishment of the beginning of chapters, departments or for MetruHops oF TREATMENT lezall Thy \l \RMON NEWS Square halftone, 150 line, no line. Made from retouched photograph. The pieces were grouped as shown and then photographed. Photographic print was slightly retouched—outlines were strengthened, shadows added, etc. Fig. 333. House Organs. the top of pages. Usually the same general idea is carried throughout for all, but is modified to fit the spaces allotted and to suit the titles, which are usually hand lettered in connection. Just a few of the many ideas utilized for these purposes are shown in group Fig. 332. Page headings are often made in pairs, one for the left and another in which the same design is modified so as to balance and harmonize when used on the right. Double print square halftone, 150 line, narrow gray border. Prints from line and halftone plates were placed as shown and this group photographed. The negative was blocked out and the photographic print trimmed and mounted on a gray card. Photograph was slightly retouched. Proofs of type were arranged for double printing the key letters. In trimming the halftone enough of the gray card used for the background was allowed to remain on the plate to form the border. Fig. 334. Initial suggestions. 12 COMMERCIAL ENGRAVING AND PRINTING THE HOUSE ORGAN These are publications, usually in booklet, pamphlet or magazine form, published periodically by firms or other organizations. They are intended for the distribution of news items, information and other matter designed to promote interest, good will, patronage, etc., from customers, prospective customers, among salesmen, employees or other special classes that it may be desired to reach. The house organs published by some firms are quite elaborate in illustration, makeup and text, while those published by others are less pretentious. As in the production of other printed matter there is opportunity to meet any requirement as to cost, by a variation in the size, kind of paper used, number and character of illustrations, number of colors in which it is printed, quantity, etc. INDIVIDUALITY IN THE WORK OF ARTISTS The work of many of the prominent artists and illustrators has an individuality which is expressed in the character of their lines or the manner in which they render the majority of their compositions, although their work in general may be more or less versatile in style of treatment. Naturally, the services of an artist who has developed a distinctive style to such a high state as to attract wide attention, commands liberal remuneration for his work. INITIALS There is probably no kind of embellishment for the page of type matter that is more used or in better form than the initial. In the group shown in Fig. 334 are illustrated a few suggestions ranging from the plain letter to the ornate, most of which can be adapted to printing in more than one color if so wanted. KALOGRAMS Kalograms have the appearance of a monogram, but instead of being made up of only the initials they include the letters of the entire RITY OUK ROY COOK NG Line etching on zinc. Made from pen drawings. Fig. 335B. Kalograms. surname and often the given name and middle initial as well. The letters of the name are arranged in a readable manner to suit the fancy of the designer and they may be used for personal or business station- ery, trade-marks, on book plates, etc. They may be made in line MetuHops oF TREATMENT Tes} Double print square halftone, 150 line, no line. The several letterheads were photographed on one plate. The photo- graphic print from that negative was cut to produce a separate photograph of each letterhead and these prints were grouped as shown. Proofs from type were arranged for double printing the key letters. Fig. 336. Types of letterheads. etching from pen drawing or halftone from wash drawing for letter- press printing, or engraved on copper plate or steel die for copper plate printing, or steel die embossing. LETTERHEADS There is no question but that an attractive and well designed let- terhead, whether it has been printed from type or from a line etching made from pen drawing, from halftone from photograph or wash drawing, lithographed, steel die or plate, or by whatever method pro- duced, is a valuable asset to any establishment seeking business or endeavoring to create a favorable impression upon correspondents. A reasonable initial outlay for a suitable and satisfactory design will prove a good investment, and while the range in design is unlimited it must be kept in harmony with the line of business it is to represent. Various types of letterheads are shown in Fig. 336, without reference to designs. Small and large note sheets are represented in LAA and LAB; half-sheet of ordinary letterhead size, horizontal and vertical in LAC and LAD; two-thirds size sheet in LAE; two-fold size in 174 COMMERCIAL ENGRAVING AND PRINTING JAN 23% Cold Line etching on zinc. Made as one plate from printed clippings mounted as shown. Fig. 337. Logotypes. LAF and LAG; regular letterhead size in LAH, LAI, LAJ, LAK, LAL, LAM and LAN, and four page letter-circulars in LAO and LAP. These same illustrations also suggest border treatments and the location of illustrations on the sheets. LOGOTYPES These are combinations, in any size, of two or more letters, or words, on one base and are used largely for calendars, railroad time tables, admission tickets and other kinds of work in which such com- binations are frequently repeated. They may be casts from a com- bination of type characters or from a reproduction of a specially drawn design, such as a trademark or a tradename design. When made in quantity to be used in connection with body type, special care must be exercised in determining size and manner of mounting that they will properly line up with type when set with it. PORTRAITS While a very large number of the portraits that are reproduced by the halftone process are made in square finish halftones, because this style of finish is least expensive, this style is also, no doubt, often selected because the buyer is unfamiliar with the possibilities that may be developed by the engraver’s artist in providing a suitable setting for the portrait, when only an ordinary photograph is submitted for reproduction, and when the expense of something more ornate or striking, than the plain halftone would be justified. The methods of treatment illustrated in Figs. 338 to 401, inclusive, show some suggestions especially adapted to handling this class of subjects, and which, in many instances can also be applied to other classes of work such as interior and exterior views, landscapes, etc. Details may, of course, be varied to meet requirements and in ordering it is well to give both width and height, screen, width of border, if any, etc., as well as figure number. It is seldom necessary to make plates as small as shown by the illustrations herewith, and they should always be made sufficiently large to be impressive and in harmony with the text or other matter with which they are to be used. Many of the combination styles shown can be made in large sizes at less expense, by making a line etching on zinc of the border or decoration and tacking the halftone in it, instead of stripping the line and halftone negatives together and etching the combination. All styles excepting square finish, with or without line, call for an extra charge above the prices named on the standard scale of prices for photoengraving, this extra charge being for the special work in Pages 161 to 176, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. Metuops or TREATMENT ie) Square halftone, 150 line, noline. Square halftone, 150 line, with line. Square halftone, 150 line, with white border line. Fig. 338. Fig. 339. Fig. 340. Square halftone, 150 line, with Square-outline halftone, 150 line. Oval halftone, 150 line, no line. line. Background routed out. Head and shoulders outline, bust . square. ; ; Fig. 341. Fig. 342. Fig. 343. Oval halftone, 150 line, with line. Oval halftone, 150 line, with line. Outline halftone, 150 line. Head Background routed out. and shoulders outline, bust oval. Fig. 344. Fig. 345. Fig. 346. All halftones on this page and page 176 were made from an ordinary square photograph, and the special effects were obtained in finishing the plates. 176 COMMERCIAL ENGRAVING AND PRINTING ie Oval halftone, 150 line, with Outline halftone, 150 line. Head Outline halftone, 150 line. Square double line border. only. with edges nicked. Fig. 347. Fig. 348. Fig. 349. Circle halftone, 150 Halftone, 150 line, with Square halftone, 150 line, Square halftone, 150 line, line, with line. line. Elongated oval. with line. Panel effect. with line. All sides equal. Fig. 350. Fig. 351. Fig. 352. Fig. 353. Square halftone, 150 line. With Square halftone, 150 line. With Square halftone, 150 line. With two-point black border line. _ double line border. six-point black border. Fig. 354. Fig. 355. Fig. 356. The white lines between the backgrounds and the black border lines on all plates on this page, and page 175, were cut on the plates, it being customary with all engravers to finish plates of these styles in this way. Metruops oF TREATMENT haere Square halftone, 150 line. Special Square halftone, 150 line. Special Square halftone, 150 line. Special hand-cut border. hand-cut border. hand-cut border. Fig. 357. Fig. 358. Fig. 359. Square halftone, 150 line. Special Square halftone, 150 line. Special Square halftone, 150 line. Special hand-cut border. hand-cut border. hand-cut border. Fig. 360. Fig. 361. Fig. 362. Square halftone, 150 line. Special Combination square halftone, 150 Combination square-octagon half- hand-cut border. line, and line etching on copper. tone, 150 line, and line etching on Background routed out. copper. Fig. 363. Fig. 364. Fig. 365. Line drawings were made of borders on Figs. 364 and 365 and the halftone negatives of the portraits were stripped into the line negatives of the borders. Combination square halftone, 150 Combination square-diamond half- _Combination oval halftone, 150 line, and line etching on copper. tone, 150 line, and line copper. line, and line etching on copper. Fig. 366. Fig. 367. Fig. 368. Combination square-outline half- Combination square halftone, 150 Combination square-outline half- tone, 150 line, and line etching on line, and line etching on copper with tone, 150 line, and line etching on copper. panel for name. copper with panel for name. Fig. 369. Fig. 370. Fig. 371. Combination oval halftone, 150 Combination square halftone, 150 Combination oval halftone, 150 line, and line etching on copper. line, and line etching on copper. line, and line etching on copper. Fig. 372. Fig. 373. Fig. 374. The vertical lines in background of Fig. 366 were obtained by the use of the shading machine on the print on metal before the plate was etched, and the mottled effect in the border of Fig. 374, by spattering white ink on the drawing. A line drawing was necessary for each border. Metuops or TREATMENT 179 Uf UUM, SI LiiELIIIIEILILLILTI SS, ~ . . ~ e eC. °°, ) ee Yy 2 TZ77da | | Combination outline halftone, 150 Square halftone, 150 line, with Square halftone, 150 line, with line, and line etching on copper. The gray border. gray border and black finishing line. shading machine was used on border. : Fig. 375. Fig. 376. Fig. 377. Square halftone, 150 line, with two- Square halftone, 150 line. Gray Square halftone, 150 ue Gray tone gray border. border with decoration hand cut on border on which decoration was plate. drawn in white on the copy. Fig. 378. Fig. 379. Fig. 380. wy. _ Outline halftone, 150 line. Nega- Oval halftone, 150 line, with gray Outline halftone, 150 line. Special tive of portrait stripped into the border. gray segment background. one-way screen negative of border. Fig. 381. Fig. 382. Fig. 383. Kach of the portrait photographs reproduced on this page, except for Fig. 375, was trimmed to the shape shown in the reproduction and mounted on a gray card with sufficient margin on which to draw the decoration, or to provide the gray border when the plate was trimmed. 180 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 150 line, no line. Square halftone, 150 line. Black Square halftone, 150 line. Gray Gray panels at top and bottom. and gray border. border with decoration drawn in dark gray and white on copy. Fig. 384. Fig. 385. Fig. 386. Square halftone, 150 line. Special Square halftone, 150 line, no line. Square halftone, 150 line, no line. drawn gray border. Special drawn gray background. Special drawn background. Fig. 387. Fig. 388. Fig. 389. Outline halftone, 150 line. Made Square halftone, 150 line, no line. Outline halftone, 150 line. Made direct from framed photograph. Made from photograph mounted on from a photograph mounted with a a paper made to imitate leather. design in line drawing. Fig. 390. Fig. 391. Fig. 392. Pages 177 to 192, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. MetHops oF TREATMENT ) 181 Square-outline halftone, 150 line, Square halftone, 150 line, no line. Combination outline halftone, 150 with gray outline, which was painted Decoration was painted on the photo- line, with line etching on copper. on the photograph. graph. Black outline was drawn on copy. Fig. 393. Fig. 394. Fig. 395. Square-outline halftone, 150 line, Outline-vignette halftone, 150 line. Outline-vignette halftone, 150 line. with line, but no white line cut Head and shoulders outline, bust Top of head outline, vignette bust between background and border. vignette. and over shoulders. Fig. 396. Fig. 397. Fig. 398. Vignette halftone, 150 line. Full Outline halftone, 150 line. Coat Outline-vignette halftone, 150 line. vignette. painted in on photograph and special Hard vignette. tooling on plate. Fig. 399. Fig. 400. Fig. 401. Each photograph reproduced on this page required special treatment by the artist before the reproduction was made from it. 182 COMMERCIAL ENGRAVING AND PRINTING Fig. 407. Fig. 408. Some methods of treating portraits in line drawings. Metuops or TREATMENT 183 ANVILLE SERVICE SEPT. Greli-?tSt Double print square halftone, 150 line, no line. Proofs from type were arranged for double printing the key letters. Fig. 410. Poster stamps. : ALA RERRRORE PDE The Wagner Fark Nursery ©), ALD : : te Sucinal Cosh Meghrer Oy, ; = S Bayon ORG, LL. NEE, Double print square halftone, 150 line, no line. Proofs from type were arranged for double printing the key letters. Fig. 411. Shipping labels. 184 COMMERCIAL ENGRAVING AND PRINTING “DWARDS PLUERIBBON Eaeamaneey Devt Berssine ABY ACJ ACW crys Office Siore JRP-A- GOOD/-YEAR SAXON S] ».4 Cu ie cr ope fore ACX ABN The ichards Wilco presgecrorr Mobiloils eq “AlrRMORE Richards Wilcox ACY ‘ ) ; Acinoh Constable & Co. eli Pi Aezrroay *bonmoutte PStaes vielin Sano ©, DUPLICATOR VMOU soe ABD oes Ae ACB Babel CORON Tre Produclopraph Ce aRG Onipan A ire BE is oA pian, ne 4 STEIN’ WAY Faca, Crack pare ACN ACL GimbelBrofhers 9 A\ aes bel Br ARROW lity ain may ere aoe COLLARS KISSELKAR ACO HYATT A aioe J Stern Brothers Gewart Stewart dn : eS Spi ays at 37 STeEE THE [UFKIN | POLE Ca. ADD Maxell ae | MENNENS Lord & Taylor DO-RO-NO ) iss Ae eet te me mao : \ ORS O By xGntte: WAGathamnde FINE PHOTOGRAPHS. ate ad ee 62 West 45% Street - NewYork ABV Ri nex GABRIEL fe ner cougate’s HINCX SNUBBERS Cfyxedo KlearflaX Ags ate AD LINEN RUGS OUANLEYS >SREARS< LZ oomwvemGunse6 ABX | ACV Line etching on zinc. Entire group made as one plate. Made from printed clippings, some of which were retouched, some photographed to proper size and then retouched and others were reproduced without retouching. The final copies were arranged in the order as shown and proofs from type were pasted on for the key letters. Fig. 412. Signature and special trade name designs. finishing the plate, or the artist’s time required for the special prepara- tion of copy, or both, and the amount is determined by the amount of workman’s time required. POSTER STAMPS These are oftentimes used for giving general publicity to some event, article or firm, and they may be printed in any number of colors by letterpress, offset or lithograph on gummed or ungummed paper. Usually it is not practical to print a small quantity of a single design, or a few designs, as the cost will be out of proportion to their advertising value. The most practical method is to produce them in sheets in large quantities, the sheets being perforated so that the individual stamps may be readily torn off for use. In making the plate for Fig. 410, the original poster stamps, many of them printed in several colors, were grouped on a gray card. A photograph, using special color plate, was made and this photograph was slightly retouched and shadows added with the air brush. Metuops oF TREATMENT 185 SHIPPING LABELS Every firm that delivers or ships its product should be provided with a specially designed shipping label. Its use provides a form of inexpensive advertising, the only outlay being for the original cost of the design and plates for printing, as the cost of printing is no more than if a type form is used. As with all other work of the photo- engraver, there is no limit as to the designs that may be developed for this purpose and they may range from a simple design printed in one color to anything as elaborate as the appropriation of the customer may cover. The size should be such as to be practical for the package to which they are to be attached and they may be printed on either gummed or plain paper. The plate for Fig. 411 was made from a re- touched photograph, the original labels having been grouped on a white card and then photographed. The photograph was retouched to eliminate the addresses that were on the original labels. SIGNATURE AND SPECIAL TRADE NAME DESIGNS Many manufacturers, merchants and others have adopted, for advertising purposes, a special signature or trade name design, which is used extensively in their printed matter, advertisements, etc. Such a design not only tends to give individuality to the printed matter of the firm using it, but with continued use will grow in advertising value and as a means of identification as does a trade- mark. STYLES OF DRAWING Although the number of mediums, such as pen and ink, wash, crayon, etc., employed by the artist in the production of drawings is somewhat limited, the number of styles or methods of treatment that may be utilized are almost unlimited. In determining the method of treatment for a drawing first consideration must, of course, be given to the requirements of the plate that is to be made from it, then the style must be suitable to the subject and finally, it must be within the ability of the artist to satisfactorily treat the subject in that manner. In the examples shown in Figs. 413 to 543, inclusive, will be found a wide range of suggestions in types of drawing, and while the explan- atory notes indicate the nature of the copy used in making the plates shown, the subjects themselves will indicate the mediums used in executing the original drawings. Limited space made it necessary to make these reproductions small, and practically all of them were made from printed clippings, also in many instances, to obtain larger detail, the subject was cropped, this further impairing the effect that could have been expected, had the reproductions been made in larger sizes from the original drawings. Where known, the name of the artist who made the original drawing is given, and the example shown should not be considered as that artist’s typical style, but rather as an example of his work. Pages 177 to 192, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 186 COMMERCIAL ENGRAVING AND PRINTING A eee ee ee, a = od a ie oo MCR eee w 4 ° , f= a; RO ; a, * Yoo. By Gaar Williams. By Crawford Young. Fig. 413. Fig. 414. a. Csi ia Betsey and five husky Orphans decorate the dining-room By Kin Hubbard. Fig. 415. Fig. 416. a By Webster. Fig. 417. Fig. 418. All plates on this page are line etchings on zinc, made from printed clippings. MeEtTHODS OF TREATMENT 187 “meet Rhode Island” Fig. 419. “UHHH =) eh ae (abel Tg hase wz § By Herbert Johnson. Fig. 421. J PS By Bal Bares: Fig. 424. Fig. 425. All plates on this page are line etchings on zinc, made from printed clippings, except Fig. 421, which is a square halftone, 150 line, no line, and which was made from a print from a halftone, 120 line, four and one-half inches wide. 188 COMMERCIAL ENGRAVING AND PRINTING Ng Wy EVERYTHING SES By Popini. = x Fig. 430. Fig. 431. All plates on this page are line etchings on zinc, made from printed clippings. MeEtHops OF TREATMENT 189 / iy 4 - 2 ey WY WA \ Ae ro 7 fii 2 LON: Aan ry [bff ‘hes By Charles Dana Gibson. Fig. 435, Me PENNY Ny At 5 Nt mn - -F. By Gustave Baumann. Fig. 434. 4 af Ll /, Sa =" Vey ME, By Adolph Triedler. Fig. 437. All plates on this page are line etchings on zinc, made from printed clippings. 190 COMMERCIAL ENGRAVING AND PRINTING i By Tony Sarg. Outline-vignette halftone, 150 line. Outline-vignette halftone, 150 line. Fig. 438. Fig. 439. al a ii, ff pa _@h a P ie : : Line etching on zine. Fig."442. K a By Ralph Barton. By Frederic G. Cooper. Outline halftone, 150 line. Square halftone, 150 line, no line. Fig. 440. Fig. 441. Line etching on zinc. Line etching on zinc. Fig. 443. Fig. 444. Allline etchings on this page were made from printed clippings. Fig. 438 from black on white print from halftone, 120 line, 6 in. wide; Fig. 439 from black on white print from halftone, 120 line, 2 in. wide; Fig. 440 from print in black, blue and orange, same size as reproduction. Fig. 441 from photograph on panchromatic plate made from print 6 in. wide, in orange and black. Meruops or [TREATMENT 19] ELBE, ca oo owt: lie Ae wen Goo By H. Weston Taylor. By Mary Wilson Preston. ere ga emer halftone, Outline-vignette halftone, 150 line. 150 line. Fig. 445. Fig. 446. Ln PPR tn esr z Square-outline-vignette halftone, 150 line. By Will Grefe. Fig. 447. By Herbert Paus. By Herbert Meyer. Outline-vignette halftone, 150 line. Outline-vignette halftone, 150 line. Fig. 448. Fig. 449. All plates on this page were reproduced from clippings printed in black on white from halftones, 120 line screen. Copy for Fig. 445 was 234 in. wide; for Fig. 446, 614 in.; for Fig. 447, 6in.; for Fig. 448, 6 in. and for Fig. 449, 7 in. wide. 192 COMMERCIAL ENGRAVING AND PRINTING By James M. Preston. Square halftone, 150 line, no line. Square halftone, 150 line, no line. Fig. 450. Fig. 451. By 7. C. Leyendecker. Highlight halftone, 150 line. Made from crayon Outline halftone, 150 line. drawing. Fig. 452. Fig. 453. Plates for Figs. 450 and 451 were made from clippings printed in black on white from halftones, 120 line. Copy for the former was 41 in. wide and for the latter 5 in. wide. Fig. 453 was made from a print from a two-color halftone, black and orange, 120 line, 814 in. wide. ee a ee Metuops or TREATMENT 193 Outline halftone, 150 line. Outline halftone, 150 line. Highlights cut out in plate. Fig. 454. Fig. 455. By James Montgomery Flagg. By Garth Jones. Square halftone, 150 line, no line. Square-outline-vignette halftone, 150 line. Fig. 456. Fig. 457. ‘By Geoiae By ehan: ‘ By Guernsey Moore. Square-outline halftone, 150 line. Outline halftone, 150 line. Fig. 458. Fig. 459. All plates on this page were made from black on white prints from halftones. 194 COMMERCIAL ENGRAVING AND PRINTING \ 2 , mos . I Be re 2 By J. M. Rove Highlight halftone, 150 line. Fig. 460. ne mri ay By Wm. P. Bodwell. Line etching on zine. Fig. 462. 7 ess TA By Line etching on zine. Fig. 464. All plates on this page were made from clippings printed in black on white. Fig. 461. By J ‘ Albert Seaford. Line etching on zinc. Fig. 463. By H. Deland Williams. Line etching on zinc. Fig. 465. Metuops or TREATMENT 195 | (Ge eid) es oO SS By Vernon Howe Bailey. _ LEGGE: FLO CE S ( » Country Life LILLE ele Lait By Rattner. By James Cady Ewell. Fig. 470. Fig. 471. Fig. 472. All plates on this page are line etchings on zinc. Made from clippings printed in black on white. Pages 193 to 208, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 196 COMMERCIAL ENGRAVING AND PRINTING me. weer Ey ae SE tenet re ae +e f = EAS ag ‘f 3 ; peas Bees Se, ee Sere anc) BR IE CE ce et ha = eS By Joseph Pennell. Fig. 473. Fig. 474. | : (BL Fig. 478. Fig. 479. Fig. 480. All plates on this page are line etchings on zinc. Made from clippings printed in black on white. MeEtTHOobDS oF TREATMENT 197 ~ pea | WY A EVEL “4 PPE vie ae LG f \ Gi ie a = / QW ZZ l} | ul (Nua a Fig. 483. ‘> EF ds Fig. 487. Fig. 488. All plates on this page are line etchings on zinc. Made from clippings printed in black on white. 198 COMMERCIAL ENGRAVING AND PRINTING Fig. 494. Fig. 495. All plates on this page are line etchings on zinc, except that for Fig. 491, which is an outline halftone, 150 line, and ali were made from clippings printed in black on white. The same copy was used for Figs. 489, 490 and 491; Fig. 490 being a “white on black” reproduction of the same copy as used for Fig. 489. The same copy was used for making the halftone in Fig. 491. MetuHops or TREATMENT 199 aS ANI 45 tlc 8. oe =, | J #e e 4 a Scion eee N Sed N 5 Fig. 500. “loin MY a ‘eal an Pore ! AuyWl|/ Iss al Dy “iy mT ac i | A, iss a ee) tre] i ; Sein i TTA It Hibs if I) 6.00 Fig. 501. wi 742 All plates on this page are line etchings on zinc, except Fig. 500, which is a combination outline halftone, 150 line, and line etching on copper. All were made from clippings printed in black on white. 200 COMMERCIAL ENGRAVING AND PRINTING Fig. 504. Fig. 505. Fig. 506. Fig. 507. All plates on this page are line etchings on zinc. Made from clippings printed in black on white. ee een en eee Metuops or TREATMENT 201 fe A 4 G Nx By Walter D. Teague. By Frederic W. Goudy. Fig. 508. Fig. 509. Fig. 510. Fig. 512. Fig. 513. am SES By Charles R. Capon. Fig. 514. Fig. 515. All of the plates on this page are line etchings on zinc. Made from clippings printed in black on white. 202 COMMERCIAL ENGRAVING AND PRINTING Square-outline halftone, 150 line, no line. Fig. 517. By Rose O'Neill. Outline halftone, 150 line. Fig. 516. By Edward Penfield. By Maxfield Parrish. Square halftone, 150 line, with thin black border. Outline halftone, 150 line. Fig. 518. 7 Fig. 519. Fig. 516 was made from a print from a two-color halftone, black and red, 120 line, 7 in. wide. Fig. 517 from print in blue and orange, 120 line, 93¢ in. wide. Fig. 518 from print in black, blue and orange, 120 line, 8 in. wide, and Fig. 519 from photograph with panchromatic plate from print from four-color process halftone, 120 line, 93% in. wide. Metuops or TREATMENT 203 By Norman Price. Square-outline-vignette halftone, 150 line. Made from a print in colors from four color process plates, 120 line, 93¢ in. wide. Fig. 520. By Myron Perley. Square-outline halftone, 150 line. Made from black on white print from halftone, 120 line, 93 in. wide. Fig. 521. FACE POWDER otisncmaees eit SIE By Willy Pogany. By Jessie Wilcox Smith. Combination square-outline halftone, 150 line, and Square halftone, 150 line, thin black border. Made line etching on copper. Made from a print in colors from black on white print from halftone, 120 line, 844 from four color process plates, 120 line, 9% in. wide. in. wide. Fig. 522. Fig. 523. 204 COMMERCIAL ENGRAVING AND PRINTING By Coles Phillips. Square halftone, 150 line, no line. Made from photo- eraph made with panchromatic plate of print in colors from four color process plates, 133 line, 7 in. wide. Fig. 524. i i By W. T. Benda. Square halftone, 150 line, no line. Made from black on white print from halftone, 120 line, 93¢ in. wide. Fig. 526. By Claire Avery. Circle halftone, 150 line, with thin black line border. Made from a print in colors from four color process plates, 133 line, 7 in. wide. Fig. 527. By H. Hvymer. Outline halftone, 150 line. Made from black on white print from halftone, 120 line, 4 in. wide. Fig. 525. By Flato. Outline halftone, 150 line. Made from black and white print from halftone, 120 line, 8 in. wide. Fig. 528. Metuops oF TREATMENT 205 LOR 2? PANU HERS 2 a Square halftone, 150 line, no line. Made from black By Louis Fancher. on white print from a halftone made direct from the clay Square-outline halftone, 150 line. Made from a print model. from halftone. Fig. 529. Fig. 530. By Robert J. Wildhack. By Charles B. Falls. Square halftone, 150 line, no line. Made from a Square halftone, 150 line, no line. Made from print in colors from four color process plates, 133 line, print 61% in. wide in three flat colors, black, 8 in. wide. blue and pink. Fig. 531. Fig. 532. Pages 193 to 208, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 206 COMMERCIAL ENGRAVING AND PRINTING Combination outline halftone, 150 line, and line Combination outline halftone, 150 line, and line etching on copper. Made from a retouched photograph etching on copper. Made from a photograph of copy and line drawing of border. as used for Fig. 533, a special soft focus lens having been used in making the photograph. Also known as a diffused photograph. Fig. 533. Fig. 534. Square finish halftone, 150 line, no line. Made from a photograph of the original carving in stone. The solid black background was obtained by staging this part of the plate before etching. Fig. 535. Square-outline halftone, 150 line. Made from Square halftone, corners cropped, 150 line, no line. prrushes photograph—flat or poster style of re- Made from retouched photograph. ouching. Fig. 536. Fig. 537. a ee Se ee eee Meruops or TREATMENT 207 Square-outline halftone, 150 line. Made from photograph of a tablet. Fig. 538. _ Line etching on zinc. Made from a line drawing. This style of drawing is known as Art Nouveau. Fig. 540. Square-outline halftone, 150 line. clipping printed in black on white. Fig. 542. THE MOST EASILY % CULTIVATED MARKET IN U.S.A. Outline halftone, 150 line. Made from a combination wash and line drawing. Fig. 539. Square halftone, 150 line, no line. Made from print from halftone, 120 line, 93% in. wide, the utensils were printed in black and gray and the background in a light purple. Fig. 541. Made from Circle halftone, 150 line, no line. Made from clipping printed in black on white. Fig. 543. 208 COMMERCIAL ENGRAVING AND PRINTING SPRAGUE ELECTRIC WORKS CARLIE CRS DSERIEE BULLETIN Xe 115, IAA 3 : S822 Hone of : : : ADS DUFF -GORDONS ASEPTIC DHUGINAL DYSIONS Fy pte Sree, Ni Tope fit Be, {AJ Double print square halftone, 150 line, no line. The several examples were photographed on one plate and the photographic print cut to produce a print of each. These were arranged in the group as shown, then slightly retouched, and the shadows painted in on the background. Proofs from type were arranged for double printing the key letters. Fig. 544. Title pages. TITLE PAGES In the compilation of every book, catalog or booklet one of the features to receive special consideration is the text and the treatment or arrangement of it for the title page. Several examples, some set in type and others reproduced from drawn copy, appear in Fig. 544. TRADEMARKS When practical, every manufacturer should label articles of his manufacture with a special trademark design, a reproduction of which should be used extensively in his advertising matter. The use of such a means of publicity has great and accumulative advertising worth as has been proved by the value placed on many well-known trade- marks by their owners. In Fig. 545 will be found various ideas, shapes and combinations, from which those who wish to develop a trademark may obtain suggestions. Pages 193 to 208, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. MetTHODS OF TREATMENT 209 GUARANTEED SDELPHOS, PNIZARD* Qa 3uI.c1I0T Gd ig ag E>. MADE IN DETROIT QUALITY WITH LARGE OUTPUT ee yflllilily fay, Wf, UY VB vc _ Line etching on zinc. Made as one plate from printed clippings. The original clippings were grouped according to size and black and white photographs made to obtain uniform size. The photographic prints were arranged as shown and proofs from type of the key letters were pasted on to complete the copy. Fig. 545. Trademarks. 210 COMMERCIAL ENGRAVING AND PRINTING X-RAY AND DETAIL VIEWS Often special features in an illustration are to be brought out more prominently than others. This may be accomplished through special treatment of line drawings, wash drawings, or retouched photographs. The parts may be emphasized through x-ray, or magnified views, or with the aid of arrows, numbers, letters, etc. Sectional views are also used often for showing the interior mechanism or arrangement. An x-ray, or phantom illustration, also somet’mes called a ghosted view, not only shows the exterior of the subject but also details of the interior. To bring attention to a special feature of a subject the special fea- ture may be shown in a magnified view, using that part as an insert over a part of the picture where it will not obliterate any of the essential parts of the complete illustration, as in Fig. 564. Some features may be emphasized by dimming the surrounding view, obtaining a gray effect for this, the main feature of the view appearing in the regular way. See Fig. 555. Special features are sometimes pointed out through over printing a halftone or other print with a line etching in a second color. If the color in the halftone is heavy, the color over printing seldom appears as strong as necessary, unless special cutting out is done on the plate underneath the lines printed in the second color. Reference letters or numbers, arrows, etc., when used in connection with halftones are usually drawn as separate copy and combined with the main subject by double printing. By this plan the copy of the main subject is retained in its original form and no changes in it are necessary when making reproductions afterwards when the reference characters are not to be used. Where considerable text matter is to be used for a reference or explanatory note, it is usually best to have this set in type and a press _ proof taken to be used as copy for reproduction. This insures neatness and uniformity and usually is less expensive than carefully drawn hand lettering and much more legible than free hand lettering. There are many methods of appending reference letters, numbers, notes or paragraphs to the illustration of a subject where special atten- tion is to be directed to special features, one of which, for printing in one color, is shown in Fig. 560. The boxes, or panels on either side, could, of course, be changed in size and shape to accommodate the necessary matter. This matter could be set in type in mortises in the panels, or proofs from type could be pasted in the panels on the drawing or the matter drawn with the panels, and all reproduced together in the plate. Or the panels could be entirely omitted and the matter arranged alongside, or at the end of the arrow, or directing line. Where the main subject is shown in a halftone it is better to double print the reference matter, if any of it is to print over the halftone, but if the subject is a line drawing, the references can be added to the drawing and all reproduced together. Fig. 559 shows a separate plate for printing the references in a second color and would be used in con- nection with the halftone of the machine only as shown in Fig. 560. The addition of reference letters, figures, etc., to copies from which MetruHops oF TREATMENT 211 INDUSTRY, PARTS MAKERS ACCESSORY 1080 MAKERS DATA INCLUDED UNDER PARTS MAKERS 04 9 RBERS 4) J N y Fig. 549. TRL ee ST ar na DELAWARE are PENNSYLVANIA ST. | VS ‘iy is) MERIDIAN U 4 RY LOUISIANA S 2 UNION STATION é = St Tee soli bca lilies JL Js 5 S Fig. 550. | Fig. 551. All plates on this page are line etchings on zinc except Fig. 550. All were made from printed clippings. Fig. 550 is a combination square-halftone, 150 line, no line, and line etching on copper. 21D, COMMERCIAL ENGRAVING AND PRINTING KPI5SS KPI56 23 | GR WOL 136 Double print square halftone, 150 line, no line. Made from photograph and drawing of arrows and figures. Fig. 552. yh a Square halftone, 150 line, no line. Made from photo- graph. The shading machine was used on the halftone negative to produce the ruled background. Fig. 555. ne Sl ff Sea Ay ES oa 7 \ & fA ft SS NN ie a aS - = ray \ i ‘) / { H | | | ! ' if id \ | \ \ ! { | I | 1 | \ bh x seu =F. Fig. 553. Fig. 554. A sectional view. Outline halftone, 150 line. Made from a wash drawing. Vignette halftone, 150 line. Made from a combina- tion photograph. Fig. 556. MetrnHops oF TREATMENT 213 Outline-vignette halftone, 150 line. Made from a wash drawing. Fig. 557. An x-ray or phantom view. Line etching on zinc. Made from Line etching on zine. Made from pen drawing. printed clipping. Fig. 558. Fig. 559. Combination double print outline halftone, 150 line, and line Combination outline halftone, 150 etching on copper. Made from retouched photograph. White lines line, and line etching on copper. Made cut on halftone plate alongside arrows. from retouched photograph. Fig. 560. Fig. 561. 1A. COMMERCIAL ENGRAVING AND PRINTING Outline halftone, 150 line. Made from. a wash Line etching on zinc. Made from shop working drawing. drawing used as the principal copy in making the drawing for Fig. 562. Fig. 562. | Fig. 563. Outline halftone, 150 line. Made from a wash Outline halftone, 150 line. Made from a retouched drawing. , photograph. : Fig. 564. Fig. 565. Metuops oF TREATMENT DAS Outline-vignette halftone, 150 line. Made from a Combination double print outline halftone, 150 line, wash drawing which was made from blue prints. and line etching on copper. Made from a retouched photograph. Numbers and arrows drawn for double Fig. 566. printing. 2 Fig. 567. Adjusting Screw Diaphragm Ball Bearings AS Valve Cap ¥ | Drive Shaft Plunger Weights Butterfly Valve Box Combination double print outline halftone, 150 line, and line etching on copper. Made from a wash draw- ing. Proofs from type of references pasted on drawing of arrows for double printing. Fig. 568. Vignette halftone, 150 line. Made from a wash Outline halftone, 150 line. Made from a wash drawing. drawing. Fig. 569. Fig. 570. 216 COMMERCIAL ENGRAVING AND PRINTING halftones are to be made does not involve extra expense in the plate making if such reference characters are kept within the area of the halftone proper. Often, however, these may be strengthened by tooling and this, of course, entails additional expense, depending upon the amount of workman’s time required. If the halftone is outline, or outline-vignette finish and the char- acters extend beyond the area of the subject, a combination plate is necessary. X-ray, or phantom views, are frequently made from blueprints made from shop drawings, and are charged for on the basis of artist's time required for their production. It is practically impossible for anyone to estimate the time that will be required for making such a drawing, as frequently much experimental work is required to deter- mine the most satisfactory method of showing the special feature effectively. While it is not necessary, it is often convenient to cut in two an article of which a sectional view is required, so that a photograph may be made of a section and this retouched. Most views of this character, however, can be drawn more cheaply and are made from blue prints or shop drawings, the artist submitting sketches or layouts at short intervals as the work progresses, until certain the plan being followed is satisfactory to the customer. Copy for reference letters, etc., that is drawn separately for double printing, or for a separate plate to overprint in a second color, and which must register with points in the main subject is usually drawn on transparent paper, placed over the main subject, while the drawing | is being made. Register marks on the reference copy are made to cor- respond with similar marks on the main copy so that in double printing a perfect register may be obtained. ings, halftones and photo-lithography, dates from the applica- tion of a discovery by Fox Talbot in 1852, that a solution of organic matter, such as gelatine or albumen, in which certain chro- mate, or bichromate, salts have been dissolved, will after drying and subsequent exposure to light, become insoluble in water. [nvother words, if a dry film of such chromated gelatine is exposed to the light under a photographic negative, the parts of the film which have been acted upon by the light through the clear, or partially clear, parts of the negative, become insoluble, or partially so, in proportion to the light that reached them, and remain unaffected when the soluble por- tions are washed away. It may be noted that in any of the photo-mechanical engraving processes, the operations are very similar to those in making an ordinary photograph, with the addition of the etching process. A negative, which corresponds to the photographic negative, is made from the copy being reproduced. A print is then made on a sheet of metal coated with a sensitized solution which corresponds to photo- graphic printing paper. The etching away with acid of those parts of the metal plate which are to form the highlights of the illustration and other finishing operations then follow, obtaining, it may be said, in the resultant printing plate a photograph in relief on metal of the copy. The line etching is the simplest and least expensive method of mak- ing printing plates by the photo-mechanical process. They are usually made on zinc and for that reason are commonly called ‘‘zinc etchings.” The printed impression from a line etching passes abruptly from the solid color to nothing and resembles a print from a wood-engraving. There are no intermediate tones of shading except such as are pro- duced by means of isolated lines or dots. / \HE birth of photo-mechanical engraving, including line etch- KINDS OF COPY THAT MAY BE REPRODUCED They may be made from any kind of copy that is made up entirely of solid blacks and whites; that is, all lines of the copy must be black or white, and for best results, all lines should be clean and sharp, black on white. Copy may be on paper, cloth, or similar material, but must be in firm, clean, distinct dots, lines, or masses of solid color, as gray or defective lines or dots reproduce imperfectly. Pen, crayon, or char- *Jine etching on zinc from pen drawing. The vertical lines in background were added to the print on metal with the shading machine. 218 COMMERCIAL ENGRAVING AND PRINTING coal drawings, newspaper clippings, typewritten copy, a printed page, printer’s proofs, music, signatures and subjects of a similar nature may be reproduced by this method. Gray or shaded effects can be obtained only by the use of lines or dots. Blue prints cannot be repro- duced without inking in the lines with black water-proof ink and bleaching out the background to white, or photographing with color screen and special color sensitive plate, but the tracings from which blue prints are made make good copy. Copy in colors other than black may be reproduced with more or less success except that made in light blue, which cannot be photographed without additional expense. A few colors, notably red and yellow in shades, will photo- graph as well as black and may be reproduced with good success. The Combination halftone and line etching on zinc, 133 line. The two line etchings and the halftone were tacked in their places in the line zinc of border. Fig. 601. Line etching from photograph (left) and line etching (right) made from a print from a section of the halftone in center. best results, however, are obtained from clean, sharp black and white copy. In reproducing line drawings that have been made on colored paper, even though made with black ink, it is sometimes necessary to make first a negative with color filter to separate the lines from the back- ground and then make the etching in the usual way from a ‘‘black and white” print from this negative. Although an extra charge is made when this method is used, it is often less expensive than redrawing. It is impossible to make line etchings direct from wash drawings, photographs, retouched photographs, photogravure prints, oil paint- ings, or similar copy, where the tones of color are blended together without separation, or from prints from fine screen halftones unless enlarged. When such copy is reproduced by this method patches of white appear for the highlights, patches of blacks for the blacks, and smudges for the middletones as in the view at left in Fig. 601. Similar effects would be obtained from line drawings made with ordinary writing ink. Pages 209 to 224, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. LINE ETCHINGS 219 Square halftone, 133 line, no line. Made from a slightly retouched photograph, made with flashlight. Fig. 602. A photo-engraver’s camera, with stand, copy board and lamps. STt7ParOR, THH-COPY Since a reduction in reproduction will minimize a great deal of pos- sible roughness in the copy and give cleaner detail in the engraving, it is well to make the copy from ten to one hundred per cent larger than the reproduced plate is to be, the amount of reduction depending some- what on the skill of the artist, the nature of the copy and the effect sought in the finished plate. The plate may be made in any proportion to the size of the original copy, keeping in mind of course that one dimension is reduced in the same ratio as the other, also that the size of the lines in the drawing will be reduced in thickness in proportion with the reduction in the size of the copy. Plates may be made larger than the copy, but usually are not so satisfactory on account of increase in roughness of the lines because of the magnification. Square halftone, 133 line, no line. Made from slightly retouched photographs—the halftone negatives were stripped together. Fig. 603. Obtaining size on the ground glass for the plate (left) and ~ exchanging the ground glass for the holder containing the sensitized plate (right). Square halftone, 133 line, no line. Made from a retouched photograph. Fig. 604. Making the exposure. OPERATIONS IN THE PROCESS The first step in the making of a line etching, after the drawing or copy has been finished, and the size has been determined for the plate to be made, is to make a line negative. The copy is attached to the copy board, usually by tacking, and placed in front of the camera. The operator adjusts the camera, by moving it forward or backward on the stand, and extending or contracting the bellows of the camera until the image of the copy on the ground glass appears in the desired size and in perfect focus, thus obtaining detail or definition and size in these operations. The ground glass is then removed from the camera and the plate holder containing a sensitized wet plate is now put in its place in the camera. Strong electric lights with reflectors throwing the light on the copy are then turned on, the slide from the plate holder and the cap from the lens are removed and an exposure is made. The length of exposure and the size of the opening before the lens depend upon the nature of the copy, the light, etc. TREATMENT OF THE NEGATIVE After the exposure has been finished, which requires from two to three minutes or more, depending on conditions and equipment, the ia halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped tozether. Fig. 605. The negative (left) and stripping and turning it (right). LINE ETCHINGS 221 dy halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped together. : Fig. 606. The stripped and turned negative (left) and the same in the printing frame (right). plate is removed from the holder in a dark room and developed and fixed by a washing process. After the plate has dried, the film side is thinly coated with a trans- parent solution of liquid rubber cement to insulate the film from another coating that is to be added afterwards to give the film body for stripping, and this is allowed to dry. A solution known as stripping collodion is then poured on in an even thickness and allowed to dry. In drying, these coatings become a part of the negative film. The plate is then put into an acetic acid bath and allowed to soak until the film separates easily from the glass so that it may be removed in a sheet. The film is then removed from the negative glass and laid on a piece Square halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and that at right from a print from halftone. The halftone negatives were stripped together. Fig. 607. Making the print on metal (left) and a printing lamp (right). : “*9Odsg hy po 10 odmen Square halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped together. Fig. 608. The print on metal (left) and the same after the large blank areas were painted over with the resist (right). of thick plate glass, reversing or turning the film upside down in the operation. If the film were not reversed, the print from the finished plate would read backwards, or from right to left. The film on the plate glass is allowed to dry thoroughly. A piece of zinc, usually about one-sixteenth of an inch thick and polished and burnished on one side, is then sensitized on the polished side with a bichromated glue solution and dried. The sheet of zinc is somewhat larger than the finished plate is to be, thus providing for margins and space for handling. TREATMENT OF THE PRINT ON METAL The negative on the plate glass is then placed in a printing frame, which is supplied with thick glass perfectly transparent, with film side up. The sensitized zinc plate is then placed on top of the negative, a & ‘ . ae! halftone, 133 line, no line. Made from'slightly retouched photographs. The halftone negatives were strippe together. Fig. 609. Powdering the print (left) and burning it in (right). Pages 209 to 224, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. Line EtcuIncs 293 Square halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and that at right from a black on white print from halftone. The two halftone negatives were stripped together. Fig. 610. Etching the plate (left) and an etching tub with stand and motor (right). the sensitized side of the zinc and the film side of the negative being placed directly together. The back is then placed in the printing frame and sufficient pressure put on to the back through clamps or vacuum to insure perfect contact between the negative and the sensi- tized zinc. The printing frame is then set on edge and the face is ex- posed to strong electric light. In this operation of making the print on metal the light penetrates the thick glass in the printing frame and the glass on which the negative has been stripped, and passes through the negative to the sensitized zinc plate. - The print on metal is then developed and fixed, all parts of the sensitized coating washing away during these operations, except those affected by the light when the print was being made. The fixed print Square halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and that at right from a black on white print from halftone. The halftone negatives were stripped together. Fig. 611. Routing the plate (left) and a routing machine (right). Square-outline halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped together. Fig. 612. Sawing block and plate (upper left), squaring and trimming (upper right) and planing to type high (lower). is the same as will be produced by the finished plate except that it is reversed or backwards, as in all plates or type for letterpress printing. Wherever lines of the print appear on the plate it is not affected by the chemical used in etching. The back and edges of the plate are made impervious to the acid by painting with a resist. In addition to this, to expedite the etching of the plate as well as to economize in the use of the chemical, the large flat surfaces on the face of the plate that are not to print are covered with the resist with a brush, leaving these surfaces to be routed out later instead of being etched out chemically. Square halftone, 133 line, no line. Made from black on white prints from halftones. The halftone negatives were stripped together. Fig. 618. A combined saw and trimmer (left) and a type-high planer (right). Ee LINE ETCHINGS 25 Square halftone, 133 line, no line, The views at left and right were made from slightly retouched photographs and that in the center from a black on white print from a halftone. The halftone negatives were stripped together. Fig. 614. Finishing (left) and proving the plate (right). Proof press (center). ETCHING THE PLATE A resinous powder, known as dragon’s blood, is then brushed over the zinc plate and burnt in, the powder adhering only to the printed parts of the surface. The plate is then placed in nitric acid either by immersing in a tray of the chemical with a motor driven device for rocking, or by placing in an etching machine where the chemical ts sprayed against the surface of the plate. The chemical acts on the unprotected surfaces of the plate, and by erosion these are eaten down, leaving in relief the surfaces that have been covered by the print of the image and the surfaces that have been painted with the resist. After the plate has been immersed for a short time it is removed from the acid and washed off clean with water. Another powdering is then given the plate, the plate being brushed four ways, top to bottom, right to left, bottom to top, and left to right, and it is heated after the brushing in each direction. The plate is again washed in water and again submitted to the acid. After another short immersion in the acid it is once more washed, powdered, heated and again placed in the acid. Each time the plate is placed in the acid is called a bite,—and in Fr é be OO eo ag 79 ee Chamber of Commerce SiR RIO Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 615. The finished plate and a proof from it. 226 COMMERCIAL ENGRAVING AND PRINTING a plate may be subjected to one bite, two bites, or whatever number may be necessary to get the desired depth. It will thus be seen that a shallow plate may get only one or two bites, while a deeply etched plate may get four or six or more; or the bites may be shortened, in which case several may be given and still a shallow plate will be pro- duced. The powdering process causes the lines that are to print to widen as they get deeper, giving the line in relief the appearance of an inverted V. If the plate were not etched by bites and the entire depth were obtained by one application of the acid to the plate, the chemical action of the acid would spread and cut under the lines printed in the resist on the face of the plate. In the case of fine lines, this would result in broken or ‘‘chewed”’ lines and the wider lines would have rough edges in the finished plate. When the plates are not etched in a machine, they are usually placed in a rocking tray with the acid running first in one direction across the face of the plate and then the opposite. By turning the plate frequently, the four-way motion is given the acid, the same as the four-way motion in brushing the powder on the plate, thus etching all parts of the plate evenly. ROUTING AND FINISHING After sufficient depth has been given the plate by etching, it is mounted on a block about type high and placed on the routing ma- chine where the surplus metal in the large flat surfaces which were not etched out chemically is routed away with a rapidly revolving drill- like tool. Also more depth is given to the large spaces that are to show blank in the print from the plate and the plate is separated from the surrounding metal by routing. The router is said to be the highest speed machine made. Its spindle must run from 10,000 to 20,000 revolutions a minute and so true that it will absolutely cut to a hair line. The plate is then removed from the temporary base on which it has been routed and mounted permanently as it is to be used. Unless otherwise ordered, line etchings are usually mounted on wood, but they may be mounted in any of the ways described under ‘‘ Methods of Mounting.” The plate is then taken up by the finisher who carefully inspects it and compares it with the copy, cleaning up such lines as may be imper- fect through improper action of the resist, slips in routing, etc., tooling off surplus metal and soldering in parts that have been unintentionally etched or routed away. It is then ready for proving, final inspection and delivery. REVERSING BLACK TO WHITE OR WHITE TO BLACK Occasionally it is necessary to reverse the relation between blacks and whites in the etching. For example, if copy is furnished for an etching with black lines on white background the engraving may be made to print with solid black background and white lines, and by the same treatment a copy which shows a black background with white lines may be reversed. When a black background and white Pages 225 to 240, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. LINE ETCHINGS O27 &6 ep ep ae Keep | Indianapolis) Pigurnenyig 99 inFront” | |ieuesxou eVember | eMember Chamber of Commerce | Chamber of Commerce Line etchings on zinc. Made from a pen drawing. Fig. 616. Black on white. Fig. 617. White on black. lines are desired, it is better to use white paper, and make the drawing with black lines when possible. Black ink on white paper is much easier to work than white ink on black paper. In making such a plate where the background and printing charac- ters are to be reversed in color, the negative is made of the copy in the usual way and from this negative a positive is made from which the print is made on metal, the remainder of the process being the same as in straight line work. The positive, or negative from a negative, is made by placing the negative in an open frame, or holder, between the camera and a white background. Then in making the exposure the light is thrown against the white background, thus bringing out the transparency of the negative to the lens. The same result may also be obtained by a special treatment of a print on metal that has been made in the usual way. By this treatment a special chemical is applied to the plate with a roller, this chemical Square halftone, 133 line, no line. Made from slightly retouched photographs. The halftone negatives were stripped together. Fig. 618. The positive (left) and print on metal (right) as used in making a line etching to print ‘‘white on black.” 228 COMMERCIAL ENGRAVING AND PRINTING acting as a resist to the exposed metal of the plate and causing disin- tegration of the original print. The plate is then etched and finished in the usual manner. This method is also extensively used in making plates for additional colors and for etched embossing dies. lL Fig. 619 is a line etching on zine and Fig. 620 a line etching on copper. Both were made from a pen drawing to which the shading had been added with the shading machine. Fig. 619. Fig. 620. Line etchings on zinc and copper in comparison. An extra charge is always made for plates reversed by either of the foregoing processes, on account of the additional labor required, the amount depending on the nature of the work. In the case of a type form or plate, where the reversed plate is to be made the same size as the original form or plate, a bronzed proof on a thin transparent paper may be used in making the print on the metal, thus doing away with all negative making and stripping, though the etching and finishing is done in the usual manner. The bronzed proof is used because of its opaqueness. In ordering a reversed plate to show white characters on a black background, keep in mind that it is just as essential that the engraver be instructed as to how much background shall be left beyond the let- tering or design, as it is that he be advised as to the size for the lettering or design. And it is advisable in ordering to specify “white on black” or “black on white”’ instead of specifying ‘‘reverse etching,’ as the term ‘reverse etching”’ is sometimes used in referring to a plate of de- sign or lettering made to print reading, or facing, the opposite direction LINE ETCHINGS 229 from that shown by copy. Ordinarily, of course, the printed impres- sion from a plate of lettering should read from left to right, and it would be a serious error to make the plate to print to read the reverse. There are instances, however, when this result is required, as for a plate for printing the border, general title and blank form on the back of sheets of tracing cloth for a series of shop drawings from which blue prints are to be made. An extra charge is usually made for reproductions from lithograph or steel plate copy, script, penmanship or shorthand, because of the extra care required on account of the fineness of the lines and other difficulties that are usually encountered in getting good reproductions from this class of copy. And notwithstanding that the greatest care may be given to all steps in the process, the majority of such copy cannot be reproduced in plates that will print to give results equal to the copy from which they were made. Line etchings on zinc are especially adapted to printing on the lower grades of paper, such as newspaper, and also for designs or illustrations to be printed on rough-finished stocks. They are also largely used for the reproduction of cover designs for catalogs and folders, for magazine advertisements, for embellishing catalog or booklet pages, and in fact, for reproducing most every kind of line copy for letterpress printing. They electrotype and stereotype better than halftones, as they can be etched deeper and are more open. However, those with extremely fine lines and minute detail require the use of good paper in printing and the same care in electrotyping and printing as do fine screen halftones. LINE COPPER PLATES The process of making a line plate on copper is exactly the same as making a line plate on zinc except that the difference in metal necessar- ily makes a difference in the chemicals used. The action of acid on cop- per is much slower than on zinc, it requiring several times as long to etch a plate to the same depth on copper as to etch it on zinc; hence, they are comparatively higher in price. Line etchings are made on copper instead of zinc when the lines in the plate are to come very fine. It is impossible to hold such lines on zinc, which is a softer and more brittle metal than copper. Copper is usually used for line etchings made in combination with fine screen halftones, when the two are made as one plate. A line etching on copper will last somewhat longer than one on zinc and will give softer effects in the minute detail in printing. THICKNESS OF METAL USED While almost all line etchings on zinc or copper are made on 16- gauge metal, this thickness having been found most satisfactory for this purpose, they may be made, and frequently are made, on thicker or thinner metal. The only advantage in making them on thinner metal is the saving in cost to the engraver, but the serviceable qualities of the plate are reduced. A great many line etchings are made on zinc 11/72” thick, which is also the proper thickness for unmounted plates 230 COMMERCIAL ENGRAVING AND PRINTING to be used on patent bases. Plates on heavy metal will stand more severe usage than the thinner metal, a quality which is especially ad- vantageous in printing a large flat surface plate on rough stock. The thick metal is also largely used for making embossing dies or printing plates to be used in printing or stamping heavy, coarse material, since it is possible to etch to a much greater depth than on thin metal and still retain strength and rigidity in the plate. Because of the extra time required for deep etching and routing, and because of the in- creased cost of the metal, an extra charge is always made above regu- lar scale price for etchings on thick metal. An extra charge is also made on plates etched on metal of the usual thickness when etched extra deep, if so ordered. \\\) uv EVVUUU ULLAL, TTA \ ACU ese HOU aay Qe! SOHV eee yy DW es UTE colors, a separate printing plate is required for each color. Line color plates provide one of the least expensive methods of printing special designs in colors, and through their use most effec- tive results can be obtained. Line color plates are principally used for printing cover designs on rough cover paper and for illustrations and designs on the cheaper grades of book and newspaper stocks. However, they are frequently employed to excellent advantage for both decorative and illustrative purposes on the better grades of rough surfaced papers, and on those with a highly finished surface. In the preparation of copy for line color plates, the drawing is not made in the colors as they will appear in the finished print, but a drawing is made of the detail in outline to permit of easy separation of colors on the plates. A rough color sketch is usually submitted to the customer, after the order is placed, giving an approximate idea of the appearance of the job when printed, and this will also serve as a guide to the plate maker in making the plates. The drawing usually represents that which is to appear in the key plate, or the one carrying most of the detail, and the outline of the parts that are to be printed in the additional colors. It may also be only of the guide lines for the separation of the colors, as for Fig. 648, or in some other form to meet special conditions. But in whatever form it is made it must be so handled as to permit of the easy separation of parts representing the plates for the different colors and which must all be made from prints from the same negative, in order to insure perfect register in the plates. A drawing which is to be reproduced in colors should be made in black ink on white paper. On the margin of the sheet containing the drawing, a sheet of tissue or semi-transparent paper may be so pasted that it can be folded over the picture. On this tissue paper is roughly indicated the color scheme for the parts that are to be printed in the extra colors. If more than two colors are to be used in the job, it is well to indicate on the tissue the parts that are to be in the different colors with different colored pencils or water colors. The number of colors in which an illustration in line may be printed \ , Y HEN an illustration or design is to be printed in two or more *Line etching on zinc. Made from a pen drawing. The ruled shading around letters and border was added to the print on metal with the shading machine. Square-outline halftone, 150 line. Made from a photograph. Fig. 627. The color scheme indicated on tissue overlay. is practically unlimited, although if beyond four or five it is usually more practical to use some other process. In making printing plates of this character, a negative is made of the drawing in the same manner as for one color line etchings, and from Line etching on zinc. Made from a pen drawing. Fig. 626. Drawing as made for one type of line color job. Square-outline halftones, 150 line. Made from photographs on which the outline and thickness of the metal plates had been painted. The four plates were mounted on one block. Fig. 628. The four prints on metal—all from the same negative—ready for the artist. LINE Cotor PLATES a Yellow nnenenerecsc OCCUR Rt Square-outline halftones, 150 line. Made from photographs on which the outline and thickness of the metal plates had been painted. The four plates were mounted on one block. Fig. 629. The four prints on metal after having been ‘painted in” by the artist. this negative as many prints are made on sensitized metal as there are to be colors in the job. Then each print is treated by painting in a re- sist with brush, pen or shading machine or by scratching out, so that it may be etched or routed to remove what is not needed in the produc- tion of the color for which that plate is to be used. After the artist has worked over the prints, they are etched, routed, blocked and finished in the usual way, each block being marked with the color in which it is to be printed. The prover when taking up the plates, usually makes a rough proof of the key plate, the one carrying most of the detail, first, and uses this as a try sheet to determine the position for the other plates which are then proved in their respective colors in the order as may be required, putting on the finished proof of the key plate last. The fact that all of these plates are made from prints from the same negative in- sures the perfect register and fitting together of the several portions of the picture made up of the various colors. It is possible to superimpose one color upon another and in this way obtain a tint that is different from any of the others by the combination of two colors. The preced- ing color must dry before another is printed over it. The order of the colors in proving and printing may vary according to the nature of the Pages 225 to 240, inclusive, are printed on 95x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 234 COMMERCIAL ENGRAVING AND PRINTING Fig. 634. Yellow and red. Fig. 635. Yellow, red and blue. The four plates printed in their respective colors and the progressive combinations. All plates on this page are line etchings on zinc. LiInE Cotor PLATES 230 Fig. 636. The complete subject in four colors—yellow, red, blue and black. Fig. 637. The yellow plate. » Wl : by a 7 Fig. 640. The black plate. Fig. 641. The complete subject in four colors—yellow, red, blue and black. Figs. 637 to 641, inclusiv shown in fine out e, illustrate a line four color job in which all detail is line in the key plate, with the color in tints. All plates on this page are line etchings on zinc. 236 COMMERCIAL ENGRAVING AND PRINTING Fig. 642. Line etching of type printed over a flat color. Pe a ee ee ey Fig. 646. The black plate. Fig. 645. The blue plate. All plates on this page are line etchings on zine. Linge Cotor PLATES 2 mS \ ) Fig. 649. A flat color plate cut to work around subject. \ )) K \\h\ By BN subject. Design transferred from Fig. 650. A line two color job. cloth to the metal then etched. Fig. 651. Shaded plate for color around Fig. 652. A design complete in one or two colors. All plates on this page are line etchings on zinc. 238 COMMERCIAL ENGRAVING AND PRINTING ee — wh es Fig. 653. The yellow plate. Fig. 654. The red plate. Fig. 655. Yellow and red. Fig. 656. The blue plate. All plates on this page are line etchings on zinc. LIne CoLor PLATES 239 Fig. 657. Yellow, red and blue. Fig. 658. The black plate. By Earl Horter Fig. 659. The complete subject in the four colors. Figs. 653 to 659, inclusive, illustrate a line four color job in which flat colors have been superimposed. The entire drawing is reproduced in the black plate, Fig. 658. All plates on this page are line etchings on zinc. 240 COMMERCIAL ENGRAVING AND PRINTING subject and the convenience of the prover or printer by the use of trans- parent or opaque inks, but the lightest color is usually printed first. The shading machine is much used in line color work, its many pat- terns making it possible to get almost an unlimited number of pleasing and effective combinations. The special steps in making and proving a set of four color line plates are illustrated in Figs. 626 to 636, inclusive. The process in making a set of plates to print in a fewer or greater number of colors, would be exactly the same, except the number of plates in the set would be increased or decreased as required, and the separation of colors on the different plates would be such as to make the subject complete when all of the plates in the set were printed in the proper order. In ‘‘painting in” the prints on metal, the artist used the shading machine to obtain the tones of color, while those parts of each plate printing in solid color were either painted over with the resist, or came solid in the print, thus preventing them from being etched out, as were the parts of the plate that were not painted over or covered by the lines of the print. Also in Fig. 636, are examples of color combinations obtained by superimposing tints obtained by the use of the shading machine, while in Fig. 659 are examples of superimposing flat or solid colors. In making the plates for Fig. 636, the artist’s work on the plates involved only adding to what had already been obtained in the print on metal, the additional work being done with a brush and the shading machine. But in making those for Fig. 647, an additional operation was necessary, and that was the elimination of parts of the subject from the several prints, that there might be left on each only that part of the subject which that particular plate was to print. This was accomplished by erasing or scratching off with a sharp metal blade the lines and parts to be omitted, the erasures on each plate being made in accordance with the requirements of that plate. The resist, or part of the print, having been erased, and the metal exposed permitted it to be etched or routed away. As the sections for the different colors in Fig. 647 were drawn in outline only, it was necessary that the section that each plate was to print be painted in solid in the parts to print, in addition to erasing the parts that were not wanted in that plate. A comparison of Figs. 643, 644, 645 and 646 with Fig. 648 will show exactly what it was necessary to erase and what to paint in to obtain what was wanted in each plate. The four prints on metal were origin- ally identical with Fig. 648, and were changed through erasures and painting in to the forms as shown in Figs. 643, 644, 645 and 646. This subject, it will be noted, is made up entirely of flat colors. Line color work is by no means confined to the four colors chosen for the illustrations in this section, as the range of colors, and their com- binations, that may be used is unlimited, and those to be used and the number of them is a matter of choice. Plates made with the aid of the shading machine were used for Fig. 641, that it might be printed at the same time with the other illustrations in color in this section and appear in tints instead of the full colors as in the others. This plan can often be used to good ad- vantage and without any increase in cost of presswork. LiInE Conor PLATES 241 Pages 233 to 240, inclusive, were printed in one form and the same three colors, yellow, red and blue, where they appear, were used in addition to black. They were printed in the order named. In the making of a line color job, it is obvious that there will be a special charge for the artist’s time for work on the plates, in addition to the charge for the plates themselves. The charge for artist’s time de- pends upon the actual time required, it being only a nominal amount on jobs requiring little labor but running into considerable expense with complicated plates. The scale price per plate on line color jobs is also higher than the rate for black and white work, notwithstanding the fact that all plates on a job are made from the same negative. The reason for this is that the prints on metal must be made separately and the plates must be etched by themselves instead of along with others that may be going through as one color commercial work, also because of the extra time required for blocking to register. It is usually both impractical and unsatisfactory to attempt to make plates from a separate drawing for each color, especially where an exact register is required. Not only is there the possibility that the drawings themselves will not register perfectly, but even though the drawings may be in perfect register, it will be necessary to use the prism in making the negatives to avoid stripping, which is attended with danger of shrinkage or expansion. Use of the prism entails extra expense. In estimating the size of color plates, each plate is computed as be- ing the same size as the key or largest plate, as they are all originally made on sheets of metal of the same size, although some may be almost entirely cut away in the process of making. Tint block backgrounds may be used to bring illustrations into sharp relief. These, if solid color, are usually cut from a sheet of zinc and mounted on wood. If they are to register with other plates, a proof or transfer is made of the key plate to the zinc, the outline is cut in with tool by hand, the surplus metal is routed away and the plate is blocked in the usual way. The etching by acid is thus eliminated. Often in the case of a trade mark or other similar illustration it is desirable to have a design that can be printed in one or two colors, as occasion may permit, and in either case, show a complete illustration. This may be accomplished by having all of the detail in the key plate, the second being for color only, such as background or unimportant decoration. Some drawings for line color work can be used with little or no change for one color plates, while others will require extensive changes. ONES *Fig. 675. photographically reproducing in a printing plate the details of a photograph, drawing, painting, or an object itself, including all the gradations of color. It receives its name from the fact that the finished engraving duplicates not only the solid blacks and whites, but also the intermediate gray shades or “‘halftones,”’ resulting in an effect that approximates an actual photograph. The process is comparatively new, plates made by this method com- ing into increasing general use about 1890. The adaptations of the pro- cess have been rapidly and continuously developed and it is now used in numerous ways both as a separate process and in combination with other processes of illustrating such as photolithography and rotary photogravure. The fundamental principle of the process is the photographing of the copy through a cross-lined screen, the various tones of color in the copy being translated through this negative to a print on the surface of a sheet of metal. After etching, the surface of the plate is made up of points and hollows which vary in size from the most minute pin points in the high lights to larger dots in the middle tones, then through hollows in the darker portions which decrease in size blending into solid color in the darkest parts of the picture as shown in Figs. 677, 678 and 679. When the plate is inked just previous to taking a printed impression from it, the ink is distributed uniformly over the entire surface and the difference between the heavy color in the blacks and the light tones in the high lights is due to the open spaces between the dots which stand in relief and which give the printed impression. In Fig. 679 the subject will be more easily recognized as an enlargement of a part of the small halftone, shown at the lower left of Fig. 678, if it is viewed obliquely with the eyes partly closed. The gradation of color, as obtained with a halftone screen, is shown in the enlarged section in Fig. 677. In producing this a drawing was made of a panel with the air brush in which the color was blended from black at one end to white at the other. From this drawing an 85 line screen halftone was made and then from a proof of this half- tone a line etching was made which was used in printing the illustra- tion shown. ’ \HE halftone process, broadly speaking, is a mechanical method of *Outline-vignette halftone, 150 line. Made from a wash drawing. After the print was made on metal the lettering was painted over with the resist that it would print solid, or in full color. HALFTONES 243 OOOO OO SOS OO OOOO) Combination halftone, 150 line, and line etching on copper. The halftone negative of the frame was made from a wash drawing, and the line negative of the ruling was made direct from a screen. The two negatives were stripped together and the illustration represents a section of a 65 line screen about twice actual size. Fig. 676. A section from the corner of a rectangular halftone screen with aluminum protecting frame. HALFTONE SCREENS The best screens, and those most generally used, are made of two planes of plate glass cemented together. Parallel lines are engraved on the surface of one side of each of the planes and these lines are made opaque by being filled with a black pigment. The two pieces of glass with the etched or engraved surfaces in contact are cemented together with a transparent cement, the lines on one piece of glass running in one direction and those on the other at right angles. Screens are desig- nated by the number of engraved lines to the inch. For instance, on a 60 line screen, there would be 60 parallel lines to an inch each way; while on a 133 line screen, there would be 133 lines to the inch. The apertures, or transparent glass spaces between the lines, are uniform in width with the engraved lines, but because of crossing, equal only one- quarter the area of the entire surface. The lines are usually ruled diagonally on the plates instead of parallel to the edges, as by so doing a larger negative can be made by placing the object straight with the screen than could be if it were necessary to expose it in a diagonal posi- tion in order to get the correct angle of screen lines in the halftone. These screens must be absolutely perfect and free from all blemishes or scratches of any nature, and those that are in constant use must be sent to the maker occasionally to be taken apart, cleaned, polished and re-cemented; otherwise the defects in the screen would be repro- duced as defects in the printing plate. Line etching on zinc. Made from proof of an 85 line halftone. A direct enlargement. Fig. 677. Enlarged section of halftone showing manner of gradation of color, 244. COMMERCIAL ENGRAVING AND PRINTING The screens most commonly used are 60, 85, 100, 120, 133 and 150 line. Some engraving establishments vary their standard sizes a few lines from those mentioned, the variance being largely a matter of per- sonal choice. Screens coarser than 60 line are in use by some, and the usual run of commercial work is seldom made with finer than 150 line. Screens of 120 to 133 line are regarded as medium and suitable for a greater number of uses than those that are finer or coarser. Different screens are employed because no one screen is adapted to all classes of work. The finer the screen the less apparent is the break- ing up of the image into dots, and where a very fine screen is used it is almost impossible to detect this dotted or ‘‘screeny”’ effect with the naked eye. The coarser the screen used, the more the detail that will be lost in the reproduction. Much depends upon the paper and ink to be used in the printing. A fine screen halftone properly printed on a high quality of enameled paper will give the most nearly perfect re- sults, but if improperly printed, or with a poor grade of paper and ink, it will be almost black and lose its character. Coarse screen halftones may be used on good quality of paper, but the print will be coarse and detail will be poor; while fine screen halftones when printed on cheap paper will fill up, smut, and produce very poor results. It is desirable, therefore, to use as fine a screen as the grade of the paper and the prob- able skill of the printer will warrant. Poor printing will, as a rule, be less likely to spoil a coarse screen picture than a fine one because it is less difficult to handle. The coarser the paper and the thinner the ink, the coarser the halftone should be; and the finer the paper and stiffer the ink to be used, the finer the screen in the plate may be. Those not familiar with results to be expected from the different screens should, when ordering plates, send a sample of the paper they are to be used on, or tell for what purpose they are to be used, so that the engraver may decide what screen to use. When they are to be used in publications, it is not sufficient to say that they are to be used in newspaper, farm paper, magazine or business periodical, as the screens used in any class of publications vary greatly and it is best to name the publication in which they are to be used. The 60 line and other very coarse screens are adapted to making halftones for newspaper work and any other in which the plates are to be stereotyped or used on the coarser finish papers. The 85 to 100 line screens are adapted to plates for use in country newspapers that do not stereotype, or for printing on a fairly good grade of news, or low grade book paper on a flat bed press. The 120 to 133 line screens are well adapted for plates to be used on medium grades of book paper, un- coated book and the lower grades of coated papers. Screens finer than 133 are used in making plates for use on the highest grades of enameled book stock. Screens as fine as 200, 300 or 400 line are seldom used for commercial work, their use being confined almost exclusively to the reproduction of scientific subjects. In addition to the selection of the screen of proper ruling, halftones to print on bond, dull coated enamel, hard finish and other special Pages 241 to 256, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. HALFTONES QA5 ® .) e @ a D 8 ® e @ ‘.) Qo e -@ °s Oo e e @ oO @ e @ td e #] e Q o) ¢ ee @ € € r e 7 © € ® @ -e@ €. y. €. ea © 8 @ 6 bal 2 @. € ¢ 8 @e@ ®@ ‘e¢ € ¢€ td pel po © ¢ ¢ oe @ @ ¢ € @ ¢@ ¢. eee @ @ is 6 ¢ ¢ ee 68 @ , i C-.€ ¢€ - eee @ ~ ¢. 6 ¢€ € eee @ ¢ «€ © 6 eee @ e « ¢€ € ee @ @ a © €. €. @oee @ € © @¢e¢ eee e ¢ ¢ @¢ @ ee 8 ®@ ee @€ ¢€ @ @ee @ f € 0.8 e@ee e@ 9° «@ © @¢ € eee e a e ¢ ¢. a on oe ) i € 6. ¢7 eeee e¢ @¢ e.e @ : : < eo @ @ e .@ eo oe @ e Square-outline halftone, 175 line, no line. Made Line etching on zinc. An enlarged line negative was direct from the surface of the plate used in printing made from a print from the small halftone in lower left of Fig. 679. Lower left, square halftone, 120 line, no line. Fig. 678, and the etching was made from an enlarged Made from photograph. black and white bromide print from this negative. Fig. 678. Fig. 679. The printing surface of a small halftone (lower left) as it would appear when greatly enlarged (left), and a print (right) from the enlarged plate. 246 COMMERCIAL ENGRAVING AND PRINTING The halftones for Figs. 680, 681, 682 and 683 are square finish with line, and all were made from the same photograph. Fig. 680. Halftone on copper, Fig. 681. Halftone on zinc, 60 line. 60 line. Fig. 682. Halftone on copper, Fig. 683. Halftone on zinc, 85 line. 85 line. Comparison of halftones made on copper and zinc. papers, should be made special for these papers and the engraver should be so advised when they are ordered. Coarse screen halftones, not finer than 100 line, are usually made on zinc, if speed and economy in production are factors, but all halftones that are made for best printing results should be made on copper. HALFTONES 247 [eee For news and other low grade papers. Stereotypes and For news and the lower grades M. F. papers. Electro- electrotypes well. Used by most of the metropolitan types well; stereotypes fairly well. Used by some metro- daily newspapers and some agricultural papers and mail politan daily and most country newspapers, and by order magazines. many agricultural papers and a few magazines and business periodicals. Fig. 684. Halftone, 60 line screen. Fig. 685. Halftone, 85 line screen. For M. F. and the lower grades of super calendered For M. F. and super calendered book and cover book papers. Electrotypes well. Used by many agri- papers. EHlectrotypes well. Used by some agricultural cultural papers and some magazines and business papers, magazines and business periodicals. periodicals. Fig. 686. Halftone, 100 line screen. Fig. 687. Halftone, 110 line screen. 2A8 COMMERCIAL ENGRAVING AND PRINTING For super calendered, dull finish coated, and the lower grades of gloss enamel coated book papers. Elec- trotypes well. Used by many business periodicals and magazines and a few agricultural papers. For super calendered book papers. Electrotypes well. Used by many magazines and business periodicals and a few agricultural papers. Fig. 688. Halftone, 120 line screen. Fig. 689. Halftone, 133 line screen. an es oa Rapier 8 OE Fed a Sc Ps For enamel coated book paper. If electrotyped, For enamel coated book paper. If electrotyped, } should be by the lead mould process. Used for fine should be by the lead mould process. Used for fine A catalogs and by a few magazines and business papers. catalog and other high-class work. Fig. 690. Halftone, 150 line screen. Fig. 691. Halftone, 166 line screen. ee HALFTONES 249 | : Fig. 692. Halftone, 175 line screen. Fie. 693. Halftone, 200 line screen. Fig. 695. Halftone, 400 line screen. Fig. 694. Halftone, 300 line screen. The screens shown on this page are adapted to use on only the highest grades of enamel coated paper. Should not be electrotyped but if attempted, should be only by the lead mould process and then with the most skillful and pains- taking care. Used for fine catalog and bulletin work where minute detail in microscopical, scientific and similar work is necessary. They require great care while printing—careful makeready, frequent wash-ups and slow production. Halftones for Figs. 684 to 695, inclusive, are square finish, with line. 250 COMMERCIAL ENGRAVING AND PRINTING Halftones made with coarse screen on zinc are less expensive than half- tones made on copper with the same screens, because the etching can be done in less time, there is usually no re-etching, and the metal used is less expensive. Such halftones when made for newspaper use are sometimes called newstones, or quartertones. The coarser the screen, the deeper the plate can be etched, hence the better it can be electrotyped, the easier to print cleanly and sharply, and the longer it will wear. Fig. 696 very clearly shows how the middletone points in a halftone gradually widen as they are etched down and how when the points are closer the hollows between must be shallower. The sides of the points in a good printing plate should taper in this manner, otherwise there would be ‘‘under cutting’’ and SHALLOW COARSE FINE UNDERCUT UNDER ETCHED Line etching on zinc. Made from pen drawing. Fig. 696. Enlarged cross-section views of halftones, illustrating depth of etching, undercutting and shallow etching. the points would break off, or would cause the plate to “‘pick”’ the paper, or tear the mat or mould in being stereotyped or electrotyped. To the eye the screen in prints from very small plates appears much coarser than the same screen when used in a very large plate, and a coarse screen used in a large plate of a subject with large detail, appears much finer than it really is. A small plate is easier to print than a large one. It is sometimes practical, therefore, to order a little finer screen for very small plates, or a coarser screen for very large plates, than would ordinarily be ordered for plates of medium size to be printed on the papers adapted to these screens. It is practically impossible for even the experienced with the aid of a magnifying glass to determine definitely and readily the line screen used in a specimen submitted. With the aid of the ruled segments printed on the outer margin of pages 252 and 253, the screen used in making any print or plate may be readily determined by placing the edge of the page over it and matching the lines of a segment with the rows of dots in the plate or print. The comparison can of course be more readily made with the aid of a magnifying glass. Screens are made in various sizes from 34% x 4% inches to 20 x 24 inches and larger, as well as in different rulings per inch. The sizes most used for commercial work are II x 14, 12 x 15, and 14 x 17, while newspapers and establishments which make a specialty of large plates, have the larger sizes. As the best screens are expensive and require the greatest of care in handling, it is obvious that it is not wise for an engraver to make an investment in screens for which he will have little use. Therefore, it is Pages 241 to 256, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. HALFTONES day Square finish halftones, 100 line, no line. Both made from the same photograph. Fig. 697. Halftone with lines of Fig. 698. Halftone with lines of screen screen at angle of 45°. running vertical and horizontal. to be expected that some establishments may not have every ruling that might be called for, or that they may have the rulings called for, but not in sizes large enough for some plates that might be ordered. MAKING THE NEGATIVE The first step in making a halftone after the copy has been pre- pared, is making the halftone negative. The copy is attached to the copy board in front of the camera, so placed that the lines of the screen which will be reproduced in the negative, along with the copy, will be at an angle of forty-five degrees to its perpendicular. This angle is Square finish halftone, 150 line, no line. Made from a slightly retouched photograph. Fig. 699. Replacing ground glass with holder containing sensitized plate preparatory to making a halftone negative. The screen is in position in the camera. L75 *Fig. 700. Key with which to determine the screen used in halftone plates or prints. yay: COMMERCIAL ENGRAVING AND PRINTING used because experience has shown that it most nearly eliminates the “screeny’’ appearance of the print. This is illustrated in Figs. 697 and 698, both of these halftones having been made with the same screen and under exactly the same conditions excepting the angle of the screen. The camera, with the proper screen just in front of the ground glass, is then focused to obtain proper size and sharp detail on the ground glass, the same as in making photographic negatives, after which the ground glass is removed. The plate holder is then placed in the camera so that the plate occupies exactly the same position as was occupied by the ground glass. The light is turned on the copy and exposure is made, the time of exposure varying from five to ten minutes, depending upon the nature of the copy, screen used, plate, condition of bath used in coating the plate, etc. A wet plate is used in making the negative, that is, a plate which the operator has coated with collodion and sensitized, and which is used while still moist. Wet plates are used almost exclusively for making halftone and line negatives, as a matter of economy, because the glass after being stripped of the film can be thoroughly cleaned, resensitized and in like manner used over and over again, all at much less cost than dry plates. As daylight is unreliable, because of its variance in intensity and direction, arc lamps are used almost entirely by photo-engravers in making their halftone and line negative exposures, and for making the prints on metal from these negatives. The use of daylight is also limited to the time of day and the season of year while the arc lamp is available for constant use and allows for variety in control. The cross lines of the screen intercept the light and each minute square between them acts as a diaphragm through which the light from the camera lens passes to the negative and forms on it in very small compass that part of the image as seen through the lens diaphragm or light opening. The properties of the light are such that while the open- ings between the lines of a given screen are all of the same size, yet by manipulating the distance of the screen from the plate, and the diaphragm, the stronger rays which come from the high lights of the copy spread out and make larger dots in that part of the negative, while those from the dark spots of the picture make an impression upon it that appear as a series of microscopic points. In the print made on the plate from the negative these conditions are reversed and the high lights are represented by the smallest pin points, which grow larger as they blend off into the darker tones and then converge into hollows or openings which decrease in size through the shadows to a solid surface in the blacks. In this manner the image on the negative is cut by the cross lines of the screen, the size of the small exposed dots corresponding to the ruling of the screen used and the manner in which the light has spread as it reached the negative through the screen. The opaque lines in the screen produce white or transparent dots in the negative, which in turn produce black dots in the print on metal. *Lead mould steel faced electrotypes were used in printing Figs. 700 and 701. They were so placed in the form that the outer edges of the prints would trim to bleed off the edges of the page when the book was trimmed. In making the double print square halftone from which they were made, one-way screen halftone negatives, made from a plain light gray ground, were stripped together. Proofs from type of the numbers were arranged for double printing. The white lines between segments were cut with a tool. HALFTONES 253 Different copies require different handling in making the exposures and there are many ‘tricks of the trade’”’ which the halftone operator must master before he is able to obtain the best possible results from all classes of copy. Many conditions arise, due to the nature of the copy, that make it impossible to follow one set of hard and fast rules. Very often as many as three exposures are required in making the same negative: one with diaphragm, or opening, to record properly the normal or middle tones, another with a smaller stop for the shadows and a third with a larger opening for the high lights. Usually the first exposure is for the shadows, and in making this a sheet of plain white paper is held just in front of the copy. If the plate was developed and finished at this stage the result would be similar to that shown in sec- tion A of Fig. 703. If the entire exposure was made with the middle tone stop, the result would be as in section B, or if the high light stop was used exclusively results would be as in section C. The result in section D is from a combination of the three exposures. THE NEGATIVE After the negative has been developed and dried, if the background is to remain in the halftone as it is in the copy, and it is to be finished with a black border line, the negative is usually trimmed and squared up before stripping. While in many establishments this squaring up and trimming is done with a knife and T square, the device shown in the illustration greatly expedites this work, and insures that it will be a perfectly squared film to proper dimensions. As only the part of the plate covered by the print from the halftone negative will etch, the surrounding surface being covered with the enamel, or resist, when the plate is to be finished with a line, in trim- ming the plate, after etching, sufficient of the surrounding blank metal is left to provide for the solid black line. There is a device on some beveling machines for raising a solid black line from an etched surface, and it is possible to add a thin black line around a plate that has been made without a line, both being practical under certain conditions. In marking out and trimming the negative, it is placed face up on a piece of thick ground glass, under which an electric light is placed to illuminate the negative. The film is so placed that the margin on it is in proper position to be squared up following the lines of the parallel rulings or figures on the device, one pair being used for marking length- wise and the other for marking crosswise. Negatives for halftones in which the background is to remain, but which are to be finished without the black border line, and those that are to be finished in outline or outline-vignette, may be cut out roughly, leaving ample margin all around, the trimming to actual size being done when finishing the etched plate. The print on metal in Fig. 705 shows the manner in which the negative was trimmed from which that print was made. The upper part of the subject that was to be finished with the black line (see Fig. 713) was carefully trimmed, while the lower part that was to be outlined and vignetted was indifferently cut. The solid black is the blank metal not covered by the negative but coated with the resist. Y ‘syurid 10 sojejd su0}j{eY UI posn UseI9s oY} auTIUIE}0p 0} YoY YIM AO “TOL “SIA. 254 COMMERCIAL ENGRAVING AND PRINTING Square finish halftone, 150 line, no line. The negatives, all of which were made from the same photograph, were stripped together, and the reference letters were cut in the finished plate with a tool. Fig. 703. Showing results obtained from different exposures when making a halftone negative. COATING THE NEGATIVE After the negative film has been coated with a solution of chemi- cally prepared liquid rubber and stripping collodion to give body to the film, it is allowed to dry thoroughly and is then cut. The plate is then placed i in a weak solution of acetic acid and allowed to soak until the film becomes loose, that it may be readily removed from the glass. STRIPPING THE NEGATIVE Then the film is stripped off the original negative glass and placed upon a piece of plate glass, turning the film in the operation. If the film were not turned, the finished halftone would print backwards. REVERSING OR TURNING THE NEGATIVE Oftentimes it is to be preferred that a subject be made to print ‘“‘reverse’’—that is, to face the opposite direction from that shown in the copy. This is accomplished by not reversing the film when it is stripped. Many prefer to have all portraits face inward rather than towards the outer edge of the page and this can be readily arranged by reversing or not reversing as the case may require. Care must be exer- cised in selecting subjects to be reversed, as lettering or text on a reversed subject will read backwards, unless it is drawn backwards on the original; a right handed man will be made left handed, and similar HALFTONES 255 awkward situations will result if reversed plates are ordered without giving advance thought to what the results are going to be. STRIPPING NEGATIVES TOGETHER While the size of the screen limits the size of the negative that may be made through it, oftentimes in making a large plate, two or more negatives may be made for different parts of the reproduction and these so cleverly stripped together for making the print on metal that the lines between are hardly noticeable. Thus, the size that a halftone may be made in one piece is limited only by the size of the sheet of metal that can be handled, and if the halftone is made in different pieces and patched together in mounting, its size is limited only by the size of the press that is to print it. The nature of the subject will determine the practicability of strip- ping or patching. It would of course be impractical to attempt to strip together several sectional negatives to make a face or a subject made up of delicate tones, but when there are lines to follow in cutting the film, such as the outlines of buildings or other objects, little difficulty is encountered in stripping. It is practically impossible to patch finished plates of different sections together without the patch showing so dis- tinctly as to mar the appearance, but some subjects lend themselves better to this than others. This patching is accomplished usually by sweating the perfectly fitted sections on a thin metal base and then fill- ing the grooves between with solder, which is tooled and finished as may be necessary to make the joint as nearly perfect as possible. RETAINING NEGATIVES AND MAKING DUPLICATE PLATES FROM THEM The negatives from which halftones are made are usually not held more than a few days after the plates are finished, unless the customer gives special instructions that they shall be; as to save all negatives would soon mean even with a small engraver such an accumulation of plates that they could not be cared for. Square finish halftone, 150 line, no line. The halftone negative for the view at the left was made direct from the negative shown, and that for the right from a slightly retouched photograph—the two negatives being stripped together. Fig. 704. The negative (left) and device (right) for trimming and squaring halftone negatives, 256 COMMERCIAL ENGRAVING AND PRINTING Square finish halftone, 133 line, no line. The view at left was made from a slightly retouched photograph and that at the right direct from the print on metal. The negatives were stripped together. Fig. 705. Making the print on metal (left) in a vacuum printing frame and the print (right). The discount engravers grant on duplicate plates is allowed only when the duplicates are ordered at the same time as the original. It is given because of labor saved if all are made at one time. If the order for duplicates is given later, it often would mean more work to look up the original negative, re-strip it, etc., than to make a new negative. MAKING THE PRINT ON METAL Next a sheet of polished metal, usually copper, a little larger than the stripped negative, is sensitized and a print made on this from the negative in the same manner in which the print is made on metal for a line etching. This print on the polished surface of the metal repre- sents the picture or image as it is to print finally except it is in a re- versed position. After being developed it is baked or hardened, while being held over a gas flame, the print forming a surface which acts as a resist to the acid used in etching. The metal surface not covered by the lines and dots in the print is left exposed to be eaten down by the acid, the parts covered by the print being left in relief as the plate is etched, thus forming the printing surface of the plate. @ ¢ & @ © @ ® 6 e888 8 6.8 ¢ © 6.0% eee @@ ee + @@ ® @e-*eee + @ 6 8. pon Oe ae @@*e¢ 6 6 © © 6 ¢ @ @ - | | ae @ @ @ «6 °¢ ¢@ ® @ @ @ @ @ @ & & e & ° e@ © @ : 5 : = & @eere@@ + @@ @6 66 4: & ee ry @ ® a & & » © e@e -¢ (@ @ © @ 2 eo ¢ e. © @ e880 © @« &F ; & Square finish halftone, 150 line, no line. A line negative was made from a positive of a small section including a part of the word “Philadelphia” of the negative as made for Fig. 713, enlarging to the above size. A print was made on metal from this negative and the halftone was made direct from that print. Fig. 706. An enlarged section of a print on metal from a halftone negative. ee a HALFTONES 257 Many of the striking combination effects that are seen in the adver- tisements carried in the magazines and trade papers are produced through special manipulation when stripping, printing or etching, or a combination one with another, or all. Text that is to print in black, as a part of a halftone or combination design, is seldom drawn as a part of the design with which it is to appear, but is drawn separately as if for a separate plate and the two are combined by double printing. Halftone negatives are also frequently stripped into negatives of line borders, and often a design is made up by stripping together negatives from several different pieces of copy. ETCHING THE PLATE The back and edges of the metal plate on which the print has been made, and the margins on the face of it, are now painted with a resist, Square finish halftone, 150 line, no line. Made from an unretouched photograph. Fig. 707. Staging and re-etching. usually asphaltum, to prevent the acid from affecting these parts. The plate is then placed in a chloride of iron bath, which is caused to flow gently back and forth over the surface by the aid of a soft brush, or by rocking the tray, or in an etching machine where it is subjected to washes or sprays of acid, the acid meanwhile eating out the metal between the dots and lines in the print on the plate. Fine screen halftones are not powdered and etched as are line etchings. In etching a halftone plate, the first bite is known as a flat etch, just enough depth being given in this operation to get the depth required for the shadows. RE-ETCHING The parts that are to print in solid color are painted over with a resist before being flat etched. After being flat etched, the plate is taken from the acid bath and washed with water to remove all acid. The etcher then proceeds to re-etch the plate by applying the acid 258 COMMERCIAL ENGRAVING AND PRINTING with brush or tuft of cotton saturated with acid to the different parts of the plate, obtaining the contrast and detail that are desired. Each application of the acid to any particular part, of course, lightens that part in the print from the finished plate, because the points in the high lights are thus etched away and diminished in size with the additional application of the acid and the hollows in the shadows enlarged. Shad- ows and parts that are to be held so they will print in strong color, or the same tone as obtained in the print are ‘‘staged,’’ i. e., painted over with a resist so that they may not be affected while the remainder of the plate is being etched, or that the etching of these parts may be so regulated as to obtain the effects sought in the finished plate. After the plate has been re-etched to obtain the desired results, it is again placed in the acid and etched to obtain depth. For service- ability good depth to the etching is very essential. Also the proper treatment of high lights and shadows in order that the printing results may be pleasing, and the careful treatment of details that they may print as clearly as possible, are features of re-etching that require considerable skill and experience on the part of the workman. ETCHING MACHINES Machines are also used for etching plates, there being several different makes in use, and all of which are recommended for copper halftones and copper halftone and line combination plates. Some of the machines are also extensively used for etching zinc plates. Square finish halftones, 150 line, no line. Both made from the same photograph, and both were flat-etched as shown by Fig. 708, after which that for Fig. 709 was re-etched. Fig. 708. Flat etched. Fig. 709. After re-etching. HALFTONES 259 Outline-vignette halftones, 150 line. Made from retouched photographs. Fig. 710. Closed (left) and open (right) views of the Century etching machine. One make of machine (Fig. 710) drives the plate vertically (up and down) in and out of the etching fluid face down; in another the tray works in a rocking motion and has a corrugated bottom, forcing the acid up into the plate which is held face down; another splashes the acid against the plate with a revolving paddle; in another the etching solution is forced against the face of the plate in sprays by compressed air, while in another the results are accomplished electrically. The machine also prevents the spread of the fumes incident to etching, shortens considerably the time required in the operation, al- though staging and re-etching are required the same as in etching in a tray. OUTLINING THE PLATE If the plate is to be a square finish halftone the surplus metal is cut away with a saw, or guillotine shears, and it is then trimmed and beveled around the edges to provide shoulders for tacking it to the block on which it is to be mounted for use on the printing press. If the plate is to be finished with a border line, the unetched metal that has been left outside the part that is to print is trimmed to leave just sufficient of it for the line, which is finished to uniform width. Usually a white line is cut just inside and between the black line and the etched surface of the plate by a ‘‘lining’’ attachment on the beveler, the corners being finished by hand; or it is cut with a hook by hand. If the plate is to be finished in outline or vignette, the etched plate goes to the finisher from the etcher and the background to be removed is separated from the part that is to remain in the plate, by “outlining” with a tool, indicating to the router the parts that are to be routed away so as to leave only that part of the plate that is to be used in printing. Pages 257 to 272, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. Square finish halftone, 150 line, no line. The view at left was made from a slightly retouched photograph, and that at right from a black on white print from 150 line screen halftone, 3 in. wide. The twe negatives were stripped together. Fig. 711. Beveling (left) the straight edge of a plate and a beveling and lining machine (right). The background outside the image that is to print, 1. e., all back- ground which the finisher has indicated to be cut away, is eliminated by the use of the routing machine. In finishing plates of machinery and other subjects there are often sections of background showing through between parts which are to be removed. This necessitates tooling separation lines between the parts that are to remain and those that are to be routed away. This is termed inside routing and tooling and an extra charge is made for it. The plate is then taken up by the finisher, who tools the burrs off the edges and removes the little spots that may appear on the face of the plate, which may have been caused by particles of dust getting on the negative or print. By rubbing magnesia into the face of the plate the image on it is brought out more clearly, after it has been flat etched, and the etcher is thus guided. in his work as is also the finisher. A plate is often chalked”’ and washed out several times between flat etching and proving in order that the plate may be finished properly. The plate is then proved and passes final inspection, before being blocked and delivered to the customer. The old fashioned Washington hand press, in a modern form of development, is used in proving halftones and line etchings. The same press is also used extensively by printers in taking proofs of page forms. Process color plates, however, are usually proved on a platen job press, one with good ink distributing facilities, that the prints obtained may better show the results to be expected under printing conditions. Unless otherwise ordered, halftones are mounted on wood, type high, for delivery. If special instructions are to be given for mounting, — ae ow ee m2 HALFTONES 261 they should be specified at the time the order is given, as to comply after the work is finished may entail additional expense because of bevel or mounting margins having been trimmed away. As a rule small plates, single column and under, are nailed to the block through the bevel at top and bottom, and the plate and block are trimmed flush to the edge of the printing surface on the sides, while large plates are beveled and nailed on all four edges. FINISH OF HALFTONES A variety of pleasing effects in halftones may be obtained by the use of different styles of finish, many of which are illustrated under ‘Methods of Treatment,” particularly Figs. 338 to 401. Various types also are shown throughout the book. The style of finish refers to the manner in which the outer edges of the plate are left in the finished engraving. The simplest and the cheapest is the square half- tone. ‘“‘Square finish’’ does not necessarily mean a square plate, but is a term used to define a rectangular halftone. It may or may not have a thin single black line border without extra expense. A plate with all the photographic background cut away, leaving only the object illustrated to print, is termed an outline finish halftone. A plate with the edges blending off on all sides through a tint to the paper on which it is printed is known as a vignette. Such plates should be ordered only when the subject lends itself to such treatment, and when paper, ink and presswork are to be of the highest grade. Copy for vignetted halftones must be vignetted before the plates are made. Some photographs are vignetted by the photographer but usu- ally the work is done by the engraver’s artist, and for this an extra charge is made in addition to the charge for the plate. With some subjects a part of the picture may be vignetted and a part outlined, especially in the case of vehicles, buildings, machinery, etc. A plate combining the different styles of finish is known as square- vignette, outline-vignette, etc., and in ordering, specific instructions Square finish halftone, 150 line, no line. The view at left was made from a section of the plate in Fig. 713, after it was outlined and ready to rout, while that on the right was made from the same section after it was routed. The two negatives were stripped together. Fig. 712. Sections from an outlined (left) and routed (right) plate. 262 COMMERCIAL ENGRAVING AND PRINTING _ Qutline-vignette halftone, 133 line. Made from a slightly retouched photograph on which the background and vignette was drawn. Fig. 713. A print from the completed halftone. HALFTONES 263 should be given as to which style of finish is wanted, and if a combined finish is desired the parts should be carefully designated on a sheet of tissue placed over the copy. TOOLING AND BURNISHING Much skillful work may be done in the finishing of some halftone plates, greatly enhancing the appearance of the print from it, by hand tooling (cutting out) the high lights here and there, tooling background and burnishing (rubbing down) shadows to get more effective contrasts. Such finishing is usually confined to plates for the highest class of work Square finish halftones, 150 line, no line. Both made from the same oil painting. Fig. 714. Fig. 715. The ordinary re-etched halftone, Fig. 714, and a duplicate halftone tooled and burnished, Fig. 715. and is regarded as extra, hence an additional charge is made for it, de- pending upon the amount of workman’s time required. A halftone that has been worked over in this manner by an expert engraver is sometimes called a hand engraved halftone. MEZZOGRAPHS A mezzograph is a printing plate made on the same principle as the halftone, being handled in precisely the same way except that instead of using a cross lined glass screen in making the negative a ‘‘mezzo- graph”’ or grained screen is employed. This does away with the geo- metrical line effect noticeable in halftones, particularly in the coarser ones. The mezzograph is used chiefly for tint or color plates to work with old or new plates and for reproducing prints from halftones, wood or steel engravings, where if the ordinary halftone screen were used it would be likely to give a pattern or moire effect. It is also used to 264 COMMERCIAL ENGRAVING AND PRINTING Fig. 716. Mezzograph made with Fig. 717. Mezzograph made with No. 3 screen. No. 4 screen. Fig. 718. Mezzograph made with Fig. 719. Mezzograph made with No. 5 screen. No. 6 screen. All plates on this page are square finish, with line, and all were made from the same photograph as used for Figs. 684 to 693, inclusive. In stripping the negatives for the above plates the films were not turned, or reversed. HALFTONES 265 some extent in the preparation of plates for offset printing, but is not adapted to general use for halftones for ordinary letterpress printing. Mezzograph screens may be used for making plates of leather, cloth or other textures likely to pattern with the regular line screen, also for crayon and pencil drawings, architects’ sketches, and for some kinds of fashion plates, and exterior views where foliage predominates. Square finish mezzograph, No. 3 screen, no line. The view at left was made from a photograph, that in upper right from a print from a wood engraving same size, that in lower right from a halftone print, 133 line, same size, and the back- ground and border from a piece of imitation leather, same size. The four negatives were stripped together. Fig. 720. Mezzograph reproduction of a photograph, prints from wood engraving and halftone, and imitation leather. They are printed in the ordinary way on the letterpress, and may be made with fine, medium or coarse screen, there being a variety of grain textures procurable. THE PHOTOTONE This is the trade name for a special halftone which may be made on either zinc or copper. While any line halftone screen may be used in making the negative a special attachment, which is furnished by the patentee, is used on the camera in making the negative. The remaining steps in the process are the same as in making the ordinary halftone. The points and depressions on the printing surface of the phototone plate are elongated, instead of round as in ordinary halftone. 266 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette, 150 line. Made from a retouched photograph. Fig. 721. Horizontal one-way screen halftone. € — wee) Square finish, with line. Made from a photograph of a wash drawing. Note that the screen appears finer in the shadows and middle tones than in the highlights. Fig. 722. A Phototype. Square finish halftone, 85 line, with line. Made from the same photograph as used for making Fig. 722. Fig. 723. Halftone for comparison with Phototype. Pages 257 to 272, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. HALFTONES 267 LITHOTONE OR ONE-WAY SCREEN HALFTONE This is the trade name given to a special halftone the printing surface of which is made up of lines instead of dots as in the ordinary halftone. As the same equipment is used in making them that is used in making the ordinary halftone, they may be made with screen of any ruling and on zinc or copper. The regular ruled halftone screen is used, the single line effect being obtained through a special stop used in the lens while the exposure is being made. The prints from such plates have an effect somewhat similar to wood engravings and some claim they have advantages over the ordinary halftone for printing on the less highly finished papers. The one-way screen is often used also to produce novel effects and it may be made to print at any angle desired by simply turning the copy to obtain that angle, when making the negative. PHOTOTYPES This is another special plate, the use of which is somewhat limited, made by the halftone process, but a special screen is used. It is claimed that the negatives are made in such a way that no staging or re-etch- ing is required in the process and that the plates have advantages over the ordinary halftone for printing on the lower grades of paper. Some designate the plates made by this method as split-screen halftones and only a comparatively small number of shops are equipped to make them. THE PRISM In the making of negatives for process color plates, or the negative for any kind of plate where absolute accuracy in size is required, a prism is used on the lens to make it unnecessary to strip the negative in order that the image in the finished plate print in correct instead of reversed position. This is a mirror device which is attached to the lens, and which reverses the image as it is thrown on to the negative plate. In using the prism it is necessary to turn the camera at right angles with the copy. In the stripping of a film there is always more or less stretch or shrinkage. Hence to obtain accurate size, or to make the negatives of a set so that the plates made from them will properly register with each other, it is necessary to make them so as to avoid stripping. While there would be some advantage in using a prism to prevent stripping ordinary one color work, its use would increase the cost of small plates. If variance in size, due to stripping is forbidden, it would prevent the assembling of work which can be grouped and put through several operations, such as printing and flat etching, on one plate, and would make it necessary to put each subject separately through the several operations that follow the making of the negative. COPY FOR HALFTONES Copy for halftones may be photographs, straight or retouched; wash, pencil, crayon, or pen and ink drawings, oil paintings; prints pro- duced by other processes, such as photogravure, lithography, steel en- graving, or halftone; or even the objects themselves. All copy for com- 268 COMMERCIAL ENGRAVING AND PRINTING ~) . 8 (Yen es or ~ ee = fy Ce ° — ° oO Loe! = . Lo =} us) (3) oO fe pee Qs oo wn o wn = 8 ° .& =H co ~ op om Ry COMMERCIAL ENGRAVING AND PRINTING 290 Fig. 767. Black and yellow. etched yellow plate. 766. The re- Fig. Fig. 769. Black, yellow and red. The re-etched red plate. Fig. 768. HALFTONE CoLor PLATES 291 Fig. 771 is an outline four color process halftone, 166 line. Made direct from the rug which was about 40 inches long. Fig. 770. The re-etched blue plate. Fig. 771. The finished subject. REGISTER MARKS As an aid in obtaining quick register when proving or printing color plates, register marks are usually drawn on opposite margins of the copy in the shape of a cross, and these are reproduced in all of the plates. In registering the different plates one with another, it is a simple matter to place each plate in such a position that these marks print exactly over the same register marks made by the plates previous- ly printed. When these register marks exactly Over-print each other, the plates are in exact register. The marks are easily removed from each plate after it has been placed in proper position, and before begin- ning the actual printing; hence, they will not show in the finished work. MAKING THE NEGATIVES FOR HALFTONES TO PRINT IN COLOR The copy is placed on the copy board, the camera is focused and other preliminaries preparatory to the making of the negatives for color work proceed in much the same way as in making negatives for halftone plates for printing in one color. A negative is required for each printing plate of the set being made, and these negatives must each be made with the screen at its proper angle, using the proper color filter if the copy is in colors and using the prism whether the copy is in black and white or in color. The negative plate is so sensitized as to work with the color it is intended to record, special dyes being mixed with the sensitizing solu- PEO eS Ser see o > 4 > Silke eter on Cag en teat eee. COMMERCIAL ENGRAVING AND PRINTING ol hee oe i a Ls t By Figs. 772, 773, 774 and 775 are printed from lead mould electrotypes made from the plates used,in printing Fig. 771. Fig. 774. The red plate. Fig. 775. The blue plate. All plates in set of re-etched four color process plates printed in black. HALFTONE CoLor PLATES 293 tion and different dyes being used for the different plates. The nega- tives are not colored, but they register the color values and gradations of the color for which they are being made, and the printing plates made from them are printed in the colors represented by them. Some operators sensitize their own glass plates while others use special plates made by dry plate manufacturers especially for this pur- pose. Collodion emulsion plates, those sensitized by the operator, are used mostly for economic reasons, for in establishments where color plates are made continuously it is considered less expensive to pur- chase the chemicals, mix the emulsion, and coat the plates as they are used, than to buy the prepared dry plates. However, where only an Square-outline halftone, 150 line. The halftone negatives for the views at left and right were made from slightly retouched photographs, and that for the inset at bottom direct from the object. The negatives were stripped together. Fig. 776. Round screen in camera (left) and a transparency (right). The insert at bottom shows color filter on prism and the prism on a lens. occasional set is made it is more economical to use the prepared dry plates, which may be kept on hand for use at any time. It is not prac- tical to compound the special emulsion in small quantities, and it deteriorates and becomes unfit for use if not made use of while com- paratively fresh. The length of exposure varies, depending upon the nature of the copy and other conditions, the same as in making negatives for half- tones for printing in one color, except that longer exposure is necessary on account of the use of the color filter and the prism. Strong illumina- tion of the original is required. Daylight is too weak and irregular, hence strong arc lights are used. The making of the negatives and the changing of the screen angles are the most important operations in making the plates, as the slightest change in the adjustment of the camera between negatives, or incorrectness in exposure, in color sepa- Pages 281 to 296, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 294, CoMMERCIAL ENGRAVING AND PRINTING ration, or in angle of screen, will result in a defective set of plates or possibly plates that cannot be used at all. An apochromatic lens is used in making the negatives for process color work. This is a lens that has been corrected with equal precision for all of the primary colors of the spectrum. It is only by using such 4 lens that three color negatives exactly identical in size and degree of sharpness can be obtained. With all other lenses the various colors in the object are brought to a focus in slightly different planes, thus yielding negatives differing in size by a minute fraction of an inch or sufficiently to prevent perfect register in printing. The apochromatic lens may be used equally as well for black and white work as for color work. PRINTING AND ETCHING After the screen negatives have been developed and dried, a print direct from each one in the set is made on copper, the same as in mak- ing halftones for printing in one color. The etcher first stages the prints on metal for flat etching. Certain parts in all or perhaps in only a part of the set should print solid, or in the full strength of the color to be used for printing that plate. Such parts are painted over with the resist, leaving exposed all parts of the prints on the plates that are to be printed in a tone, whether this tone be light, medium or dark. The plates are then given a bite in the etching solution, or what is known as a flat etch. The resist is then applied to other parts of the plates, which are taken up one at a time, gone over carefully, each one being etched as required in the judgment of the etcher, to produce, when all plates in the set are printed in combination, the color values in the copy or sketch. If the set is a three color process and a certain part of the subject is to print in a bright red, the blue in that section must be almost if not entirely eliminated and both yellow and red used to their full strength, bright red being obtained through the process red being printed over the yellow. If a shade of brown is required for a certain part, a combination of all three colors is required—the plates being etched so that each plate will produce its proper amount of color for the combination. The etching so proceeds with all parts of each plate until the etching has been completed, when a flat proof is made of the three plates in combination. FLAT PROOF This is a print made from the plates using on each plate the color of ink with which it is to be printed in the final reproduction and print- ing the set in proper register. This flat proof is usually made before the plates have been outlined, routed or trimmed and is made solely to be used as a guide by the etcher in re-etching and finishing the plates. RE-ETCHING AND FINISHING The etcher, after comparing the flat proof with the original copy or sketch, carefully works over the different plates, re-etching, tooling and burnishing so as to modify the strength of color in the different parts of each plate where necessary, so that each may, when printed in com- bination, produce the proper strength of color necessary to obtain an HALFTONE Cotor PLATES Combination line etching on zinc and outline-vignette halftone, 133 line. From pen drawing and photograph. Fig. 777. Printed with black halftone ink. tt $-4-4- 6 2-9-9068 +-2-9-2-5-6-3-6556-6-5-99256-6 ooo oe an ase aS RASS SES SSS SEES e asses SSSrrre Ar > Printed from a wax moulded electrotype made from plate used for Fig. 777. Fig. 779. Printed with process red. Sette prertreteuseesees ae eit Pre Tee ee eee ieeasde Tre ens OMSS RSS e ses seca eenas esse stsslssseaesesssssssss22% Printed trom ad Wax moulded eles trotype made from plate used for Fig. 777. Fig. 778. Printed with four color process blue, SEESESEESSIIIESS SESE SSS ESS Seryerrrersrstts x oa ~— VaSnRSausssurrrrsrsssszstrrres:ssrrszsrszstteazestetesestt Printed from a Wax moul led electr tVpe made from plate used for Fig. 777. Fig. 780. Printed with process yellow. The same combination plate for one color and type printed in black and process colors. 296 COMMERCIAL ENGRAVING AND PRINTING exact reproduction of the original copy or sketch. The parts of the plates that are to show white in the finished print must be eliminated by tooling and routing or by staging and deep etching. No operator or etcher can determine in advance as to the absolute accuracy of his part of the work. Although the most modern equip- ment may be in use and all rules of science and past experience be carefully followed, there is always more or less uncertainty as to what the outcome in the finished proof will be. It is very seldom that a process color job is approved on first proving, and it is not unusual for such plates to be proved and worked over two or three times before they are passed by those producing them. Often the color for one or more of the inks may be changed slightly in order to produce a certain effect in a three or four color process halftone. There would be no objection if the set of plates were to be printed separately always, but should it be found to advantage later to print the subject along with other process plates there would be a devi- ation from the original proof either in the special set or in the others with which it is being printed, or an extra expense for printing the special colors. By using the same colors in proving all process plates that are printed in the same number of colors, or at least all that may at any time be printed together in one form, and obtaining the correct reproduction of copy through re-etching and work on the plates proper, there will be no difficulty in obtaining satisfactory prints when plates are printed, regardless of what subjects are being printed together, if the same number of colors are being used. The colors used in printing Figs. 752-756 are the standard colors for three color process work as adopted by the American Photo- Engravers’ Association and those with which Figs. 766-771 are printed are those adopted for four color process work. The standard yellow and red were used in printing the four color process plates for Fig. 757, but the blue as adopted for three color work was used. Pages 281 to 2096, inclusive, were printed in one form. Six colors were used—black, orange, yellow, red, three color process blue and four color process blue—and they were printed in the order named. Electrotypes were used for the duplicate plates required to show the progressive steps in printing, the originals being used for the finished subject. Process color plates are usually proved on a heavy platen press with good ink distribution and the engraver should be furnished with a sufficient quantity of the stock on which the plates are to be printed, if proofs are wanted on paper other than regular proving paper. As each color must dry at least a few hours before the succeeding color is run, it usually requires at least two days to re-prove a three or four color job even though the alterations may be very slight. PROGRESSIVE PROOFS When the re-etching, tooling, routing and trimming have been com- pleted, the plates are mounted temporarily on wood blocks and final proof made. Because of spoilage in obtaining correct register, imper- fect prints and other contingencies that may arise in proving, it is necessary to make several proofs from each plate in the series as the HALFTONE CoLor PLATES 297 proving is being done, even though only two or three finished proofs are required of the subject. As the proving is done, a sheet is preserved showing each step in printing the colors, and the complete series when assembled is known as a set of progressive proofs. In proving a two color halftone, a separate proof is furnished of each plate in its respect- ive color in addition to the proof of the two colors combined. Fora three color halftone there are a proof of the yellow plate, one of the red and one of the blue, each in its respective color, also a proof of the yellow and red combined as well as the finished print showing the yel- low, red and blue combined. In a four color process separate proofs are made of the yellow, the red, the black and the blue, and if these colors are to print in the order just named, a proof is made of the yel- low and red in combination, and a proof of the yellow, red and black in combination as well as the finished proof in four colors. Or if the plates have been made to print in the order of black first, then yellow, fol- lowed by red and blue, the proofs furnished in addition to the separate colors and the finished print are a combination of the black and yellow, and one of the black, yellow and red. With the aid of such a set of proofs the printer can duplicate in his work the results shown by the engraver's proofs, for he is able to compare his work step by step as he is producing it with the proofs, and by exactly matching each color and combination as his work progresses he will know in advance that his finished print will compare favorably with the proofs. Without the progressive proofs it would be necessary for the printer either to make such proofs before he begins printing or guess as to colors as they are being printed, which would more than likely prove an expensive exper- iment. Careful preservation of progressive proofs by keeping them clean and wrapped with the plates in such a manner that they will not be exposed to light and thus fade out, is an economy that should be looked after. Progressive proofs are usually marked by the engraver with the name of the ink and the name and address of the ink manu- facturer, so that the printer will have no difficulty in obtaining ink that will exactly duplicate the proof. PRINTING HALFTONE COLOR PLATES Not every printing establishment can successfully print halftone color plates, as there are comparatively few pressmen competent to print them properly, especially three and four color process work. While they may have the theory and know how the work should be done, some have not the required equipment at their disposal nor the necessary practical working knowledge of color and makeready for the proper handling of such work. In printing process color plates the work is usually arranged so that one color is printed just a day ahead of the color that is to follow. Each color must dry properly before the succeeding color is printed, and it is almost as important that the work does not lie too long be- tween colors as it is that it lie long enough, for it is possible for it to dry and harden too much as well as not to dry enough. By the use of special inks, however, one color may be printed immediately following 298 COMMERCIAL ENGRAVING AND PRINTING another, and this is done where the press is built for printing two or more colors. The engraver’s proofs should be made in this manner of plates to be so printed. Atmospheric conditions also play an important part in the manner in which the printing may be handled, as it is practically impossible to produce good clean impressions in damp weather and to dry the printed sheets properly, unless the pressrooms are so arranged and regulated that these outside conditions may be overcome. In making comparisons of engraver’s proof with printed copies, con- sideration must be given to the difference in quality of paper, if any; for it would be unreasonable to expect the printer to obtain results on a medium grade of paper equal to those of the engraver, which are usually made on a highly coated paper. It will be noticed that no one of the three colors used in three color process work, when printed separately, is desirable for one color work either in illustrations or for printing text, nor can any one plate of a set of process plates be used for one color work. In four color process work, however, the black can also be utilized in printing the text, titles, etc., that are to run in connection with the illustrations. A number of establishments who specialize in the production of process color work do printing as well as engraving, and have an estab- lished rule that the plates made by them are to remain their property, to be used for printing that they may do for the customer for whom the plates are made. The majority of engraving establishments, how- ever, who make process color plates, deliver the plates to the customer who may have his printing done by any printer he may select who is equipped to do such work. GENERAL Best results from process color plates are to be had when printed on high grade white enameled paper, and the engraver always makes the plates with this in view, unless he is otherwise advised. Plates that are to be printed on dull finished stock, white or tint, should be especially ordered for this kind of stock. The screen, manner of etching and color combinations must be adapted to the special use, and if stock on which the plates are to be printed is special and not easily obtained a sufficient number of sheets should be furnished the engraver to enable him to prove the plates on the stock to be used. Halftone color work, regardless of the number of colors, whether two, three or four, is usually made with medium or fine screen, 1.€., 133, 150 lines or finer, but it can be made with any screen. Copy in color is to be preferred to black and white copy, because in reproducing the colored copy through the use of the color filter less re-etching, burnishing and tooling are required and the printing plates wear better than those that have been worked over to such an extent that they are not fitted for long service. The success of reproductions made in process color from monochrome copy depends upon the artis- tic resources and ability of the etcher just as the original copy in colors is a success on account of the ability of the artist who painted it. The men who produce the work by these processes are specialists in some certain branch of the work, and it is very seldom that a man is found who is an expert in more than one branch or even capable of HaLrrone Cotor PLATES 299 handling more than two or three of the operations. Thus, the operator who makes the negatives is usually a specialist in this particular part of the work, the man who etches is a specialist in that line, and so on through the various operations. Owing to the many operations necessary in the production of a set of process color plates, and the uncertainty as to the number of prov- ings required, it takes much more time to produce a set of such plates than to make plates for printing in one color. It is not always possible for one to determine, when judging from finished prints, whether a set of plates has been made by the color sep- aration of copy method or by the fake method of etching, although the former usually gives a softer and more natural effect in the repro- duction. Not all engraving houses are equipped to do three and four color process work, since the volume of business in this line in some locali- ties will not warrant the necessary outlay for equipment and especially trained men for the various operations. MOUNTING, ELECTROTYPING AND REPAIRING Halftone color plates of subjects that are to be printed singly are usually mounted on wood bases, and the scale price for such plates provides for the delivery of plates in this manner or unmounted. Where plates are to be printed in forms with other color subjects, it is advisable, after proof has been approved, if the printer who is to print them is equipped with patent bases, to back them to thickness for use on such bases. While there is an extra charge for backing the plates, there is a saving of time to the printer in registering, he is able to obtain better results, and plates can be more conveniently filed. Subjects that are to have considerable use should be electrotyped and the printing should be done from the electrotypes, preserving the originals for making subsequent electrotypes should those first made become worn or damaged. When electrotypes are to be made, the engraver should be so notified when plates are ordered, so that the bearers and blank metal on the original plates may be left as an aid to the electrotyper in obtaining more nearly perfect electrotypes. Ordi- nary electrotypes should not be ordered. Lead mould, or wax mould electrotypes of the very highest quality, are required if perfect detail and register are to be obtained. In proving a subject on which the blank metal has not been re- moved, or when it is desired that a certain part be eliminated, this can be accomplished by “‘frisking”’ out so that the parts not wanted will not show in the proof. This is done after the plate has been inked, by covering the plate with a mask of paper, in which an opening has been cut to allow the part of the subject that is to show to print through. Should one plate of a set become damaged or worn to such an extent that it cannot be used or repaired, it is practically impossible to re- place it with a new plate that will register or produce a correct color combination. Hence it is usually necessary to re-make the entire set. Small defects, however, such as scratches and other imperfections, can be repaired by careful tooling and working over, although such repairs 300 COMMERCIAL ENGRAVING AND PRINTING are usually rather expensive. Engravers retain their negatives but a short time unless especially instructed to do so. A damaged color plate might be replaced from negative on file if the accident should happen soon after the original was made, but after plates have been completed for any length of time, there is little possibility of the nega- tive being still on hand and if on hand it may have been damaged through deterioration to such an extent as to be worthless. COST OF HALFTONE COLOR WORK Because of the extra labor required in the negative making, etching and proving, as well as the special care and extra time that must be given every operation in the process of making halftone color plates, the cost for a set is much greater than for the same number of one color plates. More time is required for the etching of a set of ‘‘faked’’ process color plates from black and white copy than is required for etching plates made from colored copy, through color separation negatives; so that plates by the former method cost more than those made by the latter, as do also plates made from autochromes. The standard scale, which is based on the average cost of production, provides fixed prices for two, three and four color process plates, as well as for plates for printing in one color. These prices, however, cover the straight reproduction of copy, and any steps involving special work are charged for extra. “Fig. 785. part is halftone and the remainder line etching, and in which the two processes are combined in the plate for printing in one color. The title, however, may also be used to cover various other kinds of printing plates in which more than one process is used to obtain special effects, whether printed in one or more colors. One of the most important qualities of every advertisement is its attention-getting value, and many of the most attractive and effec- tive designs used in magazine, newspaper and trade journal adver- tising, and for the illustrations and decorations for catalogs, folders, booklets and other kinds of advertising matter, are printed from com- bination plates, because the latitude in making such plates offers great possibilities in this direction. Special effects may be obtained in numerous ways. Plates that have been made by different processes, such as halftones, line etchings on zinc or copper, electrotypes, etc., may be mounted together; or line and halftone negatives may be stripped together to make the print on metal to be etched. Effects are also varied by double printing hand lettering or type matter over halftone backgrounds; machine shading on the copy, negative or plate before it is etched; special treatment of the copy, negative or plate during the process of making; tooling, special etching, routing of the plate, etc. Plates may also be so made as to be suitable for printing on the different grades of paper, but fewer effects can be obtained for plates that are to be used for newspaper work, or on the lower grades of paper, than for plates that are to be printed on the higher grades. One of the advantages of combination plates is that they unite good printing qualities with effective illustrating qualities. The back- ground of an advertising design made entirely in halftone has a ten- dency to print in a dull flat effect, and unless it is well printed on good paper its attractiveness and the legibility of the text or illustration are often lost. In a combination plate the border, lettering, decorations or other parts made in line etching, will print with better results than a halftone of such parts under almost every condition, and even though the halftone part may not be so well printed, the effect of the combined design will be better than if it were entirely halftone or line etching. (Nose i hat speaking, a combination plate is one of which a *Combination double print halftone, 150 line, and line etching on copper. Made from same pen drawing as used for Fig. 807. A line negative was first made of the border and into this was stripped a halftone negative of the background and lettering trimmed to fit. A positive of the lettering was then stripped over the halftone negative, placing it slightly out of register to produce the shadow effect, and from this combined negative the print on metal was made. 302 COMMERCIAL ENGRAVING AND PRINTING COMBINATION PLATES FOR ONE COLOR Combination plates for printing in one color may be made up of two or more plates that have been made separately, either on copper or zinc, or both, and then mounted together on one base for printing, or they may be made by stripping two or more negatives together, part line and part halftone, printing from the combination negative on one sheet of metal, using either copper or zinc, and then etching the line part of the combination as a line etching and the halftone part as a halftone. In making plates of this last class, the operations of negative making, stripping and printing on metal are much the same as if two plates were being made, although they are both on the same piece of metal, but extra care and skill are required in stripping the negatives together if the design is a complicated one. / Outline halftones, 150 line. Made from slightly retouched photographs. The plate illustrated in Fig. 786 was used in printing the black in Fig. 809, and that in Fig. 787 was used for Fig. 777. Fig. 786. Stripped together. Fig. 787. Nailed together. Combination plates as they appear when the negatives have been stripped together and the job finished as one plate, and when the plates are made separate and nailed together on one block. The combination plate most easily produced is made by mounting a separate line plate and a separate halftone plate together on the same base by nailing. However, on account of the shoulder or bevel required for the nails, some combinations cannot be so mounted without leaving wide spaces between the printing surfaces of the two pieces of metal for nails, and a corresponding amount of white space will show in the printed reproduction between the plates, which is not only displeasing but undesirable. Difficulty is also experienced in soldering the edges of plates together when close or closed joints are wanted, for there is danger of the joints breaking when the plates are in use in printing. Similar danger of breaking loose in printing occurs when the plates are anchored or sweated on to the base. This danger, however, can be overcome by mounting the plates temporarily by these methods for electrotyping, and using the electrotypes for printing instead of the original plates, but in the case of fine screen halftones, COMBINATION PLATES 303 this would be to the detriment of the printing results, as electrotypes usually do not print so well as the original halftones. By combining the negatives to permit the etching of the entire plate on one piece of metal, a better and more serviceable as well as more workmanlike printing plate is produced. This is true because the plate can be more substantially and more easily mounted and the printing surface is certain to be of uniform height and to hold together, whereas when several plates are mounted together on one base by any method, there is always a possibility of unevenness in height and of troubles from their wearing loose or breaking. In making a combination in which the negatives have been stripped together, it is usual to etch the halftone part first, after painting over the line part of the plate with a resist to keep it from being affected during this stage of the etching. After the halftone part is etched, the Square halftone, 133 line, no line. The view at left was made from a pen drawing and that at right from an un- retouched photograph. The two negatives were stripped together. No white line cut between views. Fig. 788. Line drawing as prepared for use in making a combination plate (left), and stripping the halftone negative into its position in the line negative (right). resist is removed from the line part and the halftone part is painted over with it to protect the halftone while the line part is being etched. Then the resist is removed from the etched halftone and the plate is ready for routing and finishing. Such plates can, of course, be made on either zinc or copper, but the entire plate must be of one metal. SPECIAL STRIPPING A great part of the successful outcome in making combination plates is vested in the stripping of the negatives and making the prints on metal from them, these operations requiring experience as well as painstaking skill. When a line drawing is prepared of a subject that is to be repro- Pages 297 to 304, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 304 COMMERCIAL ENGRAVING AND PRINTING /THE ALUMINUM SIX WITH MAGNETIC GEAR SHIFT Two Superb Trains of the West and Southwest Something more than strings of cars and locomotives— fast steel trains plus a service equal to that found in the great metropolitan hotels. AY unshineS, ecial Ss cenich imited In dail between In di ice be el PREMIER MOTOR CARS A line negative for Fig. 789 was made from a pen drawing of borders, illustrations and design at bottom, and the plain black background. Into this was stripped a positive made from a proof of the type form of lettering. A halftone negative, 133 line, of the view was stripped into the panel at top. After the print was made on metal it was retouched to eliminate the line showing where the negative and positive were stripped together. For Fig. 790 a line negative was made from a pen drawing of the border and lettering and a halftone negative, 133 line, made from a photograph of the car was stripped into the panel at top. Fig. 789. Fig. 790. Combination halftones and line etchings on copper. duced as a part of a combination plate, it is customary to paint in black the space into which the halftone negative is to be stripped, leaving a thin white line to indicate the outline of the space it is to occupy. This black space coming transparent in the negative makes it less difficult for the stripper to distinguish the boundaries of the space into which the halftone negative is to be stripped. The negatives are made and developed in the usual way, and the line negative is stripped, turned and placed on the plate glass for printing as for the ordinary line etching. The halftone negative is then stripped and placed directly over the line negative in the position it is to occupy in the combination. The stripper then outlines the two films at one time by cutting with a sharp blade. As the films are kept wet while the work is being done, the scraps from the halftone nega- tive are easily removed and then by raising the remaining part of it, that part of the line negative just beneath, and which is not to be used, can be easily removed and the halftone negative dropped into the space the removed part occupied, and which it exactly fits since the two were outlined at one operation. Or, if the part of the line nega- tive under the halftone negative is perfectly transparent, it is often not removed, especially if the plate is for newspaper or similar use. When one halftone negative is stripped to join another halftone negative, any open space between the two, be it ever so small, will COMBINATION PLATES 305 A line negative was made from a pen drawing of the border and lettering and halftone negatives, 150 line, of the horse and bull from photographs were inserted in it by stripping. The shading machine was used on the print on metal to produce the special effect in the background. Fig. 791. Combination halftone and line etching on copper. result in a black line or streak in the halftone plate, likewise should the film be accidentally torn and then imperfectly put together, while if one edge slightly overlaps that of the other an imperfect joint results. These imperfections are improved, or entirely eliminated, by tooling, or by cutting a white line on the plate. i ea st is ard et Bes ae a oJ os Be sense yee ot wa 87 oct 19 78 . JOHES KANS NPT VIA SARANTOWIO TEXAS oun & : Fee CARL MCQUINN = oS oP 2 al 388 08 NEW CASTLE IND. 5 oa aw BUSH OUR ORDER FOR DMRDIATE SHIPMENT HOOSIER CABINET SALES ARE BIGGER THIS YEAR THAN EVER BEFORS BERKE BILE AND LAND FAIR 1oloa 20TH Double print outline halftone, 133 line. The upper view is a straight halftone made from a slightly retouched black and white photograph of the original telegram, it being necessary to photograph with special plate to obtain proper separation from the paper on which it was printed. For the lower view a plain screen halftone negative was stripped with the negative of the upper view and then a double print from a line negative of the lettering, etc., was made over the plain screen. The same copy was used as for the upper view. Fig. 792. Comparison of a straight halftone with a double print halftone. 306 COMMERCIAL ENGRAVING AND PRINTING Combination square-outline-vignette halftone, 150 line. Made from photograph which had been vignetted and lettered. After the halftone negative of the entire subject had been printed on metal the lettering was painted in with the resist so it would remain solid and print in the full color. The halftone was then etched, after which those parts of the lettering that were to print outside the halftone were outlined and routed. Had there been sufficient of the lettering entirely separate from the halftone to justify it, this would have been made as a separate line etching and tacked on. Fig. 793. Lettering combined with a halftone by painting in on the plate, cutting and tacking on. DEEP ETCHING The halftone or line etching, that is to be used on.soft or rough finished stock, or for a long hard run, is often ordered with the stipula- tion that it be etched extra deep, but the term ‘‘deep etching”’ as commonly used has reference to the etching of the line part of a com- bination plate, or the etching away of the parts of the plate that are to form the high lights in a halftone, instead of tooling and routing away the metal in these parts. Line plates require deeper etching than halftones, otherwise on account of shallowness, the paper while being Big Profits: in HB Battery Charging we PATER URED The Stooring Coars wee ea Predomin. te | or J totor Trucs It is rightty efustructed. Hix of three tings—an daner of? two outlet or conforne eins Nigus wil pay for them in gas savest, fo cache and the eusrat jae teobor, MODERN ELECTRIC & MACHINE CO. $36.40 Fort Wayne Ave. Indianapolis, Ind., U, S.A. Fig. 794 is a combination double print halftone and line etching on copper. The halftone negative, made from a combination of photograph and drawing, was blocked out so that only the border, hand and ring would print on the metal. The lettering was double printed from a line negative. Fig. 795 is a combination halftone and line etching on zinc tacked in. Made from a combined drawing and photograph. The white line around the lettering, gear and inside the border was cut in the plate with a tool. Fig. 796 is a combination double print outline halftone. The halftone negative, from retouched photograph of charger, was stripped with the negatives for the flat tone halftone border and the lettering was double printed. All halftone negatives were made with 166 line screen. Fig. 794. Fig. 795. Fig. 796. Some types of combination plates for printing in one color. COMBINATION PLATES 307 printed would be smudged by the plate between the printed lines. Deep etching is also employed when etching white lettering in halftone plates and for some outline halftones where a sharp outline is unneces- sary and where deep etching can be done at less cost than tooling and routing. The plate to be etched is painted over with the resist, leaving exposed only the surfaces that are to be etched away and the plate is then handled in the same manner as a line etching. In deep etching some subjects, such as a flat tone halftone, it is not necessary to paint the surface with a resist as the powdering of the plate between bites while etching will fill the screen where it appears in the subject so that those parts will etch only to the usual depth, while the open spaces are etched as much deeper as may be necessary by additional bites. Made from a crayon drawing; 60 line screen. Fig. 797. Highlight halftone for newspaper advertisement. DOUBLE PRINTING All line copy, when reproduced by the halftone process, is grayed or broken by the screen used in making the halftone negative, unless the lines in the subject, after it is printed on metal, are painted over with the resist to prevent them from being etched. If the lines are heavy, and there are but few of them, it is practical to paint them in on the plate before etching, but this can not be done if the lines are fine, or the detail small. And to obtain pure white lettering or lines in a straight halftone, even though they be white in the copy, it is neces- sary to either cut them in the plate with a tool after it is etched or deep etch the plate to eliminate the screen in these parts. To obtain more contrast and legibility when making a halftone in which black, or white, lettering or lines are to appear it is advisable when making the plate to make what is known as a double print, which is by some called a sur-print. When doing this it is necessary that the line part of the copy be prepared separately and as if only a line etching was to be made from it, while the copy for the halftone must be made without the lettering, leaving spaces in suitable tones of color for it, Pages 305 to 320, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 308 COMMERCIAL ENGRAVING AND PRINTING and adding register marks to both copies to indicate the proper placing of one over the other when making the print. The engraver makes a halftone negative from the halftone copy, and a line negative from the line copy, these being developed and stripped in the usual way. A print is then made from the line negative on the metal plate, after which this negative is removed from the printing frame and replaced with the halftone negative, which is placed in position to exactly register with the print made from the line negative. A print is then made on the same metal plate right over the line print from the halftone nega- tive. As the light reached the plate only through the lines in the line negative, the remainder of the surface of the sensitized plate was not affected when making the first print, and the lines in the print being Made from a crayon drawing; 150 line screen. 7 ae on Fig. 798. Highlight halftone for magazine advertisement. solid were not affected by the screen in the halftone negative, when a print from it was made over them. That lettering, or other line copy that is double printed, may be legible or in proper contrast, there must be sufficient contrast between the background and the parts double printed, a very light background being necessary for small lettering or fine lines that are to print in black, while darker tones may be used for heavier lines, and a very dark tone should be used if the lettering or lines are to show in white. To obtain white lettering or lines by double printing, the copy is pre- pared as if for black lines, a positive is made from the line negative and this is stripped into proper place over the halftone negative and the print made on metal from the combined negative. Lettering on combination plates is frequently so located that some of it appears in the halftone part of the plate and the remainder of it in line, the letters in a word often being made part by one process and part by the other. Large lettering that is to print in the full color on COMBINATION PLATES 309 Made from a black on white print from a halftone; 150 line screen. The original copy was a combined crayon and wash drawing. Fig. 799. Highlight halftone for magazine illustration. the surface of the halftone, may be included in- the copy for the half- tone negative and staged in on the print on metal before being etched, thus eliminating all screen in such lettering. This was done in making the plate for Fig. 793. HIGHLIGHT HALFTONES These are halftone plates in which the elimination of the dots in the high lights is accomplished by a photo-chemical process instead of by cutting or routing them out with a tool. They may be made with any halftone screen and etched on either copper or zinc. They are not extensively used for general work because of their cost, and their use is confined mostly to magazine and book work,, newspaper illustrations and other large edition work, or to purposes for which their cost is warranted. They give the illustrative effect to the essential parts of the illustration, and a decorative as well as suggestive effect to the a Wi ton Made from a combined photograph and crayon drawing; 150 line screen. Fig. 800. Combination highlight halftone and halftone. 310 COMMERCIAL ENGRAVING AND PRINTING Figs. 801, 802 and 803 were made from the drawing as shown 1 in Fig. 804. All are 133 line screen. The lettering for Fig. 803 was a separate drawing. Fig. 804 is a line etching on zinc. Fig. 801. Flat tone halftone. Fig. 802. One way screen flat tone halftone. remainder of it. The entire plate, because of its openness, is somewhat easier to print than the regular halftone. Copy for such halftones must be prepared especially for such effects. The high lights are drawn or retouched with pure white into which the middle tones and shadows end abruptly, instead of in a soft blended effect as in the ordinary vignette. In other words, the general Ini (noerwertine C Tedanspois WNorrcaces Generar Insorance i Rea Esrare Lawns — | SolBhdes esi Stocks ~ Bonps. =a SrcuRITiEs lls Fig. 803. Combination double Fig. 804. Drawing as made for a print flat tone halftone. flat tone halftone. COMBINATION PLATES ai{Lil SESS SOSNS ieee SURG Ase eS Figs. 805, 806 and 808 were made with 150 line screen. Fig. 807 is a line etching on zinc. Fig. 805. A reversed, or white on Fig. 806. A double print and white black, flat tone halftone. on black flat tone halftone. EE SS COMBIN PLATES ee Fig. 807. The drawing as used for Fig. 808. Flat tone halftone of Figs. 805-6-8. border and lettering. effect of the copy should be the same as the effect to be shown in the print from the finished plate. In combining drawn backgrounds with photographs, when high- light effect is desired, backgrounds are often sketched in with pencil, crayon or pen and ink, the photograph being mounted in connection with the drawn work. In producing such a plate the most difficult part of the work is in Wik vera fe. Calit The black plate, 133 line, was made from an engraver’s proof. The color plate was made from a stained print from the combination negative for the black plate and the shading machine was used on the print on metal to obtain the tint. Fig. 809. A combination halftone and line etching on copper and a line color plate. The upper viewisa halftone made for printing in one color. The middle view is the halftone as made for overprinting flat colors: *Fig. 810. Halftone overprinting flat colors. making the halftone negative, which must be so manipulated as to eliminate entirely any appearance of the screen in the high lights. This not only necessitates certain manipulations of the screen itself, or the diaphragm, or both, but also very often requires special handling of the copy while *The entire page is a combination halftone (150 line) and line etching on copper and two color plates. From a pen drawing of the border and panels a line negative was made. Into this was-stripped the three halftone negatives of the car which were made from retouched photographs. The black in the lower view is a duplicate of the middle view. A print was made on metal from the combined negative for the black plate. Then the same negative was double printed with a plain screen negative, 100 line, for the orange plate. The border, and parts of the car after outlining, to print in this color were painted over with the resist that these parts would not etch and therefore print in full color, and after etching the panels were routed out, leaving of course, the parts for the car. A transfer was made from the black plate from which to cut the green plate. The black plate was mortised fcr the type. COMBINATION PLATES 313 e wy Fig. 811. Squarehalftone Fig. 812. Combination Fig. 813. Outline-vignette overprinting part of flat plateoverprintingflatcolor halftone overprinting part color to give border effect. cut out under subject. of a flat color. bos Fig. 814. Squarehalf- Fig. 815. Oval halftone and line Fig. 816. Square half- tone overprinting a zinc border with flat color tone overprinting a flat color. between subject and border. flat color. Fig. 817. Vignette halftone overprinting part of a flat color. All halftones on this page are 150 line and were made from photographs. Borders were drawn for Figs. 812 and 815. The outline for Fig. 812 was painted on the photograph by the artist, as was the gray for the background in Fig. 815. The photographs for Figs. 813 and 817 were vignetted with the air brush. All color plates, including the tint border, which is a plain one-way screen halftone, 100 line, were mounted as one plate for printing, as was also the black plates. Fig. 818. Tint border bleeding off. Was made large enough to permit trim of 14-inch at top, bottom and right. 314 COMMERCIAL ENGRAVING AND PRINTING Poens $204 Fosaay OF Senuice “symuan| I fate ot thay Lote - Nigh Mescige {Nae Might Kotter i ONL Hf nase of show tiwee yertoks aasrars eter Bho cheek masiber i ‘Other it poe af these Bree snbabe | | age cass often die chen resmadsee of | Sandys livin & a felegrers ‘ene | | Drmeat saponin a aoe BE por cOme CARLTON. sinmistint BMORGE WE AYRING, THER ViCEPaEsOrNT ise nactorante w osecatea hy Bh | RECEIVED AT Ad N77 NL S EXTRA SANPRANCISCG CALIF JULY 14 1220 COLE MOTOR CAR CO, INDIANAPOLIS INDIANA COLE AERO EIGHT ON NON STOP RUN LOWERED PORTLAND SANPRANCISCO RECORD BY SEVEN AND ONE HALF BOUKS FERIOD SLAPSED TIME FOR EIGHT HUNDRED FIFTY TWO MILES WAS THIRTY ONE HOURS THINIY MINUTES OVER MILES OF BAD DETOUR AND HEAVY MOUNTAIN GRADES PERIOD ONLY WORK DCNE ON CAR FOR ROUND TRIP WAS CLEANSING CF ONE SPARK PLUG PERTION CAR AVERAGED BETTER THAN TWELVE MILES TO THS GALLON OF GAS FOR ENTIRE SCUNG TRIP, P J FEBLY L D ALLEN INC. 814A JULY 15TH The black or key plate is a square-outline halftone, 150 line, made from a black and white photographic print of the original. This was printed over a flat color. Fig. 819. ’ Outline halftone, 150 line, printed over a flat color. Fig. 820. The black plate is a line etching on zinc made from a proof from a wood engraving. The plates for printing the nn flat colors were cut. Circle-outline halftone, 150 line, from Fig. 821. photograph, and printed over flat color. ‘Fig. 822. Fig. 823. All color plates on this page were cut from transfers made from the black plates. For printing they were mounted as three plates—all black plates on one, the orange plates as one and the green plates as the other. Figs. 823 and 824 are square halftones, 150 line, no line, made direct from the leather and cloth and printed over a flat color. COMBINATION PLATES a Fig. 825 is a line etching on zinc made from a pen drawing. The shading machine was used on the plate before etching to obtain the tint patterns. Figs. 826 and 827 were printed from electrotypes made from plate used for Fig. 825. The shading machine films used in laying the tints will be found among those shown in Fig. 135 on page 72. Fig. 825. Fig. 826. Fig. 827. Flat colors and tints in comparison with black. 316 COMMERCIAL ENGRAVING AND PRINTING The halftone is 133 line, no line, and was made from a photograph. Fig. 828. Square halftone overprinting a flat color. under exposure. The stripping and printing on metal of such sub- jects is the same as in making regular halftone work, but in etching much extra time is required for staging and deep etching; and usually considerable extra work is also required for tooling in the final finishing. Square halftone, 133 line, with double line border. From a photograph. A stained print was made from the halftone negative and this was painted in and machine shaded for the color plate. Fig. 829. Halftone overprinting a line color plate, part of which is a flat color and part machine shaded. COMBINATION PLATES ple Square halftone, 150 line, with black line border. The photograph was mounted on the figured paper and from this the halftone was made. The wide white line between the view and border and the narrow white line just inside the black border line were cut in plate. An aniline print was made from the halftone negative for cutting color plate. Fig. 830. Halftone overprinting a flat color, parts of which have been cut out. ; The halftone is square, 150 line, no line. Made from a photograph. A line negative was made from a pen drawing of the border and into this was stripped the halftone negative. A print from the combined negative was made on metal for the color plate and the print treated so that the parts to print would remain after etching. Fig. 831. Halftone overprinting a flat color which is cut out of the background and from under a part of the subject, and used as a border. 318 COMMERCIAL ENGRAVING AND PRINTING The halftone is 150 line, square, no line, and was made from a photograph. Fig. 832. Color plate made with mezzograph screen to work with halftone made originally for printing in one color. Owing to the extra time and care required for negative making, etching and finishing, highlight halftones cost considerably more than the ordinary outline or vignette finished halftone. They are in reality a form of combination plate, but require considerable more skill and labor in the negative making, etching and finishing. While highlight effects may be obtained by hand tooling a plate after it has been etched, the reproduction, because of the hard lines resulting, usually does not have an effect as soft and pleasing as if the plate had been made by the photo-chemical process. Highlight effects may also be obtained by painting over a flat etched plate with a resist covering such parts as are to print, then deep etching the high lights, staging, re-etching and tooling as may be nec- essary to obtain the desired effect. The highlight process of negative making is also used extensively in photo-lithography in connection with the offset process, such negatives being used to make the zinc plates from which transfers are made for the printing of pictorial and illustrative subjects. FLAT TONE HALFTONES Halftones for producing a flat tone effect are sometimes incorrectly called highlight halftones. Plates in which there is a background of one or more even tones which may be made fine or coarse screen, and in any tone of color, ranging from a very delicate tint to practically a solid color, are often used in printing tints. The tone of color in the plate is regulated by the kind of dot or line produced by the screen in the negative from which the print on metal is made, this being governed by the diaphragm, or stop, used and the ground photographed when making the negative. The tone of color may also be modified in the etching. Such tints or tones are often used as a background for lettering, the latter being double printed over it from a line negative. Pages 305 to 320, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. COMBINATION PLATES 319 *Figs. 833 and 834. A vignette overprinted with type. Illustrations reproduced in flat tones are usually shown in a sil- houette effect, the tone of color being optional; and the reproductions are made from drawings also made in silhouette—solid blacks and whites. In making such a plate a line negative is made of the copy as in making a line etching, and this negative is stripped in the usual way. Over it is stripped a negative film of plain halftone screen which may be either in cross line, dot or one-way screen. The print on metal is then made from the combined negative, either on zinc or on copper, and the plate is etched in the usual way. Lettering or other matter to print in full strength of the color used in printing, or in white, mav be made a part of the plate by double printing. Different tones of the plain screen may be obtained on the same plate by staging and etching the different parts more or less to obtain the desired effects. Similar effects can be obtained by making a halftone from a draw- ing made in flat tones of gray, but it would be difficult to obtain smoothness and uniformity of color in the drawing and hand out- lining and routing would be necessary in finishing the plate, thus making some plates more expensive if that method was used. COMBINATION PLATES FOR COLOR WORK The possibilities for obtaining striking effects in combination plates is greatly increased when one or more additional colors may be used in printing. Plates may be made part halftone and part line on each plate of the set, or one plate may be entirely halftone, the others line or combination. They may be made for printing in any number of colors, and the halftones may be made in any screen, while the line etchings may be made to print in full flat colors or part flat and part *Fig. 833 (the marine view) is a square halftone, 133 line, no line, made from a photograph. Fig. 834 (the border and vignette) is a square-outline-vignette halftone, 133 line, made from a wash drawing. Illustrations are also often made with an extended vignette to be overprinted with type in a different color. 320 COMMERCIAL ENGRAVING AND PRINTING in any desired tone or shade through the aid of machine shading on copy, negative or plate, or any other effects as produced in the copy. Color plates made in this manner are usually considered easier to print than two, three or four color process plates, but it is impossible to obtain the nice blending of color combinations, even though several printings are used, that may be obtained by the use of color process halftones. In making such plates the key plate, or the one that is to print the greatest amount of detail, is made in the regular way, except that proper provision must be made for its correct combination with other plates of the set. The method of making the color plates is almost the same as for making line color plates, except on account of the negative from the copy being usually at least part, if not all, halftone, provision must be made to avoid the screen that is obtained in the print. This is accomplished by making transfers, or aniline or stained prints from the negative. TRANSFERS, ANILINE AND STAINED PRINTS When a plate is required for printing in a flat or solid color and over which a halftone is to be printed in register in another color, the subject is usually transferred to a piece of blank metal as used in making line plates by etching, but instead of etching to obtain the printing surface in relief, that part which is to be finished for printing is outlined with a tool and separated from the remainder by routing the dead metal away. The plate is then mounted as may be required. To make a transfer, a print carrying a liberal amount of ink is taken from the halftone on a sheet of enamel coated paper, and this print while still wet, is placed face down on the blank metal and given a squeeze in a proof press. The wet ink on the proof leaves an impression on the metal sufficiently clear to enable the workman to outline the subject, or the part of it that is wanted, for the new plate. If more than one extra color is wanted for the subject, a transfer is taken for ‘each plate required, and each of the prints is outlined and routed as necessary to obtain in the plate its proper part of the subject for that color in which it is to be printed. The transfer process is also often used in connection with the production of other special plates since it affords an easy method of transmitting an outline or shape from one plate to another. If the negative from which the key plate was made is available, an aniline print is usually made from it on blank metal for the guidance of the workman in cutting flat color plates. In making such a print, the metal is sensitized and exposed to the light in the usual way. The print is developed, but as it is not visible on the plate, a small quantity of a weak aniline dye, usually violet, is poured over the plate and this is absorbed by the print in such a way as to bring out the subject clean and sharp in the print after washing with water. Because orthe sharpness of aniline prints, the workman is able to follow the outline more definitely and a better register of the plates is obtained than is usual when the transfer process method is used. 3 The stained print is another kind of print that is often used when making line color plates, especially if the key plate of the subject isa COMBINATION PLATES Bel halftone and the color plate to work with it is to be machine shaded, or if the copy reproduces as a solid color where a machine shaded tone of color is wanted. This kind of print is made from the same negative of the copy as the key plate, and as though it were to be etched in the regu- lar way, but instead of burning it in, after developing and washing, it is given a very short bite in the etching solution and-when the print is then washed off of the plate, a very faint image remains which serves as a guide to the artist for the outlines and location of the parts that are to be machine shaded or otherwise treated. Plates which are to print a solid color, if etched from prints made from a halftone negative, must be painted over with a resist and outlined to avoid the screen. OVERPRINTING COMBINATIONS When a halftone is used as a key plate it must be so made as to print in a very light tone of color, so that the color or colors it over- prints will show through with sufficient strength. The halftone usually must carry all of the detail and the copy may be so treated that the flat surfaces and high lights will be light in color. Halftones originally made for printing in one color are seldom suitable for subsequent use as key plates for combination color work, because they print too dark for the underlying colors to show through properly; on the other hand, halftones made for use as key plates in combination color work are usually too light in color to be used satisfactorily for one-color printing. Special preparation of copy is nearly always necessary to produce a halftone of proper color for use in making a key plate for combination color work. This is illustrated in Fig. 810. The strength of color in the halftone key plate may also be governed to some extent by the manner in which it is etched. Whether the key plate be made from properly prepared copy, or the desired strength of color obtained for overprinting by special etching, the underlying colors will be more or less subdued, thus making necessary the use of stronger colors when they are to be overprinted than if to be used separately. Shaded tints, when overprinted, are often disappointing on account of weakness in color and if printed in a strong color will often produce a pattern or moire effect. In the printing of such plates, several prints are usually made from the key plate and these are used as guide or key sheets, with which to register in correct position the other plates of the set as the printing of each color begins. The lightest color of the combination is usually printed first, followed by the remaining colors in the succession re- quired to obtain the desired combinations through one color over- printing another, the key plate being printed last. The order of printing, however, is often reversed, the key plate color being printed first and the other colors overprinted—a method made possible by using transparent inks. The latter plan was followed in printing pages 305 to 320, inclusive, all of which were printed together. The type matter and the black plates for the illustrations were printed first in one form, after which all of the green plates were printed in the second form and then all of the orange plates in the third form. ny PA COMMERCIAL ENGRAVING AND PRINTING COLOR PLATES TO WORK WITH OLD PLATES While it is not impossible to make tint or color plates to work with halftones made originally to print in one color, it is not always prac- tical, and results are more or less unsatisfactory, especially if there is to be an attempt to blend colors. Even the use of flat or solid tints with such plates is usually impracticable and unsatisfactory if they are to underprint, because the halftone usually can not be re-etched to obtain lightness in color to permit the underprinting color to show through as strongly as desired. It is usually impracticable to re-etch a halftone satisfactorily after the enamel, which is the resist on the face of the plate, has been worn or removed, although it is sometimes done after applying a new resist to the surface of the plate with a roller. It is always advisable to make the complete set of color plates at one time, in order that the work throughout may be so handled as to obtain the proper blending of colors and the correct carrying out of the color scheme. A color or tint plate may often be made to work with a line etching previously made. To make such a plate it is necessary for the engraver to have the old plate so that a transfer may be made from it, from which to cut the new plate. In making a color plate by this method it is not possible to obtain many of the effects that would have been obtainable if the color plate had been made at the same time as the original plate. COMBINATION EFFECTS AND A WORD ABOUT COSTS When reproducing some subjects, especially magazine advertise- ments in which the artist has planned complicated special effects, it 1s often necessary to make use of several of the special operations that are not used in making the ordinary plate or set of plates for color work. A single plate for reproducing the copy may require two or more negatives, some of which are line and others halftone with dif- ferent screen or at a different focus. Then these negatives or a part of them may require special treatment, such as retouching, opaquing, machine shading, or other treatment in addition to the usual trimming and stripping. To obtain the proper print on metal it may be neces- sary to double print for black or white lettering, or both, while the plate itself may require special deep etching, tooling and routing. It may also be found more practical to outline some parts of the subject on the plate with a tool and route away the part that would ordinarily be etched out, and different parts of some subjects may be more con- veniently made up separately, and the parts afterward assembled on one mount to obtain the complete subject in one plate. These special operations may apply to a single plate of a subject for printing in one color, or to one or more of the plates in a set for printing it in colors. In fact, every artist and almost every advertiser strives to devise some new and effective method of treatment, and to meet these de- mands the engraver finds it necessary to devise various methods to bring about the desired results. Copy from which combination plates are to be made must be prepared in such a manner that the line copy is COMBINATION PLATES LO entirely separate from the halftone copy, that no difficulty may be experienced in making the negatives. It is obvious that there can be no fixed scale of prices for combina- tion plates. The cost depends entirely upon the nature of the job in question and the various operations required to produce it. In computing the cost of such plates, if to print in colors, not only is each plate charged for according to its own make-up, but an extra charge is made because of the special handling necessary on account of the other plates that work with it, and in addition there are items for extra negatives, special stripping and printing, special etching, routing, tooling and finishing, as well as art work on plates, proving and other special work, as each job may require. “U7, SZ = = \, mq Las eeeOOOONONTN, OS PS X oes conditions and customs that are the same whether the work being done is line etchings or halftones, or for plates produced by either process for printing in one or more colors. There is also such a close connection between the two branches that they are usually worked jointly in all shops; and, as more illustrations are produced by these methods than by all other methods combined, a review of some of the most important of these customs and conditions will be helpful. |: ordering and making photo-engravings, there are many general A SERVICE SPECIAL TO ORDER Photo-engraving, unlike most manufacturing industries, is a serv- ice producing a product that is made specially to order. It 1s impos- sible for the engraver to anticipate in advance of receipt of the actual order what the work is to be, thus making it impossible to make up the work and hold it in stock for delivery on receipt of the order. Further, it is an individual service, of value to one person or concern only, and that the one actually ordering it. Thus as soon as any of the work necessary to the production of a plate is accomplished, there has been an expense for materials and workmen’s time, which in case of cancella- tion, or change, must be charged to the one ordering the work, the amount depending upon the stage of the work at the time of change or cancellation. Practically every plate is different in either size, style, screen or subject, and the work adapted to the needs of one customer is seldom suitable to those of another, thus making it impossible to put the work back in stock to be sold to another; nor can the used materials be salvaged to be worked over again. A court decision has classified photo-engraving as an art the product of which is non-merchantable, and it is not the product of a manufacturing establishment, but it is a product which is sold on the basis of the skill required to produce it as well as the labor and material involved. To the novice the processes of making line etchings and halftones may appear to be a simple procedure, and one easily mastered, but the opposite is true. Very few workmen can successfully manipulate all of the operations necessary in making the most simple plate, every man having had years of training and specializing in some certain branch of the work, such as line photographer, halftone photographer, *Combination one-way screen flat tone halftone, 133 line, and line etching on copper. Made from a pen drawing. GENERAL PHoto-ENGRAVING INFORMATION See stripper, printer, line etcher, black and white halftone etcher, color halftone etcher, router, blocker, finisher, prover, etc. The labor is thus not only highly specialized, but for the best grade of work the equipment, materials, chemicals, etc., must be of high quality and worked in a cleanly and methodical manner. PRELIMINARY WORK Buyers of photo-engraving are expected to pay for the expense incident to the development of new ideas, which involves the prepara- tion of sketches or experimental work in drawing, retouching, or plate making. Any engraver will gladly co-operate in planning and devel- oping a piece of work, making a fair charge for the service rendered, but it is manifestly unfair and unbusinesslike for a buyer to ask several concerns to submit sketches and plans, these often involving a con- siderable expense to each concern, with the expectation of paying for only the one accepted. The better engravers now take up such pre- liminary work only with the understanding that they are to carry the work through to completion, or that they will be reimbursed for the cost of the sketches, etc., in case the work is not finished, or if some other plan is adopted. The artists employed by an engraving house receive a stipulated salary, and it can be readily seen that the time they devote to making preliminary. sketches should be productive of a profit the same as their time when utilized in making drawings to be reproduced. No one can afford to make a ten-dollar sketch on a chance of getting a twenty or thirty-dollar order when several concerns may be in competition for the work. Further, the preparation of sketches usually requires the services of one of the most expert men in the organization and one whose time and producing ability is very valuable to the employers, thus making it all the more essential that remuneration be obtained for his full time. Cheap art work and plates are usually the most expensive in the end, especially if they are to be used in a selling campaign. Good photographs, or effective and well-made pen or wash drawings, or well- retouched photographs reproduced through the best class of printing plates, give an added selling value to any well-printed piece of adver- tising literature. COPY FOR REPRODUCTION Buyers of engraving offer practically everything conceivable to the engraver for reproduction in printing plates for illustrative pur- poses. Poor copy is often the only kind available, but very often. the buyer could contribute to better results by being more careful and exacting in the selection of the copy and the manner in which it is presented to the engraver. It is obvious that the more suitable the copy for reproduction the better the reproduction will be. The untoned prints of portraits usually submitted as proofs by photographers can not be used for making halftones. After toning they are too weak for reproduction, and, as they must be subjected to Pages 321 to 336, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 326 COMMERCIAL ENGRAVING AND PRINTING a strong light in making the halftone negative, they become discolored and lose detail before the negative can be obtained if not toned. Halftones are not made from negatives as used in regular pho- tography. A print from the photographic negative is required from which to make the halftone, and this print should be as good as the negative will produce. However, when the one producing the negative is not in position to furnish the proper print from it, the negative may be sent to the engraver so that he may make a better print to be used as copy; or use it for making a special print such as a bromide enlarge- ment or reduction, a print after blocking out the negative, a print with special margin, or any other special print the order may require. Photographs sent to the engraver may be either mounted or un- mounted. If unmounted they should never be rolled while damp and should be dried and sent flat or rolled loosely. If mounted, the surface of the card used for mounting should be smooth and the card should not be allowed to curl. The card need be but little larger than the photograph, as the larger the card the more danger of damage while in transit if the copy is to be mailed. While it is preferable that copy from which either halftones or line etchings are to be made should be large enough to permit of some reduction in making the reproduction, it is not an absolute require- ment. Any amount of reduction or enlargement can be obtained in the reproduction, but if reduction is too great the loss of detail will affect the value of the illustration, while if enlargement is too great there will be in the reproduction a noticeable coarseness and magnifi- cation of the imperfections of the copy. If the reproduction is made the same size as the copy, the imperfections in the copy are usually emphasized slightly rather than reduced. Some line copy will reproduce better in halftone than in a line etching, while some copy that might seem suitable for reproduction in halftone will reproduce better in a line etching. A good, clean halftone print made from plate for which 60 to 85 line screen was used, can often be reproduced in a line etching to better advantage than by halftone, if the size of the new plate is to be the same size as the copy or larger. The sharpness of the print and the coarseness of the screen will largely determine the results that may be obtained. Lithograph prints in one color, which have been printed from fine stipple engravings, usually reproduce well by the halftone process, while the coarser stippling and ruled shaded work, as well as lettering can nearly always be more successfully reproduced in a line etching. Fine line copy, such as lithograph prints or those from steel plates with finely shaded grounds, can often be reproduced satisfactorily in a line etching if slightly enlarged. If reduced, or made the same size as the copy, the increased fineness and closeness of the lines in the reproduction will cause the spaces between them to become shallow or filled up and the plates will not produce clean and sharp prints. While there may be some loss of detail in reproducing such copy in halftone in a reduced size and often a moire or pattern effect is ob- tained, this does not affect the printing qualities of the plate, as it can be etched to the usual depth. It is impossible to obtain by letterpress printing the fine, delicate GENERAL PHotTo-ENGRAVING INFORMATION O27 lines and effects that are to be obtained by lithography or steel plate; by reproducing lithographed or steel plate copy, or by making plates from original line or wash drawings in either line etchings or halftones. Lettering is always more satisfactorily reproduced in line etching than by halftone, and when reproduced as a halftone it should be double printed whenever possible. When a halftone negative is made of lettering its strength is reduced on account of the screen, and unless the lettering is large and of a heavy face, which will permit the etcher to paint over it on the plate with a resist before etching, it will be gray and indistinct in the reproduction, and if small in size will be so badly cut up by the screen as to make it more or less illegible. REPRODUCING ILLUSTRATIONS FROM BOOKS AND VALUABLE COPY While it is more convenient to reproduce prints from loose sheets, reproductions of illustrations from books are often made without damage to the books. Properly securing such copy to the copy board while the negatives are being made is the only obstacle in making such reproductions, but by resorting to different methods as may be neces- sary for different subjects, the difficulty in posing copy is usually easily overcome. Valuable photographs, manuscripts, and other documents which must be preserved without damage are usually placed under a glass which is hinged or clamped to the copy board to hold it in position while the negative is being made, the subject being photographed through the glass. As there is more or less difficulty from halation in photographing under these conditions, most operators prefer to attach copy to the copy board in some manner that will permit ob- taining direct exposure. PROPORTIONING AND TRIMMING COPY There is no fixed rule among engravers governing the relation of width to height for illustrations or their reproductions. The size and proportions are governed by the nature of the subject, the space in which it is to be used, or the special ideas of the buyer. The proportions of width to height of subjects photographed or drawn without backgrounds to be reproduced in either halftones or line etchings can not be changed without distortion. The size for the reproduction, therefore, must be determined by giving one dimension and letting the other come as it will. Unnecessary background on photographs or wash drawings is often eliminated by trimming, likewise line copy, and the trimming points should be noted on the margins of the copy. Lines indicating where copy is to be trimmed should not be drawn across the copy, either in pen and ink or pencil, as such lines are often out of square or improperly placed. It is possible to obtain any width or height in a halftone or line reproduction, provided, of course, it is within the range of the copy and the engraver’s equipment, as the size is changed by moving the camera forward or backward any distance required to obtain the desired size. Exact sizes require the use of the prism. 328 COMMERCIAL ENGRAVING AND PRINTING HANDLING LARGE COPY The reproduction of a large piece of copy, whether to be made in line etching or halftone to a greatly reduced size, usually calls for an extra charge for special handling. If the copy is being reproduced in halftone, the reduction may be so great as to make it impossible to obtain the required reduction and make the halftone negative direct from the copy. In such case it may be necessary first to make a photograph of the copy to obtain a part of the reduction and then obtain the required size in the halftone by making the negative from the photograph of the copy. If the copy is being reproduced in a line etching, it may be necessary first to make a photographic negative and from this obtain a black and white print from which to make the line negative for the final reduction, or it may be necessary to make an etching, obtaining in it a part of the reduction required and then make the required plate from a proof of the first etching. In making a very large plate it may be necessary to make the negatives in sections for the reproduction, stripping the several negatives of the different parts together to obtain the complete negative of the entire subject from which the plate is made. It would, of course, be impractical for any engraving company to keep in constant use, or to provide itself with large equipment which would be used only infrequently, in order to be prepared to handle large copy without special preparation or extra expense, when the greater part of its work is in making plates of smaller sizes. Further, no equipment is made large enough to handle in the regular way unusually large plates, and in making these, as well as those which may be larger than those normally handled, it is often necessary to readjust and move equipment as well as to improvise camera stands, copy boards, etching tubs, etc., and for this special service extra charge is made. ° INSTRUCTIONS FOR ALTERATIONS No part of copy that is to be reproduced should ever be written on with pencil, pen and ink or otherwise marked or mutilated, as such markings often necessitate considerable expense for artist’s time to eliminate the damage and to put the copy in proper condition for reproduction. The better plan for giving such instructions is to attach a sheet of thin tissue to the top edge of the photograph or drawing, letting the tissue cover the face of the copy, and on the tissue make such notations and marks as may be necessary for the proper instruc- tion of the artist. Instructions should not be written on the backs of unmounted photographs that are to be retouched. Such photographs must be mounted before they can be retouched, thus making it necessary to copy the instructions, and in so doing there is a possibility of error, or if through oversight the matter is not copied, important data are often lost. Instructions may be typewritten on a separate sheet and sent to be pasted on the back of the photograph after mounting. When indicating corrections to be made on a wash drawing or a GENERAL PHOTO-ENGRAVING INFORMATION 329 retouched photograph, these should not be made on the face of the drawing or photograph, but instructions should be noted on a tissue overlay with a soft pencil. If there is no tissue overlay, use may be made of any kind of thin transparent paper that will permit proper location of the special points to which attention is to be given. Marks on the copy direct, or with a hard pencil on the tissue while placed over the copy, may so damage the drawing or photograph as to make the elimination of these marks difficult, in addition to the extra expense involved. Instructions for alterations in line copy should also be made on a tissue overlay, or otherwise, and not by marking on the drawing. Care should be exercised when writing on the backs of unmounted photographs that are not to be retouched, as often when they are placed on a soft surface and written on with pencil or pen the pressure is sufficient to cause raised lines to show on the reverse side or face of the photograph. These lines may cause imperfections in the printing plate or an extra expense for their removal. If pen and ink are used in writing on the backs of photographs or drawings, be sure that the ink is dry before placing another photograph or drawing on top; otherwise a spot or blot may result on the face of one of the pieces of copy which it will be difficult to remove. While complete instructions may be written or attached to copy when sent to the engraver by messenger or by express, if the copy is to be mailed only an identifying number or character may be placed on it without subjecting it to the first class rate of postage. HOW TO ORDER PLATES, ENGRAVERS’ CUSLOMS, 56 LC. That plates may properly justify and work with the material used by the printer in making up the printing forms, the size for all plates should be given in picas, the common unit of measure used by the printer. There are six picas to an inch. The size specified is always understood to be face measure of the plate, which is its printing surface, unless otherwise stated. If a vignetted halftone is ordered, the size given should include the vignette and due allowance should be made to leave sufficient space between the extreme edge of the vignette and the type which is to adjoin it. It is difficult and sometimes impossible to make ready a vignette properly if it is placed too closely to adjoining type matter or other printing surface. Do not give both dimensions for the plate unless it is necessary, but be sure that the one not given will come to meet requirements. If the block on which the plate is to be mounted must fit a certain space, the measure of the block should be specified so that the face of the plate may be reduced if necessary, or other provision be made for mounting the plate on the block. In addition to the size, if a halftone, it is necessary for the engraver to know what screen should be used, the style of finish, and if square, oval or round he should be instructed as to whether or not it is to be finished with or without line. Those who are not familiar with engraving requirements should state the size and for what purpose the plate is to be used, permitting 330 COMMERCIAL ENGRAVING AND PRINTING the engraver to use his judgment as to other details. If a halftone is being ordered and the size is given, it is usually sufficient to state the name of the publication in which the plate is to be used. If it is to be used for job work, state whether it is to be used for circular or catalog and send sample of paper on which it is to be printed, if possible. If a coarse screen halftone is ordered, specify whether it should be made on zinc or copper. If an irregular mortise is wanted, outline definitely the space necessary to accommodate the type matter that is to be inserted. This can be done easily on a tissue overlay and it will often save consider- able expense for unnecessary work. While most all copy that is to be reproduced by photo-engraving will be subject to slight damage on account of the necessary handling by the workmen through whose hands it must pass, valuable copy, by being handled with special care, may be reproduced with little or no damage if a request to this effect is made when placing the order, in case the copy itself does not indicate its value. It is more convenient for future reference to title properly in the order all subjects of which plates are made. If the records of the engraver show the order to be for a portrait of John Smith or a line etching of Touring Car, Model 20, it requires much less time to locate a previous order in case it is necessary to make reference to it than if the subjects are entered on the records as simply “‘portrait”’ or ‘‘auto- mobile.’ It will also facilitate matters to give the engraver’s order number when referring to a previous order. Likewise the engraver should make use of the customer’s purchase order number. It is a standing rule with photo-engravers that when an order is given in which the dimensions for both height and width are given for the plate to be made, and when the copy will not reduce to the exact size given, to make the reproduction of a size that will come within the two dimensions specified on the order. Buyers frequently overlook the fact that a plate of the style or size they order can not be made from the copy furnished without alterations. Square finish halftones can not be made from many oval photographs without special treatment; it is often impossible to obtain both the height and width as specified, etc. When changes are _ required in copy, instructions should be given accordingly. The width and length of column and the size of pages in magazines, trade journals, newspapers, etc., vary, and the correct size in picas should always be given instead of specifying single column, double column, quarter page; cic: If plate is to be used inside a border, due allowance should be made for the border, and the space between it and the plate, which will necessitate reducing the size of the plate from that which could be used in the same space without border. Halftones, line etchings, electrotypes, nickeltypes, etc., are usually mounted on wood bases type high, and if wanted otherwise the order should specify accordingly. Plates intended for use in publications that print from stereotype plates should be ordered unmounted. Line etchings and halftones that are to be used exclusively for electrotyping GENERAL PHOTO-ENGRAVING INFORMATION 331 TCicas jy! oS Line etchings on zinc. Made from hand written copy. Fig. 841. Characters for indicating on copy size for plates. should be ordered unmounted and with dead metal left on them so that the electrotyper may obtain best results. Though width is usually understood to mean left to right and height to mean top to bottom, there are many misunderstandings on this point, especially in connection with long narrow subjects, but it is always safe to specify width and height if the former is followed by the words “‘left to right’”’ and the latter by ‘“‘top to bottom.” There is also a rule followed by many when giving a size to write or state the left to right dimension first, following this by the dimen- sion of top to bottom. As not every one is familiar with this rule, the arrangement of the figures or method of statement can not always be depended upon. The use of an arrow in connection with a figure to indicate direction of dimension is a definite way to designate size on copy. Stop marks at the points of the arrows would indicate that the size of the subject in the reproduction was to be that indicated between marks but to include the entire subject in the plate unless Square-outline halftones, 150 line. Made direct from the copies, including mounts, just as sent to the engraver. Fig. 842. Size for entire Fig. 843. Size for a certain part, subject. but all to be included. Manner for indicating on copy size for plates. 332 COMMERCIAL ENGRAVING AND PRINTING instructions are given to trim the copy. It is always understood, of course, that the mount is not to be included in the reproduction, but it is to include all of the subject proper unless other instructions are given. One-half reduction is understood to mean that the copy is to be reproduced in a size one-half as wide and one-half as high as the original, which will result in a plate the area of which will be equivalent to one-fourth the size or area of the original copy. The space between columns in different publications varies and in giving size for double column, or larger plates, the width of the rule or blank space between columns must be taken into consideration as well as the width of the column proper. The size of a street-car advertising card is 21 x 11 inches-and if a design with border, or one with essential detail running to the edge is used, it must be made of such size as to allow a margin of 34 inch around the outer edges of the card, which space is covered by the frame holding the card in position in the car. The word ‘‘cut,’’ although commonly used in referring to almost every kind of printing plate, is a misnomer and a very indefinite term to use in ordering plates. Each kind of plate should be called by its proper name, 1. e., halftone, line etching on zinc, line etching on copper, wood engraving, electrotype, nickeltype, stereotype, etc. All special work should be specified unless the engraver has standing instructions or special permission is given him to use his judgment concerning details with which the buyer is not familiar, or those extras which will be justified for the betterment of the work. Written instructions should always be given whether the order is sent by mail, by messenger or salesman. Both time and money will be saved by being explicit and making the order complete in all details. An order properly started is well along on the road to completion. Specify the time delivery should be made, and if the work is required for a publication going to press on a certain date, so state. If delivery is not to be made to the person or concern sending the order, so state and advise as to disposition of plates, copy and proofs. The sheets of copper and zinc used in making halftones and line etchings may be obtained in different sizes, ranging from 8 x 10 to 36 x 40 inches. The usual thickness used is 16 gauge, which is about 1/16 of an inch thick, and the side of the sheet on which the etching is done is highly polished. Thinner metal may be obtained, but it is regarded as not so durable for general work, while a thicker metal is not regarded as necessary except for special purposes and is considerably more expensive. A special buffed zinc is also made on which to etch line color plates, such as those on which the shading machine is used. Also, both copper and zinc may be obtained in 11 - point thickness, which, after etching, can be used on patent bases without backing up. The I1-point zinc is also extensively used in making zinc embossing dies. An extra charge is made when thick metal is used, not only because of the extra cost of the material over that ordinarily used, but because of the extra expense involved in the production of work for which the special metal is used. If plates are wanted on metal of a special thickness the order should so specify. GENERAL PHoTo-ENGRAVING INFORMATION Bo SENDING COPY TO THE ENGRAVER When sending photographs, drawings or other pieces of copy to the engraver, they should be carefully wrapped when sent by mes- senger, or packed securely if sent by mail or express, using corrugated boards or other substantial protection which should be sufficiently large to extend beyond the edges of the copy, wrapping and packing, in such a manner as to insure against folding, or broken corners or edges. Damage to copy in transit can be avoided by careful packing and when the copy arrives in good shape there is no delay or expense incident to its repair. It is advisable to send all copy flat, but when it can be rolled and is sent in that manner it should be properly pro- tected in a strong tube. Copy that has been framed should be removed from the frame before being sent. While many pieces of copy can be reproduced without removing them from underneath the glass in the frame, the work can usually be better done, and with less inconvenience, if such copy is removed from the frames. Alterations in the copy, of course, will necessitate removal from the frame and in case of shipment by express the expense of packing and transportation is lessened and the danger from breakage and damage from broken glass is avoided if the unframed copy is sent. When only part of a valuable photograph or piece of copy is to be reproduced, it is a good plan, to prevent the possibility of soiling, to enclose the copy completely in a wrapper or envelope which may be made by folding a blank sheet of paper over the photograph and sealing it as if it were an envelope. An opening or window may be cut extending over that part of the picture that is to be reproduced. By cutting this opening on only three edges the fourth serves as a hinge, so that part of the cover may be folded back while the copy is being worked on, and it will also act as a flap or cover for the protection of the copy when it is not in use. When the work is finished the envelope may be removed and the copy returned in its original condition. The sender’s name and address should always appear on the package, and if the copy is sent by mail or express the order should be sent by separate mail. This is especially important when the engraver is to be allowed only a short time in which to complete his work. Package mail is frequently delayed in delivery, and if the order is received in advance, preparations will be made for prompt execution of the work upon the arrival of the copy. When only a limited amount of time can be allowed the engraver to complete the work the copy should be sent when possible by special delivery mail, thus making sure of its prompt delivery and giving the engraver the greatest amount of time possible for the work. 7 It is never advisable to write the order for plate on the copy, and when an order for several classes of engraving is being sent at the same time to the same house, a separate order should be given for each class of work, since this will expedite matters with the engraver in getting the several orders started promptly through the proper departments. Pages 321 to 336, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 334 COMMERCIAL ENGRAVING AND PRINTING SKETCHES When an original design or illustration is to be produced by the engraver’s artist, it is customary first to prepare a preliminary sketch or layout of the subject for the approval of the buyer, as by so doing alterations may be made at this stage at slight cost and the plan changed if necessary, making sure acceptance of the finished work. The method of handling the preliminary work in such cases is governed by the buyer’s familiarity with such work and his ability to make his wishes known to the artist and, of course, the less expense involved in the preliminary work the less there will be to add to the cost of the work on this account. Sketches are usually made in the same size as the reproduction is to be made, varying in quality of execution from the very rough and quickly prepared pencil sketch to the finished sketch which may be worked out in careful detail in pencil or pen and ink, or in color if to be printed in more than one color. Such sketches, of course, convey to the buyer the exact appearance of the work, and when accepted, or accepted with alterations, there is little possibility of disappointment on account of misunderstanding or dissatisfaction when the work is - complete. The time of the artist required for preparing sketches, although after completion they can be used for no purpose except as copy to follow in executing the actual order, is added to the cost of the work. In executing orders for those who are more familiar with the methods of producing commercial art work, instead of preparing a sketch before proceeding with the actual drawing, a pencil layout is often submitted. This may be submitted in a very rough state, or it may be carefully prepared, and as whatever work may have been done on it has been done on the material on which the working drawing is to be made and in the size suitable for the working drawing, the pre- liminary work if approved may be utilized in finishing the subject, there being no waste of time on account of the preliminary work. In other words, the pencil layout is the preliminary work on the actual drawing submitted at an early stage. The pencil layout is not in so convenient a form to submit to the customer as is the sketch, especially if it must be sent by mail or express to an out-of-town customer. When subjects are to be reproduced in more than one color, a rough color scheme is often made on a tissue fly or overlay covering the sketch or layout. Such indication of the color treatment not only serves to obtain the buyer’s approval for the plan under consideration, but also serves as a guide to the engraver for the making of the plates to print in accordance with the color scheme. In preparing the sketch or layout it is, of course, necessary for the artist to know the size of the page or sheet that the design is to be printed on, the number of colors in which it is to be printed, the kind of paper on which it is to be printed, the lettering, whether or not the design should be symbolic or suggestive of the line of business which it is to exploit, or purely decorative, and other special instructions that the buyer may wish to give on these or other points. If the subject is to be printed on colored paper and the choice has been made, the GENERAL PHoto-ENGRAVING INFORMATION DOD artist should be advised as to the color and kind of paper, so that the sketch may not only be prepared to show a combination of the design, color scheme and stock, but that also a method of treatment will be suggested that will be suitable to the paper. The artist should, of course, use only the colors that have been chosen for printing the de- sign, making only such combinations of color in the sketch as may be produced by these colors. Any variance would possibly necessitate an extra plate or plates and extra printings if the customer should insist upon an exact reproduction of the sketch. DUMMIES AND LAYOUTS If a folder, booklet or catalog is being prepared, after the copy is completed and the general plan and size determined, all data and copy should be placed in the hands of the designer for a dummy. The buyer’s ideas as to the layout should be given to the artist in order that he may co-operate and thus work along lines most likely to be acceptable. In the preparation of such a dummy, the design for cover, title page, running heads, embellishments, the size and style of illustrations, etc., are indicated and the general plan worked out and approved, after which the working drawings and the necessary plates may be made up with the assurance of meeting all requirements. Some concerns do not photograph the subjects that are to be illustrated until after the layout for the piece of printed matter in preparation has been prepared, after which the subjects are specially posed or photographed to obtain the copy for the necessary illustra- tions. On the other hand, most printed matter is designed to make effective use of the photographs or drawings already in hand for the illustrations. The dummy or layout should be prepared before any plates are made, as it is often difficult to handle plates that have been made up without regard to their use in any certain piece of work. When an artist is taken from his regular work in the studio and is sent out to obtain data or instructions for work that is to be done, it is customary to charge for his time while obtaining such data the same as if he were working on the order in the studio. When the buyer wishes several suggestions offered to show how a subject may be handled, the artist may submit a number of rough miniature sketches, which are sometimes designated as thumb-nail sketches, from which the buyer selects the idea to be worked out. A sketch or layout is then submitted for further consideration before proceeding to complete the drawing. PROOFS Upon the completion of an engraving it is customary for the engraver to make one finished proof and two file proofs of the plate. The finished proof is sent to the customer with the plate to show its printing possibilities under ideal conditions, as such proofs are usually made with inks of the highest quality and on paper of a very high grade by a skilled workman. One of the file proofs is usually attached to the bill for the plate and sent to the customer for identification purposes, while the second is retained in the files of the engraver. 336 COMMERCIAL ENGRAVING AND PRINTING Three finished proofs, are usually furnished of halftone process color plates as well as one set of progressive proofs. No extra charge is made for the above mentioned proofs, but a special charge is made for proofs of line color and combination color plates as well as for extra proofs, the cost being based on workman’s time and the material required. The cost of extra proofs will be less if they are ordered with the original order or before any proofs are made, as in such case they can be made at the same time the custom- ary proofs are made, thus saving a special makeready, washup, etc. To one not familiar with the method of making engraver’s proofs the cost may appear excessive. However, when it is known that a skilled workman’s time is required for preparing makeready, for washing rollers and ink slabs and for mixing special inks, and that considerable waste is incident to obtaining perfect copies and cleaning of equipment after proofs have been made, it will be easily understood why such work is seemingly expensive. When requested, engravers will furnish proof of plates being made on any special stock and with any special ink if the stock and ink are furnished by the customer. However, unless such proofs are produced under actual printing conditions little will be gained, as when made otherwise, the ink used, its manner of application to the plates, the manner in which the impression is made, and other conditions, are not such as to give a fair demonstration of what may be expected of the plate under regular printing conditions. As an accommodation to customers to aid them in the preparation of their copy for the printer, it is sometimes a help to them to obtain flat or preliminary proofs of the plates in work before they are finished. Such proofs will not only serve for identification purposes but will show size and otherwise aid in the preparation of copy so that time may be saved in getting the copy in the hands of the printer after the plates have been finished. Such proofs may be made at almost any stage of the work after the plates have been flat etched. Photographic or silver prints are sometimes furnished from the negatives as soon as made instead of flat proofs in order to obtain size, shape or other information that will aid in the preparation of copy before receipt of the finished plate. An extra charge is made for such prints. While the engraver is often criticised for delivering to the cus- tomer proofs of a quality that his printer does not equal when printing from the same plates, yet plates that are printed by good workmen under proper conditions, on good stock with good ink, makeready, etc., often produce better results than those shown by the engraver’s proof. While comparatively few printing orders will warrant the use of materials of as good quality as those used by the engraver in making proofs, if these proofs did not demonstrate the best printing possi- bilities of the plate, unwarranted complaints would be frequent. The difference in results is due to the fact that the lines and dots in an engraver’s proof are usually sharp and clean, being made with the highest quality of materials and the ink rolled on until the plate has all it will carry. The same plate when used in printing is usually ink rolled but once and with ink not as stiff or as high in quality as that GENERAL PHoto-ENGRAVING INFORMATION Bt used by the engraver, thus when it is printed it has a tendency to spread, producing a center of gray, bordered with black, which gives the print a grayish, woolly effect and which also affects the proper reflection from the paper on which it is printed. The poorer the paper and ink used in printing, the more this is apparent. If the printed impressions from a new halftone are not so good as expected, all conditions under which the plate is being printed should be thoroughly investigated before placing the blame on the plate maker. The engraver should not be held responsible for poor work from plates which may be due to the buyer’s failure to give proper instructions regarding screen, to the curtailing of time for makeready in order to rush the work through, or to failure to remunerate the printer sufficiently to enable him to use proper materials and to give proper time to makeready. Unsuitable condition of temperature in pressroom, incompetent pressman, or other conditions for which the engraver is not responsible may interfere seriously with the successful use of the plate. CORRECTING, PATCHING AND ALTERATION OF PLATES Halftones and line etchings, old as well as new, are often cut down in size, altered or repaired to meet emergencies and special require- ments, or to correct errors. Just what may be done in the way of alterations and repairs depends to some extent on the skill of the workman who is to do the work. Little can be done for the improve- ment of a plate that is badly worn from continued use, but scratches and damage caused through press room accidents can often be repaired in a satisfactory way and in quicker time and at less expense than would be required for the making of a new plate. Line etchings are more easily repaired than halftones, as the broken lines may be soldered and trimmed. If such repairs weaken the rigidity of the plate an electrotype should be made of the repaired plate and that used for printing. In cutting down old plates by removing surplus or unessential background, the size of the detail in the part remaining is of course the same as in the original. The only method by which the size of the image may be changed is by making a new reproduction. THK WEARING QUALITIES OF PLATES The number of perfect impressions that may be printed from a halftone or line etching will depend upon a number of conditions. Presuming that the plate has been properly made and properly used, the medium screen halftone or line etching may be safely counted on to give one hundred thousand or more good impressions. Not more than ten to fifteen thousand impressions should be expected of half- tones of extremely fine screen, while coarse screen halftones or coarse line etchings may be expected to give from one hundred fifty to two hundred thousand impressions. The fineness of the screen of the halftone determines to some extent the life of the plate—the finer the screen the more shallow the plate, while the coarser the screen 338 COMMERCIAL ENGRAVING AND PRINTING the deeper the plate may be etched and consequently the longer it will run. Some of the conditions which tend to shorten the usefulness of the printing plate, or to ruin it with comparatively little use, are defective presses, causing unusual wear, improper makeready, too much = impression, a heavy hard paper, paper with jj | eritty or dirty surface, the chemical action of — ink on the plate, frequent use of the plate for short runs requiring new makeready for each, accidents, etc. THE HALFTONEMETER This is an instrument for measuring the engraved depth of halftones, line etchings, electrotypes, nickeltypes, stereotypes, dies, etc., or thicknesses requiring delicacy and accuracy in measurement. Each marking on the dial indicates one-thousandth of an inch. . When the instrument is placed upon a smooth - level surface the indicator points to zero, and , when placed over an engraved surface the Ott ee, ee cee needle point between the feet is automatically rom slightly retouched photograph. ig Fig. 844. forced between the engraved lines, or dots, The Halftonemeter. and the hand on the dial indicates the depth in thousandths of an inch. Its use in connection with the standard scale of depths adopted by the American Photo-Engravers' Association will readily determine whether or not plates have been etched to proper depth for printing. The scale of depths for halftones is as follows: Noted in 7990 of an inch and fractions thereof 55 Line | 85 Line |100 Line|100 Line|120 Line 133 Line|150 Line|175 Line Zine Zinc Zinc | Copper| Copper | Copper | Copper | Copper EEE, (Re TRenNNSEECe, |e eeeee ee) (OT (ee eee ee 1.8 1.0 TONE VALUES High Lights... Middle Tones. . Shadows)... .1)- Line etching on zinc. Made from printed clipping. Fig. 845. Scale of depths for halftone etching. RUSH ORDERS The general complaint that engravers and printers are slow in executing orders is not caused by the time taken in actual work on the orders, but the delay, if any, is due to orders previously received the delivery of which must be made as promised or in regular routine. Any engraver will gladly accommodate a customer with special service on an occasional rush order, but, with the possible exception of newspaper work, there is hardly any necessity for every order being a rush order. No well organized establishment will unnecessarily delay the completion of an order longer than is absolutely necessary for its GENERAL PHoTo-ENGRAVING INFORMATION sah) proper execution. Reasonable demands on the part of customers and the careful fulfillment of promises on the part of the engraver will prevent disorganization and disappointment and tend toward improve- ment in quality of work, reduced cost and improved conditions. Owing to the uncertainty of the volume of work that any estab- lishment may be called on to handle from day to day, there are times when it is impossible to give immediate service to large orders even in the largest establishments. However, matters can usually be so arranged as to take care of small orders in quick time in emergency cases. Such service, however, calls for an extra charge on account of the special attention that must be given to the order and the inter- ference with other work going through on regular routine. THE RETURN OF COPY AND PLATES Copy sent to the engraver by mail or express 1s sent at the expense of the shipper. Plates are returned by the engraver by carrier giving best service at lowest cost and when sent prepaid the carrying charges are added to the bill for the work. It is customary for the engraver to return with the plates in good condition, ordinary wear and tear excepted, all copy sent to him by the buyer with the order for plates unless otherwise instructed, except that where the copy is being used frequently for plates, such copy is usually retained in the files of the engraver for use from time to time as necessary. All photographs of portraits and views as well as draw- ings on which no art work has been done by the engraver and copy that apparently will not be used again for engraving purposes are us- ually returned with the plates. Drawings and retouched photographs prepared by the engraver and from which plates are made, are usually retained in the files of the engraver for use for the customer from time to time unless other instructions are given. Many buyers, however, require that all copy be returned with plates as they have their own filing system for the care of such copy. It is always well to give instructions as to disposal of the copy. COST OF PHOTO-ENGRAVING Practically all photo-engraving is now sold on the basis of the Standard Scale of prices. This scale, a copy of which will be supplied by any photo-engraver on request, was originally adopted by the en- gravers after a most thorough and painstaking examination of produc- tion cost records in various engraving plants throughout the country, and it is revised from time to time as the cost of labor and material change. The scale price covers the cost of the regular operations as required for the production of square finish halftones and line etchings on zinc, since these two classes of work comprise the larger part of the photo-engravings produced. The cost of many of the most com- mon extra operations necessary in the production of plates and which are the most common modifications of square finish halftones Pages 337 to 352, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 340 COMMERCIAL ENGRAVING AND PRINTING and zinc etchings have also been definitely fixed in supplementary notes and prices forming a part of the scale. A great many of the special operations, however, must be charged for on the basis of work- man’s time and material required. The prices named on the scale for zinc etchings are based on making reproductions from black and white line drawings or prints, furnished by the customer, which can be reproduced without alterations to copy or plate. Those for halftones are for square finish plates that can be made from photographs, retouched copy, wash drawings, or other copy furnished which can be reproduced without alteration of copy or extra work on copy or plate. Prices are for plates nailed on wood blocks and no deduction is made if plates are delivered unmounted. An extra charge is made for line etchings from lithographed or steel plate copy, script, shorthand, penmanship, scientific, or other difficult copy, also for positive or reverse etching, as it is sometimes called, and deep etching. Line etchings, whether made on zinc or copper, are figured at face measure, but in estimating cost of halftones one-fourth of an inch is added to the width and height of the face of the plate. Line etchings are usually irregular in outline, so that spaces for nailing to the block are nearly always provided for within the dimensions of the face of the plate, while most halftones must be provided with a bevel or shoulder beyond the face of the plate for nailing to the block. All tint plates, line color or machine-shaded plates are billed at prices above the scale price because of the extra time required for handling. Laying the tints on plates and the painting in on color plates call for an extra charge, as does also all work on copy before its reproduction, such as retouching or cleaning up, grouping, drawing, inking in, tracing, re-writing, mounting, etc. Long narrow plates are figured as being one-fourth as wide as they are long. Such plates require the use of equipment and material as would be required for plates of larger area, hence the rule as to how area will be figured. Additions are made to scale prices for oval, circle, outline and vignetted halftones, also for hand-tooling, inside cutting out, re- etching, burnishing, extra negatives, stripping, double printing, for making halftones from oil paintings or direct from the object, for making process color plates from black and white copy or from auto- chromes, mortising and any other operation that requires more time than would be consumed in making an ordinary square finish halftone or zinc etching. An extra charge is also made for the use of a screen finer than 150 line. All color plates are regarded as being of the same size as the largest plate belonging to the set, and odd shaped plates of irregular outline are computed as covering the area of a rectangle sufficiently large to include the entire plate. An extra charge is made for mounting plates on metal bases for the use of anchors, or backing for patent bases. GENERAL PHOTO-ENGRAVING INFORMATION 341 ESTIMATES It is unfair to both the engraver and the buyer for the latter to request an estimate on photo-engraving without submitting the copy and complete specifications when request for estimate is made. On work of the ordinary class with the aid of the scale one will be able to make his own estimate. For plates that will require special handling in any way a proper estimate can only be made after carefully going over the copy and specifications. There are often advantages to the buyer in permitting the engraver to examine the copy, as it is often possible to devise methods that will reduce the cost as well as to enable the engraver to properly estimate the cost of extras. It is unfair for one engraver to give an estimate on work after it has been completed by another. Only the one producing the work is familiar with all the conditions and circumstances it was necessary to meet in making the work, and it is impossible to determine from the proofs what the conditions might have been. | APPROPRIATIONS FOR ILLUSTRATIONS While it is seldom good policy to fix arbitrarily an amount to be expended for illustrating a certain piece of printed matter, yet it is possible to regulate the cost to meet almost any condition. The expense may be governed by the number and kind of illustrations used, the amount of retouching on photographs, the degree of expenditure for drawings, the size of the plates, the grouping of photographs and reproducing in fewer halftones, by adopting plain square finished halftones, etc. Sales literature, however, should always be properly and adequately illustrated, and expenditure for the work may usually be undertaken with the assurance that well made and well printed illustrations will prove an important factor in making the advertising matter a profitable investment. SANNA PROC ROMO GH CCCCRRHGHCCHRRBRERSGREGSRRE TERETE DHRTE PREC RE ROBES [LER UEM MR LICATE | LATES NGGUURRCRPRBCCCCC ROSES EER ORRES *Fig. 850. DUPLICATE plate, correctly speaking, is made by the same process as the original of which it is a copy, but is more often made by one of the processes of electrotyping, nickeltyping or stereotyping. The need for duplicate plates may be to preserve the original; to repeat the same subject on different pages or in different parts of a piece of printed matter; to supply a customer who may wish to use the same subject; for use in newspapers, periodicals, or other publica- tions in which the same subject is to appear in several simultaneously, or to facilitate and shorten the number of press impressions. It is common practice to print from the original engraving when only comparatively short runs are required, or when the subject is likely to be used only one time, and this may usually be done without perceptible wear or damage to the plate. If, however, the subject is one that will be used often, it is an economy in the end to preserve the original and make electrotypes from it from time to time from which to print. It is better, however, to use the original and replace it, when it becomes worn or damaged, with a new original, than to attempt to print from a poor electrotype. It is also an advantage to have on file the original in case it is a subject that is being used frequently, for emergency use in case of accident to the duplicate while being used. This will save press time, the cost of which usually would more than replace the orginal plate, if copy from which to make it is available. When the original plate is to be used only for electrotyping pur- poses, it should never be used on the press, as whatever wear might be incurred would be reproduced to the same extent in each of the electrotypes made from it afterwards. In producing a large quantity of any piece of printed matter a con- siderable saving in time and expense is often effected by duplicating the form by electrotyping, making as many electrotypes as are neces- sary to print the job most economically, or as are sufficient to print one side of a full stock size sheet, which often is of the largest size the press in use will accommodate. For illustration, an order for 100,000 blotters printed in one color would require 100,000 press impressions if printed one at a time, but by making eleven electrotypes of the form and printing from the eleven duplicates with the original, twelve copies *Line etching on zinc. Made from a pen drawing. DUPLICATE PLATES 343 are printed at each impression, thus reducing the total press impres- sions to 8333. It is of course not practical to duplicate the form where the number of copies being printed is comparatively small, as the cost of electro- types and extra expense for makeup and makeready would more than offset the saving in press work. Type in continuous use soon becomes worn and imperfect, especially when used in printing on stocks having a hard rough surface, hence electrotypes are often made of type forms to be used for printing so that the type may be preserved and kept in good condition for further use. There is little injury to type in making electrotypes. Many printers seldom use foundry type on their presses, but electrotype all forms that are set in display type, and print body or straight matter from machine set slugs or type, which affords practically new type for every job, thus enabling them to produce a higher grade of work than would be possible if worn type were used. The use of electrotypes of type matter also affords greater efficiency in handling forms, as good electrotypes save time in lockup, make- ready and running time. There can be no trouble through quads, spaces, leads or other material working up, or coming loose to mar the printed sheets. Thus quality is improved and production time is shortened: and if the plates are in good condition and are preserved, there will be no expense for composition in case of a subsequent run or duplication of the order. The page forms for books, magazines and other publications that are to be printed in large editions, or when subsequent editions are contemplated, are most always electrotyped. And often more than one set of plates is made of the forms, that the work may be expedited by being run on more than one press at the same time, or, in the event of very long runs, that the plates as they become worn may be replaced by new ones. USES TO WHICH DUPLICATES ARE SUITED The kind of duplicate best adapted to a certain purpose will depend upon the nature of the original and the purpose for which the duplicate is to be used. Fine screen halftones—as used on fine coated papers for booklet, catalog and magazine work—if not duplicated by the halftone process are usually best duplicated in lead moulded electrotypes if for printing in one color, lead moulded nickeltypes if for process color plates, or lead moulded hard nickel faced plates if to be subjected to long or hard usage. eines of medium screen—as used for advertising matter, maga- zines, trade journals, etc., printed on medium grades of paper—line etchings, wood engravings and type forms, may be satisfactorily dupli- cated by the wax moulding method of electrotyping for plates to be used for short or medium length runs, or by wax moulded, hard nickel faced plates for long runs. Coarse screen halftones, coarse line etchings and wood engravings, and type matter set in the larger and heavier faces are satisfactorily 344 COMMERCIAL ENGRAVING AND PRINTING duplicated by electrotyping by the wax moulding method when plates are to be used on medium or low grades of paper, although for eco- nomical reasons they are often duplicated by stereotyping when high class results in printing are not essential. When the subject is a fine screen or vignetted halftone, better printing results will most always be obtained if a duplicate original halftone is used, as for clean sharp results nothing surpasses the half- tone and almost always in the process of reproduction by any other method of duplication some of the detail and fine printing qualities will be affected. As a duplicate is made in exactly the same manner and usually from the same negative as the original, it will of course produce results fully as good as the original. There may, however, be a possibility of slight variance in color because of the impossibility of etching two plates exactly the same. When such a subject is electro- typed it should be made by the lead mould process to insure the best class of work. Most of the better printed magazines of large circulation require advertisers to send them original halftones for use in their publications, not necessarily to print from, but that they make their own electro- types. The printing qualities of the best made lead moulded electro- types may be equal to that of the original halftones and such electro- types may surpass the originals in wearing qualities, yet originals are required on account of the stippling and re-engraving that is often necessary to put the plate in a printing condition to conform to their standards. When an original is supplied it is necessary to tool and stipple only the one plate from which the required number of electro- types may be made, in case the forms are duplicated, and it is not nec- essary to electrotype from an electrotype. Further, while it is possible to tool and stipple copper-faced electrotypes which have a very thick shell, it is almost impossible to do such work on a nickeltype, because of the hard surface. While a duplicate original halftone or line etching may be ordered at any time if original copy is sent to the engraver with the order, most establishments make a slight concession in price on the duplicate if it is ordered at the same time as the original, since the same negative may be used for the original and duplicate, although all other opera- tions must be repeated in making the duplicate that are used in making the original. Well made electrotypes from some classes of originals such as line etchings, wood engravings, medium and coarse screen halftones, and type matter, will, if properly handled in printing, produce just as good work as may be obtained from the originals. Good electrotypes can not be made by either the wax or lead mould process from halftones or line etchings that have been undercut in the etching. Nor can good stereotypes be made from such originals. The mould from such a plate would naturally be torn more or less in re- moving the original from it, thus making it impossible to obtain a clean sharp plate from the mould. For the same reason plates that are to be electrotyped should not be burnished. The number of impressions that may be expected from electrotypes DUPLICATE PLATES 345 depends upon the fineness or coarseness of the lines in the subject, the kind of paper on which they are being printed, the conditions of the press on which they are being used, the expertness of the pressman and the quality of the electrotype. Good electrotype plates have been known to give satisfactory service up to several hundred thousand impressions, while others have been rendered worthless after only a few hundred impressions, or damaged by only a few impressions through improper handling. PREPARATION FOR ELECTROTYPING All type forms or type-high plates are, preparatory to electrotyping by the wax moulding method, locked in a special heavy chase, the form or plate being surrounded at a distance of about one pica from the outer Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 851. Type form with bearers Fig. 852. Unmounted halftone with locked in chase for electro- blank, or dead metal left for typing. electrotyping. edge of the printing form with type-high bearers, which are thick bars of lead set on edge around the form. They act as a support for the form when it is placed on the wax case, prevent it from slipping, con- fine the wax within and insure an even mould. Better electrotypes will be obtained from fine screen halftones and large plates of any kind, if sent to the electrotyper unmounted, or mounted on solid metal bases. Wooden bases yield to some extent under pressure, thus giving the moulded impression a tendency to be shallow. The dead metal should be left around the outside of the subject and in the blank spaces of the originals for the same reasons that bearers are placed around type forms. And in case of borders or other open work this dead metal serves to hold all parts in correct position while the mould is being made, thus avoiding any possibility of plates being out of square, out of register, etc. All plates to be duplicated by lead moulding must be unmounted and of a solid metal of hard composition, such as copper, brass, etc. Pages 337 to 352, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 346 COMMERCIAL ENGRAVING AND PRINTING The ordinary metal base would spread slightly with each mould taken from it, thus not only making the original unfit for use, but also pro- ducing unsatisfactory moulds. Good electrotypes not only depend on careful attention to the many details in connection with the making of them, but also to the prepara- tion of the plates or forms that are to be electrotyped. All parts of a surface that is to be electrotyped must be of uniform height to insure a satisfactory printing plate. Thus, if a type form is imperfect in justification, or contains high or low plates, dirty, worn or broken letters or characters, or other features that would not print well in printing direct from the form, these defects will of course appear in the electrotype and in turn in the printed impression from it. Some defects may be remedied to some extent in finishing the electrotype or in the makeready on the press before printing, but such corrections are expensive. The more practical way is to eliminate them from the form before sending to the electrotyper, when the alterations may be made with the least difficulty and expense. KINDS OF ELECTROTYPES Wax moulding is the oldest and most commonly used process of making electrotypes of all type forms, wood engravings, line etchings, medium and coarse screen halftones, while for duplicating the better class of fine screen halftone plates for printing in one or more colors the lead moulding process is most used. Often misunderstandings arise in ordering duplicate plates because of incorrect specifications given when the order is placed. These may be avoided by exercising more care in writing the order. When several plates of the same size from the same subject are wanted, the order is sometimes given for halftones when it is meant to be for one halftone and a certain number of electrotypes additional; or it may be given for an original and a certain number of duplicates when it is intended to be for one original and a certain number of electrotypes, nickeltypes, or some other kind of duplicate plates. Many persons erroneously speak of any kind of a printing plate as an electrotype. This is no doubt due to the fact that before the advent of photo-engraving, printing plates in relief were practically all wood engravings from which electrotypes were made. As there are now many kinds of relief plates for printing, each should be designated by its proper name, specifying electrotype, nickeltype, stereotype, etc., as wanted. THE WAX MOULDING PROCESS The first step in the making of a wax mould electrotype is the making of the case. The case is a thin flat metal plate about 15 x 20 inches in size—depending on the size of the filling table used—to one side of which is given a coating of wax about % inch thick. The wax used is a composition of ozokerite, beeswax or other high melting, non- adhesive material which will retain every line and detail of the subject that is moulded in it. The case filling table has a metal top which may be heated by a steam chamber immediately underneath, and the same chamber may also be used for cooling. The empty cases are DUPLICATE PLATES 347 Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 853. Filling the cases on the case filling and cooling table with strained molten wax. Steam heated wax kettles and wax in the original form at left. spread over the top of the table, the unit of size of the cases being such that a certain number of them will completely cover the surface, after which the group of cases is surrounded by steel bearers of a thickness representing the combined thickness of the case and the covering of wax to be applied. The wax composition having been melted in a kettle, is now poured through a strainer over the metal cases to fill the pan-like top, the outer rim of which has been formed by the bearers. The wax is then allowed to cool, this being facilitated by shutting the steam off and turning cold water into the chest under the top. After the wax has hardened, it is separated into cases or sections corresponding in size to the metal slabs underneath by cutting with a thin knife blade, the knife following the outlines of the metal plates Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 854. Separating and beveling the wax cases. 348 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftones, 150 line. Made from retouched photographs. Fig. 855. Shaving the wax case (left) and a wax shaving machine (right). in cutting. The edges of the wax on the cases are now trimmed off and beveled and a uniform thickness with an even smooth surface is ob- tained for the cases by running them through a wax shaving machine. The prepared cases are now placed in a warming cabinet, where they are kept at a proper temperature until they are to be used. The case, as well as the form or engraving to be electrotyped, is carefully and thoroughly brushed over with finely powdered graphite, to prevent the wax from sticking to the form. The case is then placed on the sliding form plate on the bed of the moulding press, and the form to be electrotyped is placed face down on the wax. The sliding plate automatically carries the work under the platen where the mould on the wax is made by applying pressure, producing on the surface of the wax an impression of the form. Moulding presses are made in different sizes and will accommodate forms ranging from a single line of type matter up to their full capacity, which varies from approximately 18 x 24 to 30 x 36 inches. The size of the press of course limits the size of the plate that can be handled Outline-vignette halftones, 150 line. Made from retouched photographs. Fig. 856. The type form on case on Fig. 857. Making the mould on the the sliding form plate. wax under the platen. DUPLICATE PLATES 349 at one operation without patching, although some of the presses are equipped with a patented stepping arrangement by which large electro- types of unlimited length can be produced by shifting the work under the platen and making the impression step by step. Several forms may be moulded on the same case and when the work is at hand the entire surface of the case is usually utilized, it being both in the line of efficiency and economy to obtain as many moulds on the case as can be accommodated. The materials used in the making of the composition for the cases, the making of the cases and the making of the moulds are very impor- Outline-vignette halftones, 150 line. Made from retouched photographs. Fig. 858. Power wax moulding press. Fig. 859. 2000-Ton hydraulic lead moulding press. tant steps in the process of electrotyping, as any imperfections in this part of the work will prevent perfect work in the operations that are to follow. Moulding presses are built to be operated by hand, steam, electrical or hydraulic power, and installations in different shops depend on the equipment demanded by the nature of the work produced. They are usually equipped with a device for indicating the amount of pressure and the depth of the impression; some having automatic stops which operate when the impression reaches a predetermined depth. BUILDING UP THE CASE After the case has been moulded, the surplus wax which has been crowded to the surface and edges during the moulding operation is cut away with a thin warm knife or by the aid of a wax cutting down machine and the sharp edges are melted down with a gas flame passed rapidly over the mould. After this the blank spaces in the form, those in which there are no printing characters, and which will be the 350 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 860. The impression as made Fig. 862. Building up on the case the on the wax case. blank spaces in the form. low places in the printing plate, but which are the high parts of the mould, are built up higher by dropping molten wax on them from a building iron which resembles a soldering iron as used by a tinner. These raised surfaces produce a corresponding depression in the fin- ished plate, thus preventing the possibility of smutting by contact with the paper on which the plate is printed, and making it unnecessary to rout them down in finishing the plate. Outline-vignette halftone, 150 line. The complete machine was made from a black on white print from halftone and the “close-up” from a slightly retouched photograph. The two halftone negatives were stripped together. Fig. 863. Wet leading machine. DUPLICATE PLATES 351 The mould is then given a coat of black lead by what is known as the wet leading process. The lead is in liquid form and is applied to the mould by a rotary pump through a flexible nozzle or through the use of a special wet leading machine. It is asserted that there is less liability of damage to the mould by using the wet process than when the dry method is used, since no brushes are used with the wet method. A force pump is used to wash out and remove the loose black lead so that only the thinnest coating of it may remain on the wax case. In some establishments the dry black leading process is used in- stead of the wet method. By this process the mould is given a coating of dry black lead by brushing it on to the mould by hand or machine, the surplus lead being brushed off or blown off by compressed air. The black lead, whether applied by the wet or dry method, acts as a conductor through which the copper or nickel is deposited upon the mould, thus forming the shell while in the plating bath. To facilitate further the deposit of metal on the mould, a small cop- per wire is imbedded in the composition al! around the outer edge of the moulded surface, and to prevent the deposit of copper on that part of the case outside the mould the graphite conducting coating is destroyed by passing a hot iron over the composition around the outside of the moulded surface. DEPOSITING THE SHELL After black leading, the mould is suspended from one edge by a hook, in a tank containing an acidulated solution of copper sulphate Outline-vignette halftone, 150 line. Made from slightly retouched photographs. Halftone negative of the anodes was stripped with that of the tank, etc. Fig. 864. Depositing the copper shell on the wax case. Above, copper anodes (with hooks) before and after disintegration. 352 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 865. The shell after removal Fig. 867. Scrubbing the cast. from the wax. to the positive pole is a plate or bar of copper. The mould is known as a cathode; the copper plate as an anode. The anode is suspended in the tank just in front of the mould and if several moulds are receiving the deposit in the tank at one time, a mould is placed on each side of and facing each anode. The electric current from a special dynamo for depositing enters the liquid through the positive pole or anode, gradually decomposing the anode into the solution and depositing the free copper on the wax mould in a thin unbroken sheet. The dissolution of the anode is of course a slow process, a total of many hours being necessary for its en- tire disintegration, thus permitting its use for a large number of changes of moulds before the remnant is finally discarded. The solution in the tank is agitated to quicken and improve the proc- ess of depositing the copper or nickel, this usually being done through a steady pressure of air from a pressure blower. The depositing tanks are usually made of cypress, lead lined, and are about 30 inches wide by 30 inches deep, varying in length, de- pending upon the capacity of the shop in which they are used. When the copper shell has become of the proper thickness on the mould, it is removed from the electrolytic bath and the new metal shell is separated from the wax mould by pouring boiling water on it to soften the wax. The face of the shell is an exact duplicate in every detail of the form from which the mould was made, and, as it was made by building from the face backward by depositing in the mould, the impression of the plate is as sharp in detail as the original form or plate from which the mould was made, if the moulding and depositing operations have been properly done. DupiicatEe PLATES apt wl Outline-vignette halftone. Made fiom a slightly retouched photograph. Fig. 868. Backing up the shell. The shell as taken from the mould is not strong enough for printing purposes and must be strengthened by backing before it can be used for printing. Before backing, however, it is thoroughly scrubbed with hot water to remove all foreign substances from both face and back. It is then placed face down in a backing pan, which is made of cast iron and a little larger than a case. The bottom of the backing pan is perfectly smooth and the depth corresponds to the thickness of the backing that is to be cast. Outline-vignette halftones 150 line. Made from retouched photographs. Fig. 869. ‘‘Roughing’’ the back of the cast. Fig. 870. A roughing machine. Fig. 871. A hand shaving machine. and COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftones, 150 line. Made from retouched photographs. Fig. 872. Routing the electrotype ona Fig. 873. A combination router for combination straight line router. either flat or curved plates. A soldering solution is applied to the back of the shell, then a sheet of tin foil is spread over the back, after which the pan is suspended over a gas flame or in a melting furnace to fuse the foil to the back of the shell, to effect a permanent union of the shell and backing metal, following which the molten metal is poured on to back the shell to the thickness desired. The cooling of the backed plate is usually aided by the use of a blower with which a cold blast of air is delivered underneath the pan. This not only quickens the process of cooling, but causes the molten metal to shrink on the back of the cast as it cools, thereby saving time and effort in the process of finishing and shaping the plates. After backing, the face of the plate is again thoroughly cleaned by scrubbing, after which it is placed face down on the bed of a roughing machine and the back is planed down until the plate is a little more than the required thickness, then the back is shaved off smoothly with a shaving machine and the plate is by the same operation brought to the required thickness. While plates may be made of any thickness, the usual thickness . Z s en Se Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 874. Sawing the cast into parts. Fig. 875. Flattening the plate. Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 876. Machine for nailing Fig. 877. Trimming and squaring plates to blocks. the mounted plate. in which plates are finished is 16-gauge (.067 in.) if plates are to be nailed on the same blocks with halftones or line etchings; 9 points (.125 in.) if to be mounted on wood; 11 points (.152 in.) for use on patent bases; 14 in. to 3 in. if to be used for binder’s stamp or .g18 in. if type high. Before the backed plate has been planed to proper thickness, it is flattened and any low places in the printing surface are brought to the proper height by driving up from the back, as are also low letters and lines. Open joints in rules, when not eliminated by special work on the mould, are filled with solder and finished, and other imperfec- tions are corrected in order that the plate may be in such a condition as to require the least possible amount of work for makeready on the part of the pressman who is to use it. Certain parts of the work, such as flattening the plate, bringing up low sections and other special work, are done with the aid of special machinery when the volume of work watrants its installation. Plates backed to type height on solid metal and requiring finishing, must of course be finished after being thinly backed, and then backed to proper height. Alterations are made by punching, sawing or drilling out char- acters or incorrect parts and inserting the correction by soldering. Letters or words are often corrected by soldering in original type, thus making it unnecessary to wait on electrotyping for a patch or until a new plate is put through. It is usually not practical to attempt to outline and rout away background, cut down or tool the face of an ordinary electrotype because of the danger of tearing the shell and causing particles of it to peel off, thus making rough and ragged edges. Large open spaces on the printing surface must be routed, unless they are of sufficient depth to prevent the sheets from smutting while being printed. Plates to be curved are not routed until after they are curved. After planing, the surplus metal from the outer edges is trimmed off with a saw and the plate is finished and mounted as necessary, the same type of machines being used for routing, trimming and making Pages 353 to 368, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 356 COMMERCIAL ENGRAVING AND PRINTING wood blocks type high as are used in finishing and mounting line etch- ings and halftones. If the case or plate contains several different plates it is sawed into parts and each trimmed and finished as the nature of the order may require. From one to eight hours are required to deposit the shell of copper on the wax mould, depending upon the thickness of the shell needed Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 878. The finished electrotype mounted on wood ready for use. and the condition of the plating solution and equipment. The require- ments of time for the deposit as well as time necessary for usual routine of case making, moulding and finishing should be taken into consideration when estimating the time required for the completion of an order of electrotyping. Considering the various operations in the making of a wax mould electrotype or nickeltype, such as the heating and cooling of the wax mould, etc., it is apparent that even with unusual care in making color plates and others requiring a close register or exact size there is danger of imperfect plates in these respects. There is, however, less danger if all plates in the set are made at one time, so that uniform working conditions may obtain. There is also less chance of difficulty in these respects with lead mould plates than with wax mould plates. CURVED PLATES When curved plates are made to be used in printing on rotary presses, the usual method is to cast the plates flat, plane them to the required thickness and then curve them to the arc of the printing cylinder. As it is impracticable to curve halftones and line etchings, such originals are seldom curved, but curved electrotypes from them are used instead. When ordering a curved plate, instructions must be given as to which way the plate is to be curved—whether from top to bottom or from left to right. The most serious disadvantage encountered in rotary press printing is the stretch of the curved plate which it is necessary to use, and particularly so with close register color work, label or other printing in connection with which die cutting is necessary. The ordinary method of curving plates stretches the plate about .o14 of an inch to the inch based on a plate 33;-inch in thickness for a 12-inch printing DupLICcATE PLATES 357 plate cylinder. If the printing cylinder be smaller in diameter, the stretch is proportionately greater, and if larger, slightly less. Addi- tional difficulties are encountered when curving sets of color plates having printing surfaces that are not identical. For example, one of these plates may be a solid flat halftone; one of the other colors may be an outline plate, and another color may print only in spots in the subject, such as a machine shaded tint plate. Plates of this character would differ in stretch and, therefore, would be difficult to register. Likewise, when one plate is made up of a group or a series of smaller plates such as labels, etc., with routed out portions or gutters, or a plate with separated panels such as is used in folding box work, etc. It is very common that the curvature of plates of this character is not uniform, causing the abrupt edges of the design to punch and show excess impression before the true curve or contact takes place. THE CLAYBOURN NON-STRETCH CURVED PLATE PROCESS It is claimed that these troubles may be avoided by the use of the Claybourn curving and forming machine which is illustrated in Fig. 882B. The electrotype, which up to this point has been made in the usual way and shaved to the proper thickness, is placed face down on a flexible steel blanket which is in contact with an electrically heated flat, solid platen as in view ‘‘A.”’ Each end of the blanket is fastened to water cooled half cylinders positioned at each end of the platen with their curved sides facing one another. Pressure fingers are brought to bear across the back of the plate to give it uniform contact with the hot platen and insure even distribution of heat. When the plate has been heated to a temperature bordering on a molten state, these half cylinders to which the ends of the flexible steel blanket Fig. 879. Hand driven plate curving machine. Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 880. Plate curved for use on Fig. 881. Motor driven plate the Multigraph. curving machine. 358 COMMERCIAL ENGRAVING AND PRINTING Printed from a lead mould nickeltype made from a square halftone with thin line black border, 133 line. Photo- graphs of retouched photographs of the different machines were trimmed and placed on a white mount the surface of which had been treated with an air brush. The border lines were drawn on the photographs and mount and from this combined copy the halftone was made. The white lines were cut in the plate with a tool. Fig. 882B. Equipment for curving and correcting plates by the Claybourn process. sustaining the plate are attached, are brought together at the center of the platen, at which point their flat sides meet and automatically lock together, forming a complete cylinder as shown in view “B.”’ Next follows a series of reciprocating rolling movements of the cylinder across the platen, after which the plate is allowed to cool for a few moments, when it is removed. The plate is now placed on the shaving machine, as shown in view “C,” for shaving the inside of the arch. This is followed by a special system of plate treatment, to eliminate makeready, which is described under Letterpress Printing, and involves the use of a special proofing press as shown in view “D.”’ After the plate has been corrected, if a different curvature is desired, it is re-curved on a special re-forming machine to any desired arc or curvature. In principle this machine is quite similar to the bending machine, the plate being placed between two flexible steel blankets and placed over a heated segment, as shown in view “‘E,”’ of the same size as the cylinder on which the plate was first curved on the bending machine. When the plate has been reduced to a fusing state by the heat, this segment is mechanically withdrawn, and the larger or smaller, as the case may be, water cooled segment, as in view “‘F,”’ is introduced under these steel blankets between which the plate rests. The plate formed to this water cooled segment is identical in size to the cylinder it is to be used on. After cooling a few moments, the plate is released and it is then ready to go to press. DUPLICATE PLATES 359 Fig. 883 is a square-vignette halftone, 150 line, and was made from a photograph. Fig. 884 was printed from an electrotype made from the halftone used for Fig. 883. Fig. 885 was printed from an electrotype made from the electro- type used for Fig. 884. Fig. 886 was printed from an electrotype made from the electrotype used for Fig. 885. Fig. 883. Fig. 884. Fig. 885. Fig. 886. Showing results obtained when an electrotype is made from an electrotype. Regardless of the size of the printing cylinders on which the plates are to be used, all plates are originally curved on a curving machine of one size and proved on the same special proofing press which is shown in view ‘“‘D.”’ The plates are also corrected and made ready for printing in the original curved state. Other advantages claimed for this process in addition to the non- stretch feature of the plate, is the saving in time of makeready, the advantage of being able to run a part of the job on presses of the flat bed type from flat plates, and the remaining colors on a rotary press with assurance of perfect register; also that the plates will wear longer than those printed with other methods of makeready. COMBINING ORIGINALS AND ELECTROTYPES Often it is found advisable to print from an original halftone and from an electrotype of type or other matter, mounting the combina- tion together. Original halftones and line etchings are usually made on thinner metal than unmounted electrotype thickness, and that they may be mounted together on the same base so as to obtain uniform height of printing surfaces, the original may be backed to the thickness of electrotype plate by sweating on additional metal, then tacking it in or mounting it with the electrotype plate. Where there is not sufficient room for tacking one of the plates it may be secured to the other by soldering. While the electrotype in such a combination might be planed down to the thickness of the halftone, or etching, it is not usually practical because of the difficulty in planing down small plates; also the conse- quent weakened condition of the electrotype would prevent substantial nailing. PRACTICES AND RESULTS After the shell has been removed, the wax used for the mould and the shavings and trimmings removed in finishing the case are melted, clarified and used again; also the backing metal which has been re- 360 COMMERCIAL ENGRAVING AND PRINTING moved as surplus when planing the plate, sawing and trimming, is melted and freed from the foreign material and used again. The residue from old electrotypes and old type, too, is utilized in this way. It is necessary that the original from which the electrotypes are to be made either be retained in the file of the electrotyper or sent to him with each order, for it will be noticed that in removing the shell from the wax mould, each mould is destroyed, leaving nothing from which to produce additional electrotypes. In making the better class of electrotypes, and always when the number of electrotypes being made is small, a mould is made from the original for each electrotype made, but when a large number is being produced of the same subject, often several electrotypes are made off the original and these, together with the original, are made up into a form and the entire form is moulded. Thus several imprints of the subject are produced on each plate and these are cut apart and finished separately. An electrotype may be made from an electrotype with fairly satisfactory results if the lines or detail of the subject are not too fine. As a rule, however, it is best never to electrotype from an electrotype made of a halftone, especially if it is a mediurn or fine screen plate. Naturally something will be lost with each duplication and the farther from the original the more unsatisfactory the printing results. Trouble is sometimes experienced with electrotypes used in con- nection with an ink containing a mercurial pigment, such as red, brown or vermillion. The surface of the plate is not only affected but the clearness of the color (especially tints) is also impaired. This difficulty may be overcome by nickelplating the electrotype, if it is a subject in which sharp detail is not essential, or by making nickeltypes. LEAD MOULDING PROCESS This method of making duplicates is considered superior to the wax moulding process of electrotyping for fine screen halftones, process color plates, or for any class of work in which accuracy in size, close register, or clearness of detail and depth of the original is to be dupli- cated in full. Many users of process color plates never print from the originals, but use lead moulded nickeltypes made from them instead. As lead is regarded as the most perfect conductor of electricity that can be used for moulding, the mould in lead is therefore ready for the depositing tank as soon as it leaves the original. Nickel and copper deposits on a lead mould with perfect uniformity of thickness and smoothness of surface as well as hardness, and also more quickly than it does on a wax mould. It is also asserted that lead takes a perfect mould and retains it without shrinkage or expansion or other de- terioration after it is separated from the original. By this process the impression or mould is made from the original on a cold sheet of special lead about 1/16 of an inch in thickness. The mould is made under enormous pressure in a hydraulic press, the pres- sure depending upon the size and nature of the plate being moulded. Sometimes as much as 2,000 tons of pressure is applied. The mould DUPLICATE PLATES 361 Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 887. Placing the sheet of lead over Fig. 888. The impression made in the halftone for a lead mould. the sheet of lead. in lead, which is not affected by varying temperature, undergoes no other operation until it is placed in the solution for a deposit of copper or nickel. After the shell has been deposited on the mould, the mould is stripped from it and the shell is backed, finished and mounted in the same manner as described for wax mould electrotypes. There is no particular advantage in making lead moulded electro- types from type matter, but if it is necessary to electrotype type by this method, it is advisable first to make a thick shell electrotype by the wax mould method, backing it up with hard metal, and then use this electrotype for moulding on lead, as to mould from the type would be injurious to the type. Lead moulds can not be made successfully from wood engravings, zinc halftones, ordinary electrotypes or stereo- types. Type matter that is to be electrotyped and mounted on the same Outline-vignette halftones, 150 line. Made from slightly retouched photographs. A nickel anode is shown outside the corner of tank. Fig. 889. Depositing a nickel shell ona Fig. 890. Removing the moulded sheet mould in lead. Copper shells may also of lead from the shell. be deposited on lead moulds. 362 COMMERCIAL ENGRAVING AND PRINTING base with lead mould electrotype of illustration is usually electrotyped by the wax mould method and then mounted with a lead mould electro- type of the illustration. NICKELTYPES Nickeltypes are made in the same manner as electrotypes, and by either the wax or lead moulding process, with the exception that nickel is used as the first deposit in the mould instead of copper, and then the shell while still in the mould is given a deposit of copper. It is asserted that nickeltypes give a somewhat sharper definition to the detail of the printing surface, that they wear better than copper, and’ that they are not affected by inks containing mercurial pigment. A nickel-plated electrotype is not a nickeltype. In fact, for detail it is not as good as an electrotype, because when the nickel is deposited on the printing surface of the electrotype there must be some loss to the sharpness of the printing qualities of the plate and such a deposit would have a tendency to decrease depth. Nickeltypes may also be made by depositing the entire shell with nickel. A separate depositing tank and outfit is required for nickeltyping, although the same dynamo and mould equipment may be used for making nickeltypes that is used in making electrotypes. STEELTYPES The process of making steeltypes, or steel-face plates, is the same as in making wax or lead moulded electrotypes except for the dif- ference in the deposit in the mould, which is a hard nickel. —The name is indicative of hard-faced nickeltypes and is a trade name adopted by some foundries, but literally incorrect, since steel can not be so de- posited. Such plates have a clean, hard, non-corrosive printing surface, and in printing from them inks will hold their true colors. Their chief advantage is that they will stand considerably more wear than ordi- nary electrotypes or nickeltypes. ALUMINOTYPES An aluminotype is a duplication in aluminum of type matter or printing plates. The mould is made in plaster of paris in which the cast is made using a hard alloy of aluminum. The plate is cast in the re- quired thickness and as the metal is light and no lead backing is re- quired, it is much lighter than an electrotype or nickeltype and is also harder. It is not affected by chemicals in colored inks, and because of its special depth and lightness it is favored for trade illustrations, advertising plates, and for printing plates which require long, hard runs. They may be made either curved or flat and in any thickness and can be used for reproducing type matter, line and halftone plates where the screen does not exceed 120 lines. Their lightness in weight means a saving of postage in mailing, but their practicability is de- pendent upon the supply and cost of aluminum. DuPLICATE PLATES 363 TRADE CUSTOMS As electrotypes, nickeltypes and stereotypes must necessarily be exact duplicates of the originals from which they are made, they can not be made in a different size, screen or proportion from that of the originals. It is a very common practice to electrotype type forms containing halftones or line etchings, or both, and conditions often make it ad- visable to duplicate the form by other than all one process, as it may be found best to patch an original halftone, or a lead moulded electro- type from it, in a wax moulded electrotype of the type, etc. When mounted plates are sent to be electrotyped it is customary, in the absence of other instructions, to mount the electrotypes in the same manner as the original plates; thus, if the original is mounted on wood, with a tacking margin at top and bottom and trimmed flush on the sides, the electrotypes will be finished in the same manner. It is not customary for electrotypers to furnish proof of electro- type plates, and when furnished an extra charge is made for them. In making an electrotype of a part of a form or plate, it is necessary to make the mould of a larger area than the part actually wanted. Sometimes it is necessary to mould the entire form or plate, though only a small part of it is to be finished. The cost of such a plate will of course be more than the cost of an ordinary plate of the size ordered. An engraving or plate that is to be duplicated frequently by any of the processes should be numbered and left with the electrotyper, so that duplicates may be ordered from time to time as required. This will avoid the possibility of loss or damage in sending back and forth, and it will also avoid possible loss through sending the original to some customer instead of a duplicate. An electrotype may be distinguished from any other kind of printing plate because of its thin copper face which is backed with lead. It may be readily recognized by an examination of the edge of the plate. Electrotypes are billed from a standard scale of prices, the price depending upon the area of the plate, the kind of original and the quantity ordered. Usually an extra discount is given if ten or more are ordered from the same subject at one time and the discount in- creases as the number ordered is increased; i. e., a larger discount is given if twenty-five or more are ordered, a still larger one if fifty or more are ordered, and a still greater if one hundred or more are ordered of the same subject at the same time. The prices given on the scale are for plates mounted on wood, block measure. Beveled and unmounted plates are charged for on the basis of measurements on the back of the plate, which has the greatest area. Additional charges to scale prices are made for special rush orders; long, narrow plates; mounting on bases other than wood; fine screen halftones; type forms containing halftones or fine screen vign- etted plates; nickeltypes; steeltypes; binder stamps; embossing plates which require extra heavy shells; cleaning and plating worn and dirty type, correcting faulty lock-up; proofs; imperfect engraving; 364 COMMERCIAL ENGRAVING AND PRINTING nickelplating; joining rules; building up, routing and registering color plates; curved plates; incorporating original halftones in mould; lock- ing up type forms when not received locked up in chase with bearers, and all operations extra to those required for straight electrotypes mounted on wood from properly prepared type forms or plates. Deductions are made from scale prices for quantity orders; when plates are not blocked, and for book, pamphlet and periodical plates when sixteen or more are ordered at one time. Proof of type forms to be electrotyped and written instructions are required with all orders; and orders cancelled after being entered are subject to a charge to compensate the electrotyper against loss. STEREOTYPES A stereotype is a duplicate of a printing plate, or type form, made by taking a cast from a matrix or mat, which has been made by taking a mould of the printing surface in a moist sheet of papier mache, or flong as it is sometimes called, by beating or rolling. The process is especially adapted to the making of duplicate plates for newspaper use and it is therefore not suitable for duplicating medium or fine screen halftones or fine-line line etchings. Anything that can be stereotyped can be electrotyped, but only subjects with the coarser detail should be stereotyped. Coarse screen halftones and line etchings to be used in newspaper work are usually stereotyped because this process is less expensive and quicker than cie trotyping, although almost any subject will print better if electro- typed. Wood bases can not be used for plates that are to be stereo- typed, since the heat and moisture incident to the process of making will cause them to swell and warp. Plates that are to be stereotyped should be ordered unmounted, as those who do stereotyping are equip- ped with bases on which to mount the original plates temporarily while making the matrices. PROCESS OF MAKING STEREOTYPES Matter that is to be stereotyped is first made up into a form and locked in a type high stereotype chase. The form is usually made up on a make-up, or form table, which in the best equipped shops is a table on wheels with brass or iron top, which may be moved about and used in the same manner for a page form as an imposing stone. The sheet of pulp or papier mache with which the matrix is made is usually composed of a number of layers of tissue paper built up on a thick sheet of unsized paper, with a special paste between the sheets. Some stereotypers make their own flong, others obtain it prepared ready for moulding. This combination of damp paper is placed on the type form, tissue side down, covered with a blanket, and pressure is applied to obtain the impression or mould either by beating with a brush or by the use of a matrix rolling machine. The latter method is more rapid and less injurious to the type and is in use in plants where plates are made in any considerable quantity. The form with the Pages 353 to 368, inclusive, are printed on 25x88—80 lb. Aizrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. DUPLICATE PLATES 365 ies Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 891. Beating a matrix with brush. Fig. 892. Matrix rolling machine. matrix still on it, is then transferred to a steam or electrically heated table and the matrix dried while under pressure, when it is removed from the form. The matrix is then placed in the casting box. Some boxes are built for casting flat plates for use on flat-bed presses, and others for curved plates for rotary presses as used in newspaper printing. The box ts tilted to an upright position and the molten metal is poured or pumped in. It hardens almost instantly and is usually partially cooled by the circulation of cold water through the lid of the casting box, that the plate may be taken up quickly for trimming, shaving and finishing. Dry mat paper is used occasionally, as for emergency cases for making newspaper plates where the saving of a few minutes in going | Square halftone, 150 line, no line. Made from slightly retouched photograph. Fig. 893. Steam heated matrix drying tables (rear) and a type form in chase on makeup and beating table. 366 COMMERCIAL ENGRAVING AND PRINTING to press will warrant a sacrifice in the quality of results obtained in the plate. It is agreed that wet mat paper produces superior results to dry paper, but it requires a few minutes on the steam drying table after moulding. In Fig. 894 is shown a combination stereotyping apparatus for pre- paring matrices and casting flat plates. To make a matrix the casting box is swung to a horizontal position over the furnace and metal pot, and the yoke and hand wheel are turned to one side to permit the lid of the casting box to open. The form to be stereotyped is placed on the bed of the casting box and the flong placed on it and beaten in, after which it is covered with a drying blanket and the lid closed and clamped under compression by the hand wheel and yoke. After the matrix is dry the form and blankets are removed and gauges (K) of the thickness of the desired plate are so placed around the matrix as to obtain the length and width wanted for the cast. The lid is closed and the box is then swung to the casting position as shown in the illustration and the metal is poured from a ladle into the open end between the side gauges. Gas is usually used for heating the metal, although other fuel can be used with this outfit. Stereotypes are used almost exclusively in newspaper work, the advantage of their use being in the quickness with which they can be made and the comparatively low cost. They do not give as good detail or definition as may be had from plates made by the electrotyping process. The process of stereotyping is more or less injurious to type and many printers do not permit their best faces to be used in job work forms that are to be stereotyped. Under such conditions the form is first electrotyped and then the stereotypes are made from the electro- type. In preparing copy for engravings or forms that are to be stereo- typed, illustrations with fine lines and small type should be avoided. Outline-vignette halftones, 150 line. Made from slightly retouched photographs. Fig. 894. Casting box for flat plates. Fig. 895. Casting box for curved plates. DupLicATE PLATES 367 Vignette halftone, 150 line. Made from a photograph of the group. Fig. 896. A newspaper page mat (left), a flat cast stereotype from it mounted on wood (center) and a curved stereotype for newspaper press (right). Mats are used extensively in sending duplicate advertisements to newspapers, as their use affords a quick method of distribution at lowest cost. If made properly from suitable type or line etchings, the printing results will be satisfactory, but if from halftones or small type, it is advisable to use electrotypes instead. The mat being of paper pulp in sheet form, has a tendency after receiving the impression from the type to shrink or flatten to its original form, thus decreasing the depth of the mould. When this mat is received by the newspaper a flat cast must be taken from it and this placed in the page, from which in turn is produced another mat, from which the actual printing plate is cast—four removes from the original. If an electrotype is furnished it is placed in the form and with only two removes the actual printing plate is produced, and it is a much better one than could be made from a mat from a stereotype. Some publications that print from stereotypes will not accept mats and they can not be used by publica- tions which do not have stereotyping facilities. Any number of mats may be made from the same plate or form, likewise any number of casts may be made from the same mata though, of course, the wear incident to several succeeding operations, although exceedingly slight, will make the plates less perfect as the quantity is increased, unless new originals or new mats are made from time to time as the matrix making or casting progresses. Curved stereotype plates made for printing color work, such as is used in supplements with the daily papers, are nickeled to give wearing qualities to the plate and to prevent colors used in printing being affected. In many of the larger newspaper plants, where time is an important consideration, on account of frequent and large editions, there are in use automatic plate-making machines as illustrated in Fig. 897, which will, with the aid of six men, cast and finish ready for use full page newspaper plates at the rate of six a minute. The matrix of the page is set on the back of the upright cylinder (A) and by a simple operation is brought into position with the cover (B), forming a complete casting 368 COMMERCIAL ENGRAVING AND PRINTING box, into which the molten metal from the furnace (C) is pumped with lever (D). As the metal hardens almost instantly, the cylinder is turned, carrying with it the plate, which is discharged at the front (E) with the sides trimmed. If duplicates are wanted, they are cast without removing the matrix from the machine. There are two casting moulds in the outfit shown, one connected to each side of the furnace, each working entirely independent of the other. The plates as discharged are placed on a finishing machine (F) which automatically shaves the Square halftone, 150 line. Made from a black on white print from halftone. The reference letters were drawn on the print. Fig. 897. An automatic stereotype plate-making machine for newspaper plants. arch, or under side of the curved plate, trims off the “tail’’ or surplus metal around the edges and delivers the plate finished and cold ready for use as shown at right in Fig. 896. The casting cylinder, also the finishing machine, are kept cool with cold running water. The cost of stereotypes is less than the cost of electrotypes, but usually they are billed using the same scale as a basis. Electrotyping and stereotyping are separate and distinct branches of the graphic arts, requiring special equipment and workmen who specialize in these classes of work, and they offer the same amount of opportunity for variations in quality of product as in any other class of work. electrotypes from wood engravings, were practically the only kinds of plates adapted to letterpress printing. Wood engraving is one of the oldest methods in use today, its origin dating back to about 930 A. D., when the Chinese evolved the system of carving the char- acters on wood and using the wood blocks as type. Although not extensively used it is especially adapted to certain requirements. Only a small part of present-day illustrations are made by this process, as compared with the number made by the photo- mechanical processes. Its popularity, however, for certain kinds of work is constantly increasing. Almost any subject may be engraved on wood, and wood engravings may be well printed on a wide variety of papers, but the process is principally used by those who issue catalogs to be widely distributed to the consuming trade, for illustrating trade paper advertisements, and other matter that is to be printed at high speed on medium quality or light weight paper. It is especially adapted to the illustrating of machinery, jewelry, tools, etc., particu- larly in case the size of the illustration must be limited, and when there is considerable detail. As they are easy to print, manufacturers who supply jobbers with electrotypes from them for use in their catalogs, do so with the assurance that they are supplying plates that will print well under most any condition. They are also used for headings, logotypes, etc. While portraits, animals, landscapes, and pictorial subjects may be engraved on wood, this kind of work must be done by a skilled en- graver, who is a specialist in that line. As the process is slow and there are few specialists, the cost of first-class work of this nature is high and such subjects are usually engraved on wood only when they are to be used as art subjects, or extensively for newspaper or magazine advertising illustrations. Many of the present day illustrations that have the appearance of wood engravings, are line etchings from pen drawings that have been made in this style of treatment. However, there is a certain smooth and continuous sweep to the wood cut line that cannot be imitated by the pen and ink artist. It is also possible to introduce more tone values on account of the variety of tools at the command of the engraver. On account of the depth and clean shoulders which it is possible to get in the hand cutting, wood engravings are superior to line Beeces the advent of photo-engraving, wood engravings, or *Line etching on copper. In preparing the copy the background was made up of printed clippings showing some of the designs that can be ruled on the machine shown in Fig. 907. These were trimmed and grouped as shown and the lettering, decorations and border were drawn on the group with pen and black and white ink. 370 COMMERCIAL ENGRAVING AND PRINTING etchings or any other kind of plates for making electrotypes or rubber plates to be used in printing on soft and yielding surfaces, where high relief for the printing face is essential, also for making rubber stamps of facsimile signatures and designs other than type. Illustrations that have been printed from wood engravings are sharp, clean and clear as to detail, the lines and dots being usually smoother and a bit less irregular than those in line etchings from pen drawings. As compared with illustrations made by the halftone process, while the latter give a photographic appearance, the clearness of small detail in any subject is lost, more or less, because of the screen that must be used in making it. Since the lines of a wood engraving are for the most part continuous, and cut with the special purpose of bringing out detail in the illustration, it has an advantage over the halftone for some subjects because it has no screen and the engraver can introduce in the same illustration numerous tone values ranging from extreme blacks to extreme whites. Line etchings from pen drawings are used largely for the same pur- pose as wood engravings, the etching having some advantage because of convenience, expense and the fact that different sizes may be made from the same drawing. There is, of course, a limit as to the amount of reduction or enlargement any drawing will allow and at the same time afford a satisfactory reproduction. A wood engraving is complete in itself, and to obtain an original engraving of the same illustration in a different size, the entire process must be repeated, involving practically the same amount of expense as in making the first. However, a line etching can be made from a proof from a wood engraving to obtain the illustration in a different size and this is often done. Subjects in which the lines are coarse reproduce well, but those in which there is Fig. 901B was printed from an electrotype from a line etching on zinc, which was made from a proof from the original wood engraving which was six inches wide. Fig. 902B was printed from an electrotype from a wood engraving. Fig. 901B. Fig. 902B. Pictorial and mechanical subjects engraved on wood. Woop ENGRAVING ati ll TTT i li MN su il All Figs. 903 were printed from electrotypes from wood engravings. Fig. 903D. Fig. 903E. Fig. 903F. Miscellaneous examples of wood engraving. close shading have a tendency to fill between lines in the shadows and show broken lines in the high lights if reduced too much. COPY FOR WOOD ENGRAVINGS Wood engravings can be made from photographs, drawings, rough sketches, blue-prints, the actual subject, or other data the customer may be able to furnish. The more accurate and complete the data, the better, as complete and specific information as to what is desired saves time for the engraver and in turn saves time and money for the customer. KINDS OF WOOD USED The best wood for engraving is boxwood imported from Turkey and Abyssinia. This particular wood is used on account of its excessive hardness, specific gravity, evenness and closeness of grain, light color and its capacity for taking a fine polish. The supply of genuine box- wood is very short, and several substitutes are being used, the principal of these being sycamore, pear, persimmon and dogwood. Almost every block on which wood engraving is done is made up of several Pages 369 to 384, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book made by The Champion Coated Paper Co. Hamilton, Ohio. eo COMMERCIAL ENGRAVING AND PRINTING pieces joined together with tongue and groove and glue. The wood is supplied in blocks type high, each containing about one square foot. The large blocks are then cut into smaller blocks of the size that the finished engravings are to be. The wood must be thoroughly seasoned and, when the block is made up of several pieces, it must be so joined together as to form one solid block that will retain its solidity. The gluing and joining together is necessary from the fact that the block must be free from defects, and it is impossible to obtain perfect wood in any but small sections. It also prevents the block from warping or splitting. The log, or block, as it comes from the tree before seasoning is sawed into sections a little longer than type high. The blocks are then Outline halftone, 150 line. Made from a slightly retouched photograph. The block at left is type-high boxwood and that at right a boxwood top on a block of common hardwood. The latter also shows deep routing around the engraving. Fig. 904B. Photographic sketch on the wood block (left) and the finished wood engraving (right). dressed down to exact type height, and the better surface of the block, which is to receive the engraving, is polished. To make the available supply of boxwood go as far as possible a thin made-up section of the wood is sometimes glued to the top of a block of common hardwood to obtain a type high block. This process of engraving is sometimes known as engraving on “end wood.’’ Considerable engraving is also done on “side wood.” The wood used for “‘side wood”’ engraving is usually basswood or soft pine and the product is used for date lines for bill boards, posters, signs, etc.—in fact, for anything in which there is no small detail and the subject is simple and plain in character and when only a limited number of impressions are to be run, or when electrotypes are to be made. Some of the coarse engraving is also done on soft metal. TRANSFERRING THE SUBJECT TO THE BLOCK Before the engraving is made on the wood, the subject must first be sketched on the block in the same size the engraving is to be made, and, as the engraved illustration is reversed in printing as with type, the sketch which is afterwards engraved must read from right to left on the block. Before the sketch is made on the polished surface the et) oe j | ‘ ” 2 Woop ENGRAVING Bio latter usually receives a slight wash or coating. This usually consists of water with a very fine solution of flake white, or Chinese white. When this wash has dried on the block, it is carefully rubbed off, leaving sufficient for a surface which will take a pencil. If the engraving is made from a sketch a tracing of the subject is made, and placed on the block with transfer paper between. The tracing, having been made on transparent paper, is reversed, or turned upside down on the transfer paper, and, by tracing over the outline on the back of the original tracing with a sharp point, the outline is transferred by the transfer paper to the block. The outline now on the block is corrected as may be necessary and completed with a hard | A Fig. 905B was printed from an electrotype of an outline half tone, 120 line, made from a retouched photograph. Fig. 906B was printed from an electrotype from a wood engraving. Fig. 905B. Fig. 906B. Halftone and wood engraving of same subject for comparison. pencil, the shading being applied with a softer pencil or a thin wash of India ink. The parts of the block not under immediate operation are kept covered to preserve the rest of the sketch from injury. A great many subjects are transferred to the block by photographic process. By this method all parts are kept in proper proportion and considerably less time is required than would be necessary if the object were to be drawn on the block. By this method a negative is made of the photograph, drawing, or article itself, making it the same size as the engraving is to be on wood. The polished surface of the block is sensitized to receive the print from the negative. Such alterations as are necessary in the print are made on the block with pencil, it being possible to correct almost any defect in the photograph, such as elimi- nating distortion, emphasizing minute details, etc. Many subjects are sketched, or drawn, directly on the block with- out transferring or photographing, the method depending on the nature of the subject and the kind of copy furnished. When the sketch is made on the block it may be submitted for O. K. to the person for whom the engraving is being made before the actual work of engraving is begun. It is usually advisable for the customer to see the work at this stage, unless the engraving is of a 374 COMMERCIAL ENGRAVING AND PRINTING very simple nature, and, especially, if he has not seen a preliminary pencil sketch or drawing. Changes are easily made at this stage, while after the work is finished they may involve considerable extra expense or possibly the remaking of the entire job. Line etching on copper. Made from a black on white print from a wood engraving. Fig. 907. Ruling machine as used for wood engraving. ENGRAVING THE SUBJECT After the sketch on wood has been approved, the surface of the block is cut away, leaving a printing surface in relief. The whites in the picture correspond to the parts cut away in the block, and the solid colors to the parts which remain, while the shading is procured by dots and lines left upon the surface of the block. The broader surfaces are cut with a ruling machine—so constructed that it will cut straight lines, circles, waved lines, etc., in any desired width or length, and will cover the surfaces to be shaded much more quickly and better than can be done by hand. A wide, deep groove is usually cut around the engraved illustration, separating that part of the face of the block from the remaining blank surface. The blank, or dead, surface is usually cut or routed away to leave the completed engraving stand in relief, and the block is squared and trimmed so that it may be set with type and the entire page electro- typed. If the engraving is not to be electrotyped as a part of a form, the dead surface is usually allowed to remain as it makes electrotyping easier and prevents the edge of the engraving from becoming nicked. The tools used in making wood engravings consist of gravers, tint- tools, gouges or scoopers, and a sharp edged scraper. Several sizes of each of these tools are required for creating the lines of different char- acter, stipple, burnishing, ruling, etc. MAKING CORRECTIONS If a slip or mistake is made, it may be remedied by the insertion of a plug into a hole drilled into the block at the point where the mis- take occurred. After the plug is inserted, it is then brought to a smooth, Woop: ENGRAVING ED polished surface, level with the rest of the block, and this part is then re-engraved. Wood engravings that have warped, split, or become otherwise damaged, may frequently be patched and put again into good printing condition. PATTERN PLATES Often several engravings may be wanted from the same subject, but each to be slightly different in certain details. Usually it is not necessary to make a complete engraving to illustrate each of the dif- ferent views, for one engraving can be made of the complete article and then ‘‘pattern plates,’’ as they are sometimes called, to show the changes. A pattern plate is made by electrotyping the original wood engraving, making the electrotype with a thick shell and plugging with surplus metal the parts on which the change is to be made. This plugged part of metal is engraved the same as if it were wood, thus giving a complete illustration showing the change in detail as desired, and with small cost compared with the expense which would have been necessary had an entirely new engraving been made. Wood engravings, or pattern plates, are not used in actual printing, as a few thousand impressions would ruin them. Duplicate plates are therefore made by one of the regular electrotype processes. CUSTOMS AND COSTS Lead mould electrotypes, or stereotypes, should not be made directly from wood engravings, as the process of getting the mould will damage the original engraving. When duplicates by these processes are desired they should be made from a suitable electrotype made from the original wood engraving. The original wood engraving or pattern should be filed for making additional electrotypes, as necessary. To save wood, engravers sometimes cut more than one subject on the same block. There is no objection to this so long as electrotypes of each of the subjects on the block are made in the same number each time the block is electrotyped. However, when only one of the sub- jects on the block is to be electrotyped, it will mean increased cost, as the electrotyper in making the mould must mould the entire block to get the one illustration that is wanted. This means increased cost to the customer. It is also a convenience in filing to have each engrav- ing on a separate block, thus the engraver should be instructed to separate before delivery, subjects that have been grouped. Wood engravings may be identified or distinguished from other printing plates by the fact that the entire block, including the en- graved surface, is wood. The cost of a wood engraving depends upon the detail in the sub- ject and the size of the engraving. In getting quotations it is necessary therefore to submit either the subject to be engraved or a drawing, photograph, or other definite description of it, together with advice as to size of engraving wanted, pose, and the purpose for which it is to be used. | : | *Fig. 910. OR certain classes of work, wax engraving is exceedingly 1m- portant, although there are probably not more than 150 workmen in the United States who are prepared to handle it, and compared with other kinds of engraving, there is relatively a small amount of it done. Wax engraving is used primarily in the making of diagrams, charts, delicate rule work, lettering, headings, tints, cross section mechanical views, map making, etc., in all of which accuracy of size and propor- tions, fineness of detail, and delicacy of line are important. Another important use of wax engraving is in connection with the preparation of plates for illustrating text-books on geography, etc. The plates made from wax engravings are designed for printing on the ordinary © printing press, and they are quite frequently used to imitate litho- graph work. Results are not usually as soft as lithograph work. This process is rarely used and is almost impracticable in pictorial or portrait illustration. In all processes of engraving employing the camera and lens in transfering copy to the printing plate, there is more or less distortion, depending upon the size, the amount of enlargement or reduction, and the quality of the lens itself. No lens will give an absolutely correct reproduction. For this reason, photo-engravers cannot pro- duce in line etching satisfactory plates for the printing of recording charts, scales, diagrams, and other subjects where absolute accuracy is required. The lithographing process is likewise unsatisfactory for such work. No matter how accurate the engraving on the original stone, the transfer to the printing stone is made with damp paper which has more or less stretch or expansion to it. On a subject of any considerable size, this would result in a serious defect. COPY FOR WAX ENGRAVINGS Wax engravings may be made satisfactorily from rough sketches, drawings, photographs, blue-prints, or any other kind of copy which might be furnished to an artist from which he could make a drawing. Like wood engraving, lithograph and line etching, wax engraving is exclusively in lines and dots, and photographs cannot be reproduced with a photographic effect. However, photographs may be used for *Line etching on zinc. A proof from an electrotype from wax engraving was made for the background on which the border was drawn. A pen drawing was made of the lettering. Separate line negatives were made of the background and lettering and these were double printed on the metal for etching. The white line around the lettering was tooled in Wax ENGRAVING it Square halftone, 150 line, no line. Made direct from the original copy. Fig. 911. Rough copy to be engraved in wax. tracing or re-photographing so as to secure accuracy in outlines, pro- portions, shape, etc. DETAILS OF THE PROCESS In making a wax engraving, a thin copper plate is polished and stained black. It is then given a thin coating of gray wax, of a special composition based on beeswax, that will not break or pull loose. It retains its consistency almost indefinitely and does not dry out even when it is left for a long time on the plate. The wax is heated and flowed over the plate to about the thickness of a sheet of paper, although this layer of wax may be thicker for coarse work and even thinner for the finest and most careful engraving. After the wax surface has been scraped clean to make a perfectly level surface upon which to work, the design is drawn or photographed upon it in the exact size that the finished plate is to be, so as to bring out the lines that are to appear in the engraving. The design is then engraved through the wax to the black surface of the plate by means of sharp pointed tools or a ruling machine, or both. The cutting edge of the tool is in the shape of a ‘“‘V”’ with the point down. The tools are Ag ray 3 pf eA See Square-outline halftone, 150 line, no line. Made from slightly retouched photograph. Fig. 912. Engraved wax plate. 378 COMMERCIAL ENGRAVING AND PRINTING pushed forward through the wax instead of being drawn toward the engraver as one would naturally expect. As the tools are pushed for- ward, the wax which is cut out naturally slides up the groove in the tool and leaves a cleaner cut engraving than would otherwise be pos- sible. The line work is cut with different tools, varied in size, so as to give the proper width to the separate lines. The black stain on the plate enables the engraver to tell with the eye as well as from the sense of touch when he has cut through the wax to the surface of the plate. The depth of the engraved plate is only the thickness of the wax coating. With wood engraving and line etching, the engraving must be cut or routed in order to bring the different parts of the work into proper relief. With the wax engraving, the relief has to be built up. In large spaces that are to show blank in the printed result, the depth Square-outline halftone, 150 line, no line. Made from slightly retouched photograph. Fig. 913. Engraved wax plate built up for electrotyping. of the wax would be too shallow and there would be a blur of ink in these spaces. To prevent this, these spaces are built up by adding additional wax which will give a greater height to the engraving and a greater depth in the printing plate. For this building, a tinted wax is usually used so that the engraver can easily tell what parts of the work have been completed. SPECIAL STEPS IN MAP WORK In map engraving when lettering is to be added, as for the names of towns, rivers, etc., the type is set up one or two words at a time in a holder which will keep the type in proper alignment. Different holders are employed, some in straight lines and some in curves, so that the type can be added to the engraving in whatever shape or size it is desired. The type face is pressed through the wax to the surface of the plate, just as one would use a rubber stamp. Large maps are made in sections for convenience in handling and on account of the impossibility of making the final electrotype in a size large enough to make the entire map at one time. The separate, Pages 369 to 384, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. Wax ENGRAVING 3%9 Outline halftone, 150 line. Made from photograph slightly retouched. Fig. 914. The electrotype from engraved wax plate. sectional electrotype plates are then combined to make the completed printing plate. When it is necessary to change a section of a map, any particular section can be re-engraved in wax, a new electrotype made of this particular part and this patched in. When the engraving on the wax plate is finished, it is gone over very carefully with a glass to catch any defects and to secure an accu- rate reading of the proof before the printing plate is made. When errors are found in a wax plate, the correction is made by melting the wax in the part which is incorrect, letting it flow together again, and that particular part is re-engraved correctly. ELECTROTYPING THE WAX PLATE The finished design upon the wax is positive in character, appear- ing exactly like the finished print. The resulting electrotype is a negative plate, which in turn will make a positive impression in the final print. When the wax plate goes to the electrotyper, it is coated on the back with wax and black leaded thoroughly on the face for insulation purposes, and is placed in the battery just the same as any 8. es Se eee 2 £2 es PS yyy) Pasar cone ig oe Burke sare A) A Ro man y O Hemple © : 4 Wallace, 45 \ [e) Lim or \ . | \ \ : 1 = = < 2 : on ee = NEWTON | fe oe ES ries: " is OL O & 3 | bays fc \Walos S\ a | Printed from the electrotype as shown in Fig. 914. Fig. 915. The printed impression from the electrotype from the wax engraving. 380 COMMERCIAL ENGRAVING AND PRINTING other wax cast for electrotyping. The process of making an electro- type from a wax engraving is just the same as from the moulds which are made from a type form or any other kind of copy, except that the shell is usually made much heavier than on the ordinary electrotype. In the process of making the electrotype, the wax engraving is destroyed, so that if the electrotype is defective, it.is necessary to go through the entire process of making a new engraving. With some subjects, this would be a very expensive proposition. It would like- wise be necessary to make the engraving over from the beginning if the electrotype should become damaged by accident or worn through ALL CHECKS CREDITED SUBJECT TO PAYMENT ALL CHECKS CREDITED SUBJECT TO PAYMENT OOLLARS CENTS DOLLARS CURRENCY CURRENCY SILVER SILVER GOLD GOLD CHECKS AS FOLLOWS CHECKS AS FOLLOWS s SEE THAT ALL CHECKS AND DRAFTS ARE ENDORSED SEE THAT ALL CHECKS ANDO DRAFTS ARE ENDORSED Printed from line etchings on zinc. Made from proofs of the type form and the electrotype from a wax plate. Fig. 916 Fig. 917. A type form (left) and a wax engraving made from it (right). use. It is therefore advisable to preserve the original electrotype as a pattern plate and use it for making such duplicate plates as may be desired or required. The nature of the subjects for which wax engraving is used is such that an electrotype by the ordinary process may be used for making duplicate electrotypes with just as good satisfaction as if the first plate were made a nickeltype or steeltype. Any of these different kinds of plates may be made directly from the wax if desired, or dupli- cates may be made by these other processes from the first electrotype. When color plates are desired to be used as tints or backgrounds with wax engraved plates, transfers are taken from the original elec- trotype in order to secure blanks from which the color plates may be cut, ruled or etched. The accuracy and quality of wax engraving depends entirely upon the skill of the engraver, both with his eye and with his hand, and this ability enters very largely into the comparative cost. Wax ENGRAVING 381 While absolute accuracy can be secured in the original engraving on wax, there is a possibility of a slight shrinkage in the making of the electrotypes, but for general purposes, the resulting changes in the measurements are so slight as not to materially affect the result. WAX ENGRAVING OF RULED FORMS One of the most common uses for wax engraving is for ruled forms, with or without type matter, and to be printed in one or more colors. They are made by one of two methods, the electrotyper’s method and the wax engraver’s method. By the electrotyper’s method, if type matter is to be a part of the plate, it is set by the printer and spaced out as it is to appear in the form but all rules are omitted. The electro- typer makes a mould from the form in a wax plate which is then placed on a ruling machine as shown in Fig. 907, and the ruled lines are cut in the wax, following a rough sketch that is furnished to the electrotyper with a proof of the form. The form is then built up and an electrotype is made from the wax plate as already described. By the wax engraver’s method the line work is pointed off, or laid out, on the plate from the copy. The ruled work is then cut in with the ruling machine. The type matter is set, one word at a time, and pressed or stamped in its place on the plate, then after building up it is ready for the electrotyper. If the subject is to be printed in more than one color, as many electrotypes are made from the original electrotype as there are colors to be used and each is routed so as to leave on it only the part that is to print in its respective color. COST OF WAX ENGRAVING No uniform scale of prices can be established for this class of work, as its cost depends entirely upon the detail required. In order to make an intelligent quotation, the engraver must have an exact sample or description of what is desired and a separate estimate of cost must be made upon each job. Usually, wax engraving will be found more economical for the particular kinds of work for which it is best adapted. CEROTYPES This is a trade name given to a form of wax engraving as used for designs for letterheads, envelopes, business cards, billheads, state- mentheads and other forms of stationery where fine script or deli- cately shaded lettering and decorations are used in the designs. The general method of making is as herein described for maps and other work usually done by wax engraving, except greater skill is required on the part of the engraver for the handwork, thus the possibilities of the process are limited only by the skill of the engraver. It is possible to obtain very delicate lines by this process and as the plates may be printed on the ordinary letterpress with results approaching those obtained by lithography, it is sometimes used as a substitute for that process. As considerable skill and time are required to produce the plates by this method they are somewhat expensive. *Fig. 920. ing to the requirements of the work, with a perfectly smooth and polished surface, is coated to a depth of about one-sixteenth of an inch with a soft friable, white, heat-proof composition. Some operators coat their own plates, while others buy the prepared plates from supply houses, returning them after use for credit or to be re-coated. The design to be engraved is first sketched lightly on the chalk surface, and the lines representing those that are to print are then cut or engraved entirely through the coating of chalk to the blued surface of the plate beneath. The work is done with special tools of different sizes known as chalk gravers, and a hand blower is used to remove the loose chalk. The lines on the engraved plate appear just as they do in the print from the stereotype made from it and not in reverse as in most other engraved plates. If care is not exercised in cutting entirely through to the base plate, the shallow lines will produce low and rough lines in the stereotype plate which in turn will not print satisfactorily. After the design has been engraved in the chalk a stereotype is made from the plate, and after routing, trimming and mounting, the stereotype is ready for use. A special portable stereotyping outfit is obtainable for use where regular equipment is not available. In casting from a chalk plate, the plate and casting box are usually heated, and the stereotype metal is heated to a considerably higher degree than for ordinary work. Under these conditions, the metal being more fluid flows freely, does not become chilled upon coming in contact with the surface of the steel plate and produces a smooth printing surface on the cast. As the chalk composition on the plate is not hurt by the heat in casting, it can be cast from as often as needed. This permits the use of the entire surface, since the engraving may be done as needed. The quality and character of the results obtained in printing from stereotypes made from chalk plates depends entirely upon the artists’ ability to sketch or engrave the design upon the plate. The process is best adapted to the reproduction of cartoons, sig- nature designs, column and department headings, maps, diagrams and work of a similar nature used by the smaller newspapers. With stereotyping facilities in readiness, a printing plate ready for use can be produced in a few minutes after the engraving is completed. [: the chalk plate process, a flat steel plate, varying in size accord- *Square halftone, 150 line, no line. Made direct from an original chalk plate. CHALK PLATES 383 While the time required for making the engraving depends upon the nature of the subject, it is possible for an artist who works rapidly and accurately (corrections cannot be easily made) to turn out the entire work quicker than by any other method. Duplicate stereotypes can be made from the original engraved plate as it is not injured in the process of stereotyping. Its use is practically confined to the smaller newspapers having no photo-engraving plant, and to cartoonists and others who are so located as to make it inconvenient to have line etchings made from pen draw- ings bya photo-engraving establishment. It is also used to some extent in rubber stamp work. Photographs and wash drawings cannot be re- produced by this process, it being adapted to line work only. Fig. 921. Printed from a stereotype made from the chalk plate shown in Fig. 920. ds 0: Pla (ede Co WW *Fig. 925. LL plates that are to be used on presses that have been built for AN pains from type must be mounted or backed by one of several methods so that the height to the top of the printing surface from the bottom of the mount will be exactly the height of type, which is .g18 of an inch. The blocks on which they are mounted should also be trimmed to exact pica measurements, so that they may be easily justified with the standard printing materials and equipment with which they will be used. Any plate maker will gladly make engravings or trim plates and blocks to pica measurements if so instructed when the order is placed. If, however, when ordering plates, sizes are given in fractional parts of an inch, such as 21%, 334, etc., the plate will be so made, and often with the result that the printer will complain of careless work on the part of the plate maker. It is equally as important that plates be just type high to avoid the need of the building up of the mounted plate, or surrounding matter, ‘n order to obtain an even impression when the form is being made ready on the press. As time saved in justifying or makeready will mean a corresponding saving in cost of printing, it is in the line of economy to specify sizes properly, and likewise it adds to the plate- maker’s good reputation to see that such instructions are most care- fully complied with and that all mounts are planed to the correct height. It is the custom to mount all halftones, line etchings, electrotypes, nickeltypes, etc., that are to be used in job printing, on wood blocks unless otherwise ordered, using such additional margin or shoulder beyond the printing face of the plate as may be actually necessary to secure it properly to the block or back. A shoulder of about 4 of an inch is left all around for nailing when plates are being made. Thor- oughly seasoned cherry, mahogany, beech, birch and other woods are used for wood mountings, and it is generally conceded that cherry and mahogany are the most satisfactory. Any kind of backing wood will warp if not properly stored and cared for. All-wood used for this purpose must be thoroughly seasoned, but no matter how carefully seasoned it will swell if subjected to mois- ture, or contract with dryness, and when only one side is exposed, as is the case after the plate has been nailed to one side, a change of atmos- pheric conditions will cause warping. This usually will make neces- _ *Line etching on zinc. Made from a pen drawing, the design being in outline. The shading machine was used on the print on metal before etching to obtain the shaded ground and shadows. MetuHops oF Mountinc PLATES 385 Outline halftones, 150 line. Made from slightly retouched photographs. Fig. 926. Fig. 927. Fig. 928. An unmounted line An unmounted halftone. A halftone sweat on etching. metal for patent base. sary a new block or at least remounting. Plates mounted on wood should therefore be kept dry and exposed as little as possible to changes in temperature and atmosphere. Danger of warping is also reduced if plates are kept flat and not on edge or end. Some advocate soaking wood blocks in oil before using in order to prevent warping, and while it may be an aid it is not infallible. Wood for mounting is usually obtained by the plate maker in glued up boards, ranging from ten to twelve inches in width and from one to three feet in length. It may also be obtained in different thicknesses suitable for mounting electrotypes, or halftones and line etchings made on metal of the usual thickness, type high without further dressing down. Most shops, however, prefer to buy the wood slightly thicker than really necessary so that after dressing one side and mounting the plate on it the finished plate may be run through a type-high planer and the other side planed off to obtain correct height. Where wood is bought with the expectation of using it without further dressing Outline halftones, 150 line. Made from slightly retouched photographs. Fig. 929. Fig. 930. Fig. 931. Square halftone nailed to Oval halftone nailed to Outline halftone nailed to plain wood block. glued up wood block. tongue and grooved wood Trimmed flush on sides. Trimmed flush with ex- block. Trimmed flush treme points. with extreme points. 386 COMMERCIAL ENGRAVING AND PRINTING down, any variance in the thickness of the metal—and this frequently occurs—causes a variance in the height of the mounted plates, which of course necessitates extra makeready when printing. GLUED UP BACKING This is the most generally used wood and is made up of strips of various widths, averaging about three inches, joined together with glue. Different manufacturers have different types of joint for joining the strips in addition to the glue, while some wood is used that has only the plain glued joints. Such wood must be carefully selected, thor- oughly prepared and kiln dried to make it a reliable backing. One of the most used types of tongue and grooved backing is illustrated in Fig. 931. PANEL BACKING To make large blocks less likely to warp, panel backing is largely used. This is made of glued-up backing, across the ends of which a Outline halftones, 150 line. Made from slightly retouched photographs. Fig. 732. Laminated wood block. Fig. 933. Paneled wood block. cleat has been added by tongue and groove. In Fig. 933 it will be noted that a separate tongue is used in joining the side cleats to the panels, the grain of same running crosswise of the cleat. LAMINATED BACKING Laminated backing wood is also used by some who consider it more desirable than the single-ply board. This is made up of several thin layers of wood glued together, with the grain in the alternating layers running in opposite directions, thus making a somewhat more rigid mount that will not split and is less likely to shrink and warp than one-ply board, although not entirely exempt from these troubles. TRIMMING FLUSH It is customary when mounting a plate, if it is known that it is to be so used, to trim the block flush with the edges of the printing sur- face at the sides if it is to be used in a newspaper, periodical or maga- zine, so it will fit in the column if the printing face of the plate has MetHops or MountTinc PLATES DOL been made the full width of the column. By mounting flush is meant that no shoulder is left beyond the printing edge of the plate, the bevel or flange that might have been left on the plate being trimmed off with the wood block up to the outer edge of the printing surface of the plate. Large plates to be used in job work are nailed on all mar- gins, and when made to fit columns the faces of plates must be enough smaller to permit nailing margins at the sides. Small plates are ordi- narily nailed on only two edges, usually the top and bottom, with the sides trimmed flush. As each corner of a rectangular plate should be nailed to the block, it is impractical to tack only on one side and the top or bottom, leaving the other side and either top or bottom flush, but the plate if so ordered may be nailed at top and bottom with both sides trimmed flush or may be tacked or nailed on the sides with both top and bottom trimmed flush. Vignetted, outline, round or oval plates are usually trimmed flush with the extreme points of the print- ing surface, inasmuch as the irregular corners provide space for tacking on a rectangular block. Outline halftones, 150 line. Made from slightly retouched photographs. Fig. 934. Square halftone Fig. 935. Square halftone Fig. 936. Square halftone anchored to plain wood nailed to solid metal Sweat on to solid metal block. Trimmed flush block. Trimmed flush base. Trimmed flush all around. on sides. all around. Plates up to approximately four inches square may for ordinary use be sufficiently well mounted by tacking only on two opposite edges, thus making it an easy matter to trim the two remaining edges flush with the edge of the printing surface of the plate if desired. Larger plates are usually tacked on all four edges, and those that are as large as eight or ten inches square, and have no openings for inside nailing should, in addition, be anchored to the block at different points so that no area of more than forty or fifty square inches will not have been secured to the block, to prevent springing of the plate and to insure rigidity and permanency of the mount. The strain from the impres- sion while being printed is much greater on large plates than on small ones, especially if the expanse of printing surface carries considerable color which will require a heavy impression. It is sometimes necessary to sweat such plates on solid metal bases so that they may withstand the heavy impressions, especially in printing large tint plates on rough cover stock. Pages 385 to 400, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 388 COMMERCIAL ENGRAVING AND PRINTING Figs. 937 and 939 are outline halftones, 150 line, and were made from slightly retouched photographs. Fig. 938 is a line etching on zinc made from a print from a wood engraving. Fig. 937. Sectional view Fig. 938. Sectional view Fig. 939. Bottom view of of solder anchor. of bolt anchor. block to which plate has been anchored No extra expense is involved in trimming blocks flush with one or more edges of the printing surface when two sides of the plate remain for nailing, or where there are openings or an irregular outline providing spaces for tacking. However, a square finished halftone if mounted flush all around would necessitate anchoring the plate to the wood block or sweating it on to a metal base, either method involving addi- tional expense. ANCHORING PLATES TO WOOD BLOCKS Often it is necessary for the printing surface of a plate to be the same size as the wood base on which it is mounted, thus leaving no margin at top and bottom or sides for nailing the plate to the block. In such cases, if there are no open spaces in the face of the plate in which nails may be driven, the plate is anchored to the block. This is done by soldering the heads of small bolts to the corners of the under side of the plate and, if the plate is a large one, also at as many other points as may be necessary. Holes are then drilled in the wood block in positions to correspond with the bolts on the plate, these holes being reamed out both above and below. The plate is then placed on the block with the bolts projecting into the holes. The plate is placed face down and after bolting the plate to the block the holes are filled with molten type metal. By another method the bolt is omitted and the hole in the block made larger. Solder is poured on to the back of the plate to fill the hole, the block meanwhile being held securely against the plate. There is an extra charge for anchoring, based on the number of anchors, and as no plate should have less than two to four and many of them have more, depending on size, some other method of meeting requirements is often less expensive. The cost of anchoring a small plate to wood is usually about as much as for sweating the same plate on to a solid metal base, and in such cases the sweating on process should be used, not only on account of the expense but for safety and permanence as well. Damage of a very serious nature may result from plates coming loose in printing, not only to the loose plate itself but to other parts of the form in which it is being used and to the press as well. MetHops or Mountina PLATES 389 SOLID METAL BASES Plates mounted on solid metal bases make the most rigid printing plates and make possible the best printing results. They are also the only kind that will remain permanent, not being affected by climate or atmospheric conditions. Such bases are usually made of the same kind of metal as is used for backing electrotypes, which is composed largely of lead. It is cast in large slabs and then planed to correct height, and cut into sizes required by sawing. The plates may be secured to the base by nailing, as on wood blocks, but the better way is to sweat them on. SWEATING PLATES ON METAL BASES The best method of substantially mounting copper or zinc plates on solid metal bases is to sweat them on, which in reality is to solder them together. Owing to the inaccessibility of the surfaces of the printing plate and the base when they are placed together they cannot be soldered in the usual way, hence special apparatus has been de- signed for doing this work, as shown in Fig. 941. The table-like ex- tension shown at the right may be gas, or electric heated, and is sepa- rated from the main table by asbestos that the heat may not be im- parted to the latter. After the two surfaces that are to be soldered have been thoroughly cleaned, intense heat is applied to the base which has previously been treated with the soldering solution. The plate is also heated and then placed on the base block with the solder in sheet form, and generally known as ‘‘tin foil,’ between and all are then Fig. 940 was printed from a wax mould electrotype made from an outline-vignette halftone, 150 line. The electrotype was outlined and routed to obtain an outline plate. Fig. 941 is an outline halftone, 133 line and was made from a print - rom a halftone. Fig. 940. Casting mould with cored Fig. 941. Electrically heated sweating cover for casting stereotypes on press. with cored bases. 390 COMMERCIAL ENGRAVING AND PRINTING Outline halftones, 150 line. Made from slightly retouched photographs. Fig. 942. Stereotype on Fig. 943. Stereotype cast Fig. 944. Stereotype cast patent top cored base. on type high shell base. on cored type high base. Outline halftones, 150 line. Made from slightly retouched photographs. Fig. 945. Fig. 946. Fig. 947. Bottom views of bases shown in Figs. 942, 943 and 944. pushed under the platen of the press. Strong pressure is applied while the solder is fluid, and it is evenly distributed over the entire surface of the base block. The under platen is a strong water chest with an inlet and outlet water pipe for connecting with the water sup- ply. The mounted plate is thus cooled rapidly, and after trimming flush with edges or the extreme points of the printing surface, is planed to the required height and finished. When facilities are not at hand for sweating on with solder, plates are sometimes cemented to the metal base by means of a strong manila interlay and the use of glue placed on both sides of the interlay. BACKING UP FOR PATENT BASES Halftones and line etchings that are to be used on patent bases are backed by being sweat on to a sheet of metal to give them thickness of eleven points (.152 inch) and are finished with a beveled edge all round. While electrotype shells are usually backed to the required thick- ness, thin electrotypes may be sweat on to mounts to increase height if desired. There is less danger of a sweat-on electrotype coming loose from a metal base than there is of copper or zinc plates mounted by this method. With the former the two pieces of metal soldered together are the same and the fusing together is more permanent than when dif- ferent kinds of metal are soldered together. MetHops or Mountinca PLATES 391 A plate may be removed from a base to which it has been sweated by again heating until the solder melts, when the plate is easily re- moved. After cleaning thoroughly the plate and base may again be mounted. CORED METAL BASES Cored metal bases are seldom used in mounting halftones or line etchings but are often used for electrotypes and stereotypes and are usually built right on to the plate by casting. They not only have the advantages of the solid metal bases but are much lighter, so that on large plates they make handling easier and decrease cost as well. The plate or shell is placed face down ina moulding pan that can be adjusted to size of base wanted. Special movable cores of steel with cross-ribs are then suspended above the back of the plate. The metal is then poured around the cores and over the back of the plate until the mould is filled. The cores are then removed and the plate is taken from the mould, and trimmed, planed to type high and finished. The placing of the cores of course determines the thickness of the metal on the back of the plate and the size of the feet and the space between them. As special casting is necessary, this method is not practical for small orders. PATENT-TOP CORED BASES Some newspaper service companies and many large national adver- tisers who furnish the smaller newspapers with plates regularly, econo- mize on the transportation of plates and also on the cost of metal by supplying their patrons with special bases, sending them from time to time ‘“‘change of copy” in the form of unmounted plates. These bases and plates are made interchangeable through an arrangement of channels or grooves in the bottom of the plates which fit over raised wedge shaped ridges on the base top, and a change is made by simply slipping one plate off the base and another on. Plates used in this manner are mostly stereotypes. COMBINING DIFFERENT KINDS OF PLATES ON ONE BASE As the pieces of metal used in making halftones and line etchings, backed up electrotype shells, and unmounted electrotypes intended for use on patent bases, are usually of different thicknesses, it will be seen that when any of these are to be combined on the same base it will be necessary that those to be so mounted be made of the same thickness before putting them on the blocks. This is usually done by sweating on: or backing up the thinner plates to the thickness of the thickest ones. It is seldom practical to attempt to shave down the thick ones if they have been trimmed and have no margins for hand- ling, because of possible damage in planing. The original engraving, etching or other plate of whatever thick- ness, may of course be backed to any greater height by tacking on wood or metal or sweating on metal, as conditions may require, and planing to the required height. An extra charge is made for tacking or sweating plates on solid metal, or cored metal bases. 392 COMMERCIAL ENGRAVING AND PRINTING PATENT BLOCKS AND PLATE MOUNTING SYSTEMS The term ‘‘patent blocks’’ is applied generally to the different kinds of ribbed metal bases to which plates backed to eleven points in thickness with edges beveled may be held in position by hooks while being printed. This method is especially useful in printing color or other plates that require close register and in book and catalog work using either electrotypes, or original plates, backed to the proper thick- ness. | Square halftone, 150 line. Photographs of the two sheets were cut out and mounted on a light gray card. The shadows and background were painted in and from this copy the halftone was made. Fig. 948. The black or key sheet (above) and the orange or color sheet (below) of a two-color 32-page booklet. The color form was printed from plates on patent bases. The advantages to be had from their use are the unyielding strength of a metal base without the unnecessary weight of the type high solid metal base; accuracy in both size and height of plates, thus insuring the minimum amount of time for justifying and makeup and make- ready, and provision for easily registering plates separately without disturbing the other plates in the form or removing forms from the press. Their use in a form containing a number of plates to be regis- tered, as shown in Fig. 948, is especially advantageous, as to obtain a MetuHops or Mountine PLATES 393 Outline halftones, 150 line. Made from retouched photographs. Fig. 949. Challenge cast iron sectional patent base blocks. hair line register for each of so many plates in one form would be almost impossible by any other method, notwithstanding a great amount of time might be spent in the effort. The system is also an expansive one, as the sectional blocks, made of steel, cast iron or other hard metal are made in a wide range of point system sizes and these may be assembled to accommodate a form of any size. Different systems vary slightly in make and in operation, but the following description of the method of using the system illustrated will apply to all in a general way. In making up a register form, usually the entire form is made up with 8 x 8 em pica units to the size of the sheet to be printed. The top of each section is interlined with pica squares which match as the sec- tions are assembled and thus aid in locating the plates. In each section is a small round hole, through which the end of the register hook key may be inserted and the section lifted out. The unit sections are also made in larger sizes, up to 24 x 36 em picas, for use with large plates in large forms, and smaller ones to fill in the smaller or irregular spaces. After locating the plates in their relative positions on the base thus formed, a line is drawn around each plate with a piece of crayon. The plates are then removed and the required sections lifted out, substitut- Outline halftones, 150 line. Made from retouched photographs. Fig. 950. Fig. 951. Fig. 952. Fig. 953. For medium and For irregular plates. For small plates. Catch for book large plates. plates. HY THE CHALLENGE MAG GRAWE HAVEN MICH 2 ee co. Outline halftone, 150 line. Made from a wash drawing. Fig. 954. Register hook key. Challenge register hooks, key and catch. 394. COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 955. Method of clamping plate to the hook. ing in their places the register hooks which are to secure or clamp the plates in position. The chalk marks will serve as a guide for placing the hooks in the proper position to accommodate the plate. The sec- tion shown at the right in the illustration in Fig. 956 was made up by this plan. Or if there be at hand only a limited supply of patent blocks, the blocks and hooks may be made up in single page units and the space between pages in the form filled with furniture as shown in the left section of the illustration of form on patent bases in Fig. 956. On book forms where catches are used on one side and one end of plates, it is customary to make up individual bases for each plate, fill- _ Outline halftone, 150 line. Made from an unretouched photograph. The subject appears “out of square” because it was not photographed “straight on.” Fig. 956. Section of the color form as shown in Fig. 948, made up on patent bases. MetuHops oF MountTING PLATES 395 PATENTE GARE, FBO, § PUL 28, a Outline halftones, 150 line. Made from retouched photographs. Fig. 957. Challenge cast iron Fig. 958. Wilson adjustable patent electrotype block. iron block. Patent blocks for book plates. ing in the gutters between plates with furniture. After one base has been assembled, it is a simple matter to duplicate it in making up bases for the remaining pages in the form. After the form is made up with register hooks or hooks and catches in place, it is locked up in the chase in the usual manner. The plates are then put on and clamped into position. If clamping devices have been properly placed in the form, it is a simple matter, by means of the adjustment provided, to register the plates; the pica square interlines forming a guide to perfect alignment. Another method includes a series of blocks in point system sizes with special hooks to meet special needs, and by another system each block is a full page plate, these plates being obtainable in most any size wanted. See Figs. 957 and 958. The heads of electrotype plates of book and catalog pages are usually not beveled but trimmed straight for the use of a straight- side head catch. A side catch is used to engage the bevel on the binding side of the page, thus the hooks are used only on the trimmed or outer side of the page and the bottom. On color or register work the plates are beveled so that the adjustable hooks may be used on all sides, the smaller hooks being used for the smaller plates. The swivel hook, shown in Fig. 951, will turn in either direction and adjust itself to any angle of an irregular plate or at any angle in the form. Plates of all sizes may be used on patent blocks and margins or space between plates, where saving of stock is an item, may be elimi- nated to such an extent as to leave only a few points between by under- beveling. While type may be used in the same form with plates that are being printed on patent bases by removing a section or sections of the base, and inserting the type instead, it is not always practical, and it is usually better to electrotype the type, backing it to proper thick- ness for use on the patent bases. To save the expense of electrotyping type that is to be printed at the same time as one of the colors, the plates to run in that color are mounted on wood or metal type high and set in the type form, while the remaining plates of the set are backed and run on patent bases to make register less difficult. This plan was followed in printing the letterpress color work in Commercial Engraving and Printing. All Pages 385 to 400, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 396 COMMERCIAL ENGRAVING AND PRINTING plates to print in black were mounted on wood and made up with the type matter into pages. The plates to print in color were backed to the proper thickness and used on patent bases. The platemaker must be informed when the order is placed if plates are to be used on patent bases, the usual instructions being to make them ‘‘unmounted and beveled for patent blocks.’’ If the plates are electrotypes or nickeltypes the cost of them unmounted and beveled for patent blocks will be less than for the same plates mounted on wood base, for, as explained under the process of making electrotypes, it means no extra labor to increase the thickness of the backing, and the small amount of extra metal is more than offset by the saving of labor and material required to mount on wood. There is however an extra charge for backing and beveling halftones and line etchings for patent bases, as this is an additional operation requiring both extra labor and material. MORTISING To accommodate type or other plates it is often necessary to mortise a plate. Mortising is the cutting away of a part of the block, usually in a space that has been left for the insertion of type matter. Generally speaking there are two kinds of mortises, inside and outside. An inside mortise is one inside of a border or otherwise so located as to make it necessary first to drill through the block so that the saw blade may be inserted for cutting out the mortise. An outside mortise is one which can be made by the saw without first drilling and when small for key number in advertisements is also known as a notch. Mortises are not always rectangular in shape and it is very often necessary to make them in odd or irregular shapes such as stair-step- ping, curved and in other forms necessary to conform with the shape of the space that is to be used. It is very important that the side walls of a mortise be perfectly perpendicular and that the corners be square, so that type or plates to be used in it will fit perfectly; otherwise, in using small type especially, there is danger of its being off its feet, in which case imperfect printing will be the result. It is seldom practical to attempt to set type in a mortise with a curved outline, although it can be done. When it is, the irregular openings at the end of the lines are filled with plaster of paris, wet paper, or other material to hold the characters in place. It is better not to mortise plates if it would require several mor- tises to accommodate the insertion of type and if the block would be greatly weakened by the several mortises. Instead, the type may be set to fit the respective openings and electrotyped and the electrotypes backed to the thickness of the plate with which they are to be used and then nailed in their respective places. This plan will also prevent crooked lines, which are often the result of crowding type into mor- tises, and all type will print perfectly. Narrow borders and other plates in the mortising of which it is necessary to cut away so much of the block that the remaining part is frail and may be easily split or damaged, should be sweat on metal bases before mortising. Plates that are to be used for electrotyping only, and are not to MetuHops or Mountinc PLATES 397 __ Fig. 959 is an outline halftone, 150 line, and was made from a retouched photograph of a halftone on a wood block. Fig. 960 is an outline-vignette halftone, 150 line, and was made from a retouched photograph. Fig. 959. Inside, stepped and Fig. 960. Royle jig saw and outside mortises. drill as used for mortising. be used in printing need not be mounted, and the blank metal should be left on the plate, as explained under Duplicate Plates. In using mortised borders, care must be exercised to keep them from being sprung in locking the forms for the press. This springing may result if the matter inside has not been justified properly or if the mat- ter has been crowded in too tightly. Where type matter necessitates close mortising of a border it is better to electrotype the border and type matter separately and patch the electrotypes together and thus insure straight border lines and usually effecting a considerable saving in cost for time in justifying the type in the mortise. If several electro- types of the same subject are required, an electrotype of the type matter may be patched in the original and this patched plate used asa pattern from which to make the remaining complete electrotypes. When circumstances will permit leaving a sufficient support of wood outside the plate, as when the combination is to be used for electro- typing only, or when the block does not need to be trimmed close to fit in a certain space, it is sometimes practical to set type in a closely mortised border. If a mortise is to be complicated in outline, a proof should be taken of the plate and the boundaries of the mortise indicated thereon for the guidance of the workman; otherwise much time may be wasted in mortising an irregular opening if a general order is given to mortise close. It should also be kept in mind that proper nailing margins must be left inside of the border if other nailing spaces are not available. 398 COMMERCIAL ENGRAVING AND PRINTING Plain rectangular mortises of small size are charged for at a fixed price, inside mortises being slightly more than outside mortises and those in metal bases are more than those in wood. Irregular and com- plicated mortises are charged for on the basis of time required for making them. Usually the wood block where exposed between printed surfaces in large openings is routed down to the depth of about a quarter of an inch before using the plates for printing. This prevents any possi- bility of the sheet sagging to touch the wood which would ordinarily receive more or less ink and thus cause smudging or blurring when printing. y) - AA \ | \ ! ETTERPRESS printing, commonly called printing, embraces all of the various methods of printing from raised characters or plates. It is also called relief printing. By far more printed matter is produced by this process than by all other processes com- bined. The diversity of demands has made necessary an almost unlimited line of equipment with which to produce work ranging from the simplest to the most complex in make-up, and from small quantities to enormous volumes. Generally speaking, no two pieces of printed matter are produced in exactly the same manner, and this necessitates planning and producing each piece of work in its own way. In producing a piece of printed matter, whether it is a simple card, or a large and elaborate catalog or book, the first thing to which to give consideration is the plan and the preparation of the copy. The second step is putting this copy into type form, or plate, suitable to the plan adopted; and the third is the presswork, or transferring the printed impression from the form to the paper, or other surface on which it is to be printed. This is usually followed by one or more finishing operations, or binding, the various procedures being explained under Bookbinding. SELECTING THE PRINTER To obtain the service that one should receive, the printer should be consulted very early in the formative period on any piece of work of consequence, so that all plans may be carried forward in a manner to insure close co-operation and the most economical handling of the work when the copy is finally turned over to him. Give the order to a printer equipped to handle the special work in hand. This does not necessarily mean that every order should go to the same printer, but some printers specialize in fine halftone and process color work, others do publication work, others small job work, etc., while a few are pre- pared to handle any kind of an order. Many now like the idea of entrusting their orders to a good printer without demanding from him a quotation in advance, leaving it to him to make a fair charge based on actual cost of production. This system has the advantage of giving the printer an opportunity to turn *Line etching on zinc. Made from a pen drawing. The shading machine was used on the print on metal before etching to obtain the ruled background in the main panel. 4.00 COMMERCIAL ENGRAVING AND PRINTING out good work, and the obligation he feels as a result of the confidence reposed in him is usually a sufficient guarantee of fairness when it comes to making his charges. The advantage that comes from the printer’s knowledge of a customer’s requirements, preferences, etc., gained from frequent intercourse, may also be obtained when the work is all placed with one firm or divided among a limited number in order to get special service. When the work is given to a printer without definite price, the customer takes no chance of substitution of inferior stock or ink, in- sufficient makeready or the slighting of the work in any way in order that the printer may make a reasonable profit. PLANNING THE WORK If the customer has clearly in mind just what he wants, it is obvious that the printer will have a minimum difficulty in producing it. If the customer’s ideas are still hazy and indefinite when he comes to the printer, he can, and should, expect to pay for the time and skill required to get his material in proper shape. Most printers are very glad to help their customers determine the size, form, and general character of such printed matter as they may wish to obtain without extra charge, but if they plan and write a piece of advertising litera- ture they should be paid extra for this service the same as one would expect to pay a competent advertising bureau or advertising agency for it. Such service not only usually insures a well planned and economical piece of printing, from the standpoint of size, typographical arrangement, etc., but the chances are much in favor of its being more effective from the standpoint of sales appeal; and of course if the printed message accomplishes its purpose, the printer gets his share of the credit. The fees charged by advertising specialists are not prohibitive, and often the addition of a single appeal, or the elimina- tion of a faulty one, will make a difference in results that will more than pay for the advertising service. Even when the customer decides that the services of an advertising man are not required, when the piece of printed matter is not intended to carry a sales appeal, it should be just as carefully prepared for the printer, rather than turned over to him in an incomplete and indef- inite state. Buyers of printing often complain that printers charge them exorbitant prices, when, as a matter of fact, if they would take more pains properly to prepare the copy, their bills would be con- siderably lower. When a printer is required to take a mass of unor- ganized material and work it up into an attractive form he should be properly recompensed for the preparation of the copy, in addition to the standard cost of the printing alone. THE PAPER. SIOCK Whether the work is to be a slip, folder, mailing card, booklet, catalog or some other form of printed matter, the kind, color and weight of paper must be selected; then the size of the piece may be determined to obtain the most economical use of stock. If only a small LETTERPRESS PRINTING 401 number of copies of a small piece are to be printed, the matter of paper is usually a small item and does not require the careful consideration that it must have when a considerable quantity of it is to be used. In determining the size of sheet required when more than one page is to be printed at a time, the manner in which the printed sheet is to be folded must be taken into consideration. It will frequently be found that a single page of the selected size will cut without waste from a certain stock size, but when four, eight, sixteen, or more, of the pages are to be run at one time it may develop that the sheet of paper cuts to an excessive waste, or is not large enough. PAGE SIZE SHEET SIZE COVER PAPER SIZE 34x 5%cutsfrom 28 x 44—8, 16, 32 pages 23 xX 33 + 1I8ou Bakeorse 2866632 «6X 44-8, 16,32 * 23 e3 e ae an ee Xu ‘ 25 x 38—24 pages 2052 Oa ees eo: Sera Ome 4 Ones 20,32) pares meres X38 5 16ue 334% 7 wee 32 x 44-24 pages 231X133 meni eae 44x 5% * ; 25 x 38—8, 16, 32 pages PLO MD. AE che oie 83 CX 40-24 2375-33.) u lous iecx Oise. @ a 25 x.38—24 “ 20 x 26 Seat me xml : 28 x 42—8, 16, 32 pages Deaese Om. awe x 744 |“ > 30% x 4I—8, 16,32 “ 20 x 26 ey Os peo eee es | 28) X 44-8, 16,32 2 BE X53 tO 4%x 8 é 25 x 38—24 pages 20 x 26 oy ee oe ee 32. X 44-8, 10,32 pages 23. X33 8 54x 7% * 2300x 46-—8, 16,327 = DaeKaae Some 444% 978 © 7 307QX 41-24 20x 2 Oat SAO 2 X44 24 235X033 mee O mare Ceexe OG.“ i 25 x 38—8, 16, 32 pages 2O R26 A 64x 9% * i 26 x 29—24 pages ; 20/126 sas Ae Gee 32 FX 44—8, 10, 32 * 231X033 meee a eee 33 X46--8, 16,32 1 2395533 Fed ie oyxi2k * , 25 x 38—8, 16 pages 20 Ka2G oa. Fig. 976. Some of the most used sizes for booklets and catalogs and paper stock sizes from which they may be made. Consideration must also be given to the size in which the paper to be used is obtainable; and the pages should be made of such size as will cut from the stock size without waste, not overlooking the fact that each page will require some little additional area over that of the finally trimmed and completed page, on account of the waste in folding and trimming. For example, a booklet with pages 6 x 9 inches cuts to advantage from a sheet 25 x 38 inches, there being about the right amount of excess area to cover the folding and trimming. This will provide for a sixteen page form, that is to be run on one side, turned and backed up, and when cut in two each sheet making two complete sixteen page signatures, or a thirty-two page signature when printed on each side with two separate sixteen page forms. A booklet with pages 6 x I0 inches, if printed on a sheet of stock 25 x 38 would entail a con- siderable amount of waste. By a little advance planning to make sure that the size adopted will cut the required number of pages without unnecessary waste and from a size carried in stock by the jobber, a working over of the plans or unnecessary loss may be avoided. Pages 401 to 416, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 4.02 COMMERCIAL ENGRAVING AND PRINTING The sizes for booklets and catalogs given in Fig. 976 all permit the use of papers of a standard sheet size both for inside pages and cover, and. allow sufficient margins for trimming without unnecessary waste of stock. They can also be economically produced as they conform to the standards required to facilitate imposition, presswork, folding and binding. In most cases stock sizes of envelopes to fit are obtainable or if envelopes are required of special stock to match covers, they may be cut from stock paper sizes without unnecessary waste. Also the cover stock sizes are sufficiently large to permit the use of extended covers if they are wanted instead of those trimmed flush. Other sizes are, of course, often made and sometimes with a loss of stock, or other increase in cost of production, or both. The dimensions given are the trimmed page size. THE HYPOTENUSE OBLONG Certain national organizations, the members of which are large users or producers of printed matter, have suggested the hypotenuse oblong as a standard method of determining page sizes and propor- tions. It isa page or sheet proportion, not a page size. It is so called because the length or width of the page is determined by an hypotenuse —the long side of a right-angle triangle. The hypotenuse oblong is the only possible rectangle, so proportioned that when it is halved or doubled, the resulting oblongs retain the same original proportion of length to width, although it may be halved or doubled indefinitely as shown in C and D in Fig. 977. If the size of the short side of the page is known as in A in Fig. 977, draw a horizontal line of that length to represent it, then draw a per-. pendicular line connecting with one end of it of same length so as to make equal sides of a right-angle triangle of which the hypotenuse makes the third side. The length of this hypotenuse will be the exact length of the hypotenuse oblong desired. Conversely, if the long dimension is known as in B in Fig. 977, take half its length, for a hori- zontal base, draw a perpendicular of the same length as this base, joining the points, and the hypotenuse thus obtained will give the exact width. if kee,” cl A | 4 3 Line etching on zinc. A pen drawing was made of the diagrams on which was pasted proofs from type of the lettering and figures. The etching was made from the combined copy. ASCERTAINED WIDTH— eRe ae ak, q Ss 2S a Se eS eee |}k——— ASCERTAINED HEIGHT >| |< KNOWN _ HEIGHT» <— KNOWN WIDTH ——+| A B Fig. 977. The hypotenuse oblong. LETTERPRESS PRINTING 403 No. TRIM SIZES (INCHES) _Format No. 6 is for diminutive books, ladies’ visiting cards, business cards, photographs, etc. I 25/64 x 35/64 Format No. 6% is for small prayer-books, 11 15/32 x 21/32 diminutives, business cards, file and index 2 cards, playing cards, etc. 2 35/64 x 25/32 Format No. 7 is appropriate for small 2% 2132 X 15/16 pocket”’ editions, prayer-books, etc.; also for 3 25/32 xT 7/64 business cards, file cards, photographs, etc. Format No. 7% is applicable to medium 3% pon > Sua 21/64 Le editions, manuals, small handbooks, I SOT 16 cards, blotters, etc. 1M I Be Susy ae Format No. 8 is suitable for ‘‘pocket”’ 4/72 4 7 editions, handbooks, guidebooks, booklets, 5 Ta O/1O"x, 2 GP biblelots, circulars, cabinet photographs, etc. 5% ine oo x 2 5/8 te ss wie an elegant size for a folded note paper or ladies’ use. Format No. 8% is a very convenient size and 6 2 a3 x 3 5/32 should prove the popular one for fiction, poetry, 6% 2m | SAX. 3 3/4 and the like; also for elementary schoolbooks, 7 3 5/32 x 4 7/16 eel SN aie ees perme etc: orma Oo. s the best for ordinary size 74 Baas 5 .5/16 magazines, pamphlets, reports of all sorts, 8 Ty AES ae) 5/16 monographs, scientific and medical works, 814 5 5/16 x 7 1/2 de luxe novels, poetry and belles-lettres; | also 2 for advanced textbooks, academic and abridged 9 6) *5/16 x .8 a asioners paell encyclopedias, church hym- L 1/2 x To nals, choral books, ‘“‘octavo’’ music, oblong ie f i ¥ 12 a half-size music pages, mantel or stand photo- 7 5) graphs, and circulars, bills, statements, dray- 10% 109959. x 15 bills, etc. It is a splendid size for men’s note or letter paper for pee Cog ges ee Format No. 9% is for the medium large I! 12 5/ Con tal i 13) 16 magazines, manufacturers’ and dealers’ catalogs, 11% I5 x 21 1/4 etc. It is the proper size for letter paper for 12 Teiay tOex 253/16 business correspondence, in the place of the 12! 21 1/ 20 so-called ‘“‘bi-fold”’ size. A 4 3 Format No. to is for large page magazines, 13 25 ZATG x 35 5/8 dictionaries, encyclopedias, atlases, geographies, 13% 30 FOINGY ok ee) regular sheet music, railway and other tariffs, tT /8 LEG /8 - legal documents, art prints, wall photographs, 4 oe 2 3 small posters, and the like. 14% A2e ty De. x 60 Format No. 10) is for extra large magazines, 15 50 3/8 maT 1/4 four-column newspapers and periodicals, etc. The first section of the accompanying table governs the sizes of Trimmed Cards, Tickets, Stamps, Labels, etc. The dimensions in the second section of the table give the sizes of Trimmed Magazines, Brochures, and Pamphlets, and of the Covers of Bound Books; also of Trimmed Writing Papers and Stationery (flat or folded), Loose- Leaf Sheets and Cards, etc. The third section governs the sizes of News- papers, large Charts, Maps, Prints, Posters, etc. Format No. 11 is for five-column newspapers, also for maps, charts, atlases, art prints, posters, GUG: In the case of board and leather bound books the dimensions govern the size of the covers. Certain formats may be used double length for timetable and other long folders, notes, drafts, checks, etc. The esthetic or de luxe dimensions of a type- page are one-half of those of the trimmed paper- page on which it is printed: that is, for example, for a No. 9 paper-page take the dimensions of No. 8 format for the type-page. Fig. 978. Standard format sizes. Among the advantages to be gained by its use are: Cutting without waste smaller sizes descending geometrically from a large sheet of the hypotenuse oblong proportion, all having the standard proportion of length to width. The reproduction of drawings, or catalog or other pages without changing proportions, to smaller or larger sizes than those originally intended and which will be of a size adapted to stock paper sizes. A saving is effected on drawings and plates made for trade and class journals and magazines who have adopted these proportions, and an additional saving when the same illustrations are to be used in catalogs, folders or other printed matter, the pages of which are in these proportions. By being able to use the same drawings without change in propor- tion for plates for various purposes better drawings are justified. AOA COMMERCIAL ENGRAVING AND PRINTING Extra sheets or inserts, of smaller or larger sizes can be cut from stock paper sizes and folded to fit exactly for enclosures, tipping in, or for filing. In Fig. 978 is given a complete table of formats showing how the system is built up, with one centimeter of the universal metric system, as the basic starting point. Also in the explanatory notes are given the uses of these standard formats. Format 9% is the size most in favor for a standard catalog size as the proportion of the size is the artistic hypotenuse oblong; the paper size, the largest book size that can be cut from a standard sheet size, 32 x 44, practically without waste; the size for type matter retains hypotenuse oblong proportions and is large enough to permit two columns to the page; it allows the printing of 16 pages at one impres- sion, or 32 pages if double size sheets are used, thus saving press work; it can be folded on all makes of folding machines, thus reducing the cost of binding. And unbound, or bound in cloth or paper, it fits a standard letter file. This format is also within a trim of the two-fold or utility size for letterhead which is 7,°; x 103. In planning for odd sizes, where any considerable quantity of stock will be required, the factor of time necessary to obtain from the jobber or mill the special size of stock to work without waste must be con- sidered, as well as the possibility of getting the required size. When a customer’s requirements make it necessary to use a stock size of paper that cannot be cut advantageously the customer, of course, pays for the full stock size sheets, even though only a part of each sheet is used for his order. Use can often be made of the waste for additional pages to be run in a smaller form for the same job or for small folders, circulars, etc., depending on the kind of stock and the size of the piece of waste. Wider margins for handling are required on sheets that are to be printed on a job press than those that are to be run on a cylinder press. When close margins are planned the printer should be consulted before definite plans are made. One of the errors that is frequently made is failure to provide for using a size of stock that is large enough when a plate is to be printed that is to “‘bleed’’ off on one or more of its edges. Such sheets must be trimmed after being printed and must have sufficient margins for handling while being printed. The form or shape in which a piece of printed matter may be pro- duced ranges from a single one page sheet to the most elaborate and expensively bound book. In the accompanying illustration, Fig. 979, are shown most of the basic ideas from which to build. The size of the page, the proportion of the length to the width, the number of pages, the arrangement of the matter to be printed, margins, folds and similar details may be varied in an unlimited number of ways. SELECTION OF PAPER Every printing office is supplied with sample files showing a com- plete line of papers from one or more paper jobbers, thus presenting the line in a more convenient and accessible form than if the customer LETTERPRESS PRINTING 4.05 Line etching on zinc. Made from a pen drawing on which proofs from type of the key letters had been pasted. Fig. 979. Some of the methods of folding circulars and folders and of binding booklets and catalogs. had access to the paper establishments, and one can readily decide upon the stock to be used by consulting these files. The purpose for which the printed matter in question is to be used, and the class of people it is to be sent to, will determine largely the kind of paper stock that should be selected, size, weight, color and 406 COMMERCIAL ENGRAVING AND PRINTING quality all being taken into consideration. But owing to the wide field from which to make selection, personal preference often is the determining factor. The process of illustrating to be employed, the distribution and handling of the finished work and various other ques- tions may also present themselves. Plain type, line etchings, and wood or wax engravings can be printed upon almost any kind of paper. Halftones, however, require a well finished smooth surface in order to give good results. Often it is desired to use halftone illustrations in connection with a coarse or antique finish body stock, in which case the only practical way is either to print the halftones on enamel coated paper and “‘tip”’ them on the rough stock, or to iron out a panel on the rough stock, thus obtaining a smooth surface whereon the halftone may be printed. This ironing out is done with a flat stamping plate and is best done with a hot plate on a heavy press in the same manner as embossing. It is impractical except for comparatively small surfaces. If pen and ink, or typewriter are to be used on the printed matter, a sized stock, which will take this kind of work, must be employed, while a sheet that is to be folded and which will receive rough usage in the mails must have strength and wearing qualities, and selections must be made accordingly. In selecting the weight of paper to be used, the larger the size of the pages and the fewer of them the heavier the weight of paper required in order that the finished piece may have sufficient bulk or body. Another point which should be considered is the postage required for mailing. A saving may sometimes be made by only a slight reduction in the weight of paper or a slight additional trim. To estimate the amount of stock for a job, the size of the page and the number of pages must first be determined, then the number of pages that are to be printed at one time. For example, in finding the amount of paper required to print 5000 copies of a four page folder, size of trimmed page 6x9, printing the four pages at one time, we find that the most compact form and arrangement of the pages so that they can be most easily handled on the press is to place the pages side by side in pairs and the pairs end to end. Thus a sheet slightly larger than 12 x 18 inches will be required for the four pages. This includes sufficient allowance for extra margin for cutting apart and trimming after printing and folding. If a book paper is to be used reference is made to the jobber’s list of stock sizes, and as no size is to be found that is slightly larger than 12 x 18, a size is selected from which the sheets of required size may be cut without waste. It will be found that four pieces each 12% x 19 inches can be cut from a sheet 25 x 38. When these pieces have been printed on one side, they are turned and printed on the other side, the pages having been so placed in the form that when turned and backed up and then cut in two, two complete folders are obtained from each 12% x Ig piece or eight from the original 25 x 38 sheet. Then by dividing the number of pieces required (5000), by the number obtained from each sheet (8), it is found that 625 sheets, or one and one-fourth reams of paper are necessary for the LETTERPRESS PRINTING 407 THe is ey an FX LE mes xe REL Le Ne ee L eho e868 1oe Cee SSE fee Line etching on zinc. Made from handwritten copy. Fig. 980. Ascertaining the number of smaller sheets that may be cut from a larger stock size sheet. folder. By multiplying the number of reams by the weight per ream of stock selected the number of pounds is obtained and then by multiplying the number of pounds by the price per pound the cost of the paper is ascertained. In card, blotter, sheet or folder printing it is seldom necessary to provide as much additional for trimming as here indicated, but this is about the usual amount allowed for catalog, magazine and book work. The same plan is followed in estimating the amount of stock required, whether it be for a smaller or larger job; and for catalogs or books requiring more than one sheet to make the complete book, the number of sheets required for one complete copy is simply multiplied by the number of complete copies in the edition. Covers, end sheets, inserts, etc., when used, are estimated in the same manner and to obtain the total cost of paper the results are added to the body stock cost. Often when the grain or pattern in a paper must run in the same direction in all, as is the case with some cover papers, a less number of usable pieces will be obtained from each stock sheet than if these features could be ignored. DoING SHEETS IHAT CUT WITH WASTE In cutting smaller sheets that are not exact multiples of the larger size from which they are cut, it is often necessary to deviate from the customary method of making straight cuts across the two dimensions of the large sheet, in order to get the greatest number of smaller sized pieces and to reduce the amount of waste to the minimum. The cus- tomary method of ascertaining the number of pieces to be obtained, is to find of which of the larger dimensions each of the smaller dimen- sions is a multiple, or nearest a multiple, the product of these being the number of pieces obtainable. This is illustrated in Fig. 980. Ye" LLL" Lp Lf SIX 11" EUX//| 3 3’ Line etching on zinc. Made from pen drawing on which dimensions were handwritten. Fig. 981. Diagrams showing methods of cutting stock size sheets. 408 COMMERCIAL ENGRAVING AND PRINTING If it is desired to ascertain the number of pieces 8 in. x II in. that can be obtained from a sheet 32 in. x 44 in., it is found to be even 16 as illustrated in A, but if the size of the small pieces are to be 8% x 11, by the same method, it is found that only 12 pieces are obtainable as shown in B, and the waste, or remainder of the original sheet, is of such size as will not permit cutting additional pieces of the required size from it. By transposing the smaller dimensions, as in C, while it is found that neither is a multiple of the larger dimension and that fewer pieces are obtained, the waste is of such a size as to permit obtaining from it four pieces. Diagrams showing the three methods of cutting are shown JINs1DE oR Pooy STeck x KG @ /O0.000 Cofaces, 32h3¢ cLhecs LE oe am emit FER es ee 16X DprIF pg CSD: oe If 3x kb | & four eos Z Bee : mn Lf XZ __ ep 33x 7S 7 x Ox Geilo mag om 40000+¢4 = 2-500 ALaml By ose eee a6 / a ELM pa fy PoviicaleHFYo 500 B378hbe- ) 4282 C ove R STock / OK SLI tain LIEGE ae, Ce ae ey IA SO OOCOFH# = 2500 Sooo bev waste (lhe) Foo ae 9,700 AEa7n22— Ser a My Rite By eb ep Line etching on zinc. Made from handwritten copy. Fig. 982. A method of ascertaining the amount of paper required for a catalog. in Fig. 981. While a plan of this kind may be followed in cutting small sheets, cards, etc., it is seldom practical when planning a booklet or catalog on account of requirements for folding and binding. Whenever a plan of this kind is used, due allowance must be made for trimming and also the fact must be kept in mind that each cut of the knife must be entirely across the pile being cut. ESTIMATING PAPER FOR CATALOG What amount of paper will be required for 10,000 copies of a 40- page catalog with cover; size of trimmed page inside 8 x 11% inches; cover extended 14 inch; bound to open the long way; inside stock to be basis 25 x 38—8o0 lb.; cover stock 23 x 33—95 lb.; inside pages to be printed in one color and cover in two colors and embossed? LETTERPRESS PRINTING 409 By reference to Fig. 976 it is found that paper in stock size 33 x 46 inches is best adapted to this page size, and by process A in Fig. 982 it is found that 16 leaves of two pages each can be obtained from each stock size sheet, and that it will require 10,000 sheets for 32 pages of the catalog, which would be printed “sheetwise,”’ or with a 16 page form on each side. The remaining eight pages would be printed together, made up to print as a ‘work and turn” form, and when cut after printing will make two complete eight page signatures. If this form is imposed in the usual way, and margins for trimming are the same as for the 32 page signature, it will require 2500 sheets each 33 x 46 inches as shown by process B, which added to the amount required for 32 pages, makes a total of 12,500 sheets. This does not take into consideration allowance for spoilage in printing and binding, which by reference to Fig. 983 will amount to 4%, or 500 sheets additional, making a total of 13,000 sheets, or 26 reams. By reference to the table of sizes and weights for book papers, it will be found that paper in size 33 X 46 weighs 128 lbs. to the ream, if of the same substance weight basis as 25 x 38—8o lb., and that a total of 3328 Ibs. of paper will be required for the inside pages of this catalog. Each cover, when opened out and trimmed so as to provide for the Vg inch extension and the thickness of. the catalog, must be 163 x 113%, and it is found by process C that four sheets of this size may be cut from each stock size sheet measuring 23 x 33 inches, and that 2500 stock sheets will be required for 10,000 covers. Adding 8% for the waste incident to printing in two colors, embossing and binding, or 200 sheets, it is found that a total of 2700 sheets (5.4 reams) of cover paper are required for the job. The matter of probable spoilage must always be anticipated and sufficient extra stock ordered to cover this. The percentage of spoilage will run about as follows: One Each Extra Quantity Color Color Binding 100 to 250 Copies 10 5 5 2505007 500. 6 4 4 500 to 1000 “ 5 2% 214% 1000 to 5000 “ 4% 2% 2 5000 to 10000“ 3% 2% 2 Over 10000 =“ 2 es: 2 Fig. 983. Estimated spoilage in the production of printed matter. It will be noted that the percentage of spoilage is much larger on small editions than on larger ones. This is because of the spoilage incident to makeready, registering, ink adjustment, etc., which oper- ations are practically the same whether the edition be large or small. It is generally understood among regular buyers of printing in large quantities that it is unfair to hold printers responsible for the delivery of the exact quantity ordered, owing to the difficulty of producing exact quantities. The custom is to allowa margin of ten per cent for over or short count, to be charged for or deducted at the rate for extra copies. Pages 401 to 416, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 410 COMMERCIAL ENGRAVING AND PRINTING MAKING THE LAYOUT OR DUMMY First it is understood, of course, that the size of any piece of flat printed matter, or the page size and the number of pages in a booklet or catalog, may be increased or diminished by the size of the type, illustrations or margins selected, and these features must be considered as well as the amount of text. In other words, the piece of printed matter can be built to accommodate the text and illustrations, or they can be adapted to the piece. rp vi ~~ =e ys ae ( GENUINE SERVICE! A McDougall Kitchen Cabinet will do for you just what other modern appli- a central station from which all your kitchen work is managed. ances—the typewriter, the telephone, the dictaphone—do for men in business. Specifically, it 1s a time and labor saver daily Gives you the time to do the many things you have put off repeatedly. It is downright wasteful. you know, to spend two hours doing kitchen work that other women accomplish in an hour and a half, with the help of a McDougall. They have an extra hour or two every day for rest and pleasures. There are few kitchens which a Mc- Dougall can not improve in methods of doing the work and in appearance too. It is not a storage place for foods only but Let us demonstrate these points to you Our convenient pay Come in to-day ment plan permits you to own a Mc- Dougall easily The McDougall possesses every prac- tical utility device found on other cabi- nets, and the following exclusively pat- ented McDougall features beside The Auto-Front—a sanitary wood cur- tain that drops at the touch of your fin- ger Eight steel corner braces hold the cab- inet firm and resist the strains of mov- ing Shelves mortised into walls—not glued All joints tongued and grooved—not screwed into place. eke $2 a Week B. W. DENNIS Court House Square Outline halftone, 150 line. Made direct from the lay- out and reduced about one-half. Line etching on zinc. Made from a proof of the adver- tisement and reduced about one-half. Fig. 985. Reproduction of the completed advertisement. Fig. 984. Rough layout for an advertisement. If the work is to be a flat piece of printing, as, for instance, a card, folder, newspaper or magazine advertisement, or something of similar character, a ‘‘layout’”’ should be made. This is a rough draft to show the printer the plan for arrangement, display, etc. A carefully planned layout will save both time and money, for it gives a rough idea of how the finished work will look and eliminates the making of expensive changes later. In making the layout, first cut a card or sheet, or draw the exact outline, to indicate the actual size of the finished piece. Then deter- mine the margins wanted, drawing the lines for them lightly in their re- spective places. These lines will give the boundaries of the type page. If a border is wanted it should be indicated by either drawing a bit of it at one corner, or by noting in the margin that one is to be used. LETTERPRESS PRINTING All And in preparing the copy keep in mind that white space must be left between the border and text. Thus it is impossible to get within a border as much text as can be run without it. THE ILLUSTRATIONS The next step is the placing of the illustrations. Frequently the halftones, etchings, or other plates have been made previously for some other job or before the form and size of the present one was determined, and this sometimes makes it difficult to fit the plates in so as to give the Words per square inch Words in 1 in. 13 em Column Solid Leaded Solid Leaded 5 Point 69 50 150 108 6 Point 47 34 102 74 meomt 38 27, 82 59 Stott) 32 23 70 50 9 Point 28 21 61 46 10 Point 21 16 46 35 II Point 17 14 a7 30 12 Point 14 II 30 24 Taeont ) ert 9 24 20 18 Point 7 6 15 re Fig. 986. Schedule for estimating space for body matter. best effect. It will almost always pay in such cases to order new plates of proper size to harmonize with the new layout rather than spoil the effect by using plates that are noticeably too large or too small. Proofs of the illustrations are pasted in the layout, or if the engravings have not been made their size, general appearance and location are indicated by rough drawing. The size and shape of the blocks, on which the engravings will be mounted, should be definitely known and indicated on the layout before typesetting begins, otherwise there may be extra expense for re-setting that part of the matter surrounding them. The headline is then drawn in roughly in about the size in which it is to be set. The subheads should be similarly placed in their respec- tive positions, care being taken not to display too many lines, as this has a tendency to weaken the effect as a whole. After penciling in the signature and other display lines, the bound- aries of the spaces in which the smaller type is to be set are indicated with light broken lines. These spaces are lettered A, bce, ete: and the copy to go in them is written on separate sheets and lettered to cor- respond. Care should be taken in preparing the copy to see that the display lines in the layout correspond with the display lines in the type- written copy and that the copy does not contain more words than will go into the allotted space. OTHER LAYOUT HELPS A very convenient form for laying out pages or forms is by the use of sheets that have been specially ruled with faint lines one pica apart both perpendicularly and horizontally. The units of size in the 412 ADVERTISING AN INVESTMENT A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 987. One line centered. ADVERTISING AS AN INVESTMENT A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 988. Two line staggered. ADVERTISING AS AN INVESTMENT A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 989. Two line squared and centered. ADVERTISING AS AN INVESTMENT A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 990. Two line box. ADVERTISING AS A PERMANENT INVESTMENT A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 991. Three line centered. GOOD WILL ADVERTISING AS A PERMANENT INVESTMENT A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 992. Three line inverted pyramid. ADVERTISING AS AN INVESTMENT BUILDER OF GOOD WILL INSURANCE A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 993. Four deck. COMMERCIAL ENGRAVING AND PRINTING ADVERTISING AN INVESTMENT—A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 994. Indented and run in. ADVERTISING AN INVESTMENT A business built upon price alone has no insurance against the fire of competi- tion. As an asset, the good will of such Fig. 995. One line side, text indented one side. ADVERTISING A business built upon AS AN price alone has no insur- INVESTMENT ance against the fire of competition. As an as- set, the good will of such Fig. 996. Marginal. ADVERTISING A business built upon AS AN price alone has no insur- INVESTMENT ance against the fire of competition. As an as- set, the good will of such a business is worth very little. As an investment, it is as hazardous as a horse race. It is neither Fig. 997. Three line side run in. ADVERTISING AS AN INVESTMENT AND BUILDER OF GOOD WILL INSURANCE.—AN ASSET ALL A business built upon price alone has no insurance against the fire of competition. As an asset, the good will of such a business Fig. 998. Hanging indention. insurance against the fire of competition. As an asset, the good will of such a business GOOD WILL INSURANCE is worth very little. As an investment, it is as hazardous as a horse race. It 1s neither a self-owned nor a self-controlled Fig. 999. Centered subhead. insurance against the fire of competition. As anasset, the good will of such a business (Continued on page 20) Fig. 1000. Continued centered. insurance against the fire of competition. Asan asset, the good will of such a business is worth very little. (Continued on page 20) Fig. 1001. Continued run in. Some types of headings commonly used in typesetting. LETTERPRESS PRINTING 413 layout will then correspond with the unit of size used by the printer, thus the printer will be more easily able to shape the display, illustra- tions, and general make up to conform with the layout. Further, in making such a layout, problems that might confront the printer in an inaccurate layout will be avoided. For estimating the amount of space required for matter to be set in body type, a table is given in Fig. 986. The figures for leaded matter are based on the use of two-point leads between lines. As some styles of type are more condensed or expanded than others, there will be more or less deviation from this schedule. Ascertain the number of words in the matter to be set and divide by the number of words that can be set ina square inch of the type selected as shown in the table. With the total area in square inches it is an easy matter to arrange for the space or pages as required, and to determine whether smaller or larger type should be used or if the matter can be leaded. Due allowance must be made for headings and paragraphing and it is better to provide ample space than to crowd the matter. In making a catalog, book, or other large printed job it is usually worth the extra cost to have the printer set a page or part of a page in two or three different kinds of type or different sizes of type and from these make a selection before proceeding with the entire job. All copy for the text or body of any piece of printed matter should be furnished to the printer in typewritten form and written only on one side of the sheet. If more than one sheet the pages should be numbered consecutively. The spelling, capitalization, punctuation and paragraphing of copy should be done carefully, otherwise the printer may adopt a style of handling that will be unsatisfactory, thus making extra expense for changes after the matter is put into type. NUMBER OF LINES TO THE INCH The following table indicates the number of lines of type per column inch when set solid or with two-point lead between lines. Size Solid Leaded 5 Point (pearl) 14 10 haw agate) 13 9.5 6 ‘‘ (nonpareil) I2 9 8 ‘“‘ (brevier) 9 7 10 ‘(long primer) 7 6 T2 me DICA) 6 5 ih ee 5 4.5 18 4 3.5 Fig. 1002. Lines of type to the inch. MAKING A DUMMY FOR BOOKLET OR CATALOG If the piece of printed matter is to be a booklet or catalog instead of a flat or folded piece, the rough preliminary copy is usually referred to asa “dummy” instead of a “layout.” 414 Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field as a final resting-place for those who here gave their lives that ABCDEFGabcdefgA BCDEF Gabcdefg1234567890A BCDEFGH Fig. 1003. Four and one-half point on five point body—solid. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in lib- erty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have come to dedicate a portion of that field as a final resting- ABCDEFGabcdefg4A BCDEF Gabcdefg1234567ABCDEFG Fig. 1005. Five point solid. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, con- ceived in liberty, and dedicated to the proposition that all men are created equal. Now we are en- gaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battle- ABCDEFabcdefABCDE Fabcdef1234567 ABCDEFGH1 Fig. 1007. Six point solid. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedi- cated to the proposition that all men are created equal. Now we are engaged in a ABCDEabecdeéA BC DEabcde1234567ABCDE Fig. 1009. Eight point solid. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the ABCDabed4 BC Dabcd12345674BcD Fig. 1011. Ten point solid. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedica- ABCDabed4 BC Dabcd1234AaBcp Fig. 1013. Eleven point solid. Fourscore and seven years ago, our fathers brought forth on this continent a new na- ABCabeA BCabc123845678 ABC Fig. 1015. Twelve point solid. COMMERCIAL ENGRAVING AND PRINTING Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated can long endure. We are met on a great battlefield of that ABCDEFGabedefgA BCD EF Gabcdefg1234567890ABCDEFGH Fig. 1004. Four and one-half point on five point body—leaded. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in lib- erty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are ABCDEFGabcdefg 4 BC DEF Gabcdefg1234567ABCDEFG Fig. 1006. Five point leaded. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, con- ceived in liberty, and dedicated to the proposition that all men are created equal. Now we are en- gaged in a great civil war, testing whether that ABCDEFabcdef ABCDE Fabcdef 1234567 A BCDEFGHI Fig. 1008. Six point leaded. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in liberty, and dedi- cated to the proposition that all men are ABCDEabcdedA BC DEabcde1234567ABCDE Fig. 1010. Eight point leaded. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived ABCDabecd4 BC Dabcd12345674 BCD Fig. 1012. Ten point leaded. Fourscore and seven years ago, our fathers brought forth on this continent a new nation, ABCDabedA BC Dabcd1234aBcp Fig. 1014. Eleven point leaded. Fourscore and seven years ago, our fathers brought forth on this continent a new na- ABCabecA BCabc12345678ABC Fig. 1016. Twelve point leaded. The most used sizes of body type. Monotyped in Modern No. 8. Two point leads used in the leaded matter. LETTERPRESS PRINTING Al5 It is not essential that the dummy to be used in the preparation of the copy be made of the same stock as has been selected for the com- pleted job, and indeed when the dummy is to be subjected to much handling a strong uncoated book or writing paper should be used in its make up. Loose leaves in a ring binder are often used. The pages can be easily removed for obtaining the effect of Opposing pages, or for change in location. However, to ascertain the COMeCtECOStEOt mailing or to obtain in advance the general effect of the work as it will be when finished it is necessary to prepare the dummy from the same stock as will be used for the finished work. LAYING OUT THE PAGES After the size of the booklet or catalog has been determined, the next step is to lay out the pages, each page according to the same gen- eral principles mentioned for the laying out of a flat piece of printing, oeomee mand, Dealers i Outline halftone, 133 line. Made from an unretouched photograph. Fig. 1018. A customer’s rough pencil Suggestion for a folder (left) ; the designer’s dummy (center) and the completed piece (right). keeping in mind, however, that in a catalog or booklet the pages face each other, which makes it necessary to arrange the illustrations, dis- play lines, etc., on two opposing pages so that the combined effect will be a pleasing one. The principle mentioned in connection with balanc- ing the illustrations and type masses on a single page applies in the same way to the laying out of two opposing pages. SIZE OF TYPE PAGE AND MARGINS In making up dummy pages remember that type set solid can not be condensed into a smaller space than that shown by the proof with- out resetting; and the proper setting for heads, illustrations, titles, etc., will require some white space for proper display as well as the actual space occupied by the type. It is advisable to have too little rather than too much matter on the page. As a general rule the width of the type page should be two-thirds itslength. Another method of determining page lengths is to make the length such that the page will measure diagonally twice its width. If only small margins are possible, the page should be about cen- 416 ComMMERCIAL ENGRAVING AND PRINTING tered with a slight inclination toward the top and back. But when margins are reasonably ample, the page should be set liberally toward the top and back. These margins should be about the same; but the outer margin should be decidedly wider than the back margin and the bottom margin should show the greatest area of white space. — While on the printed page the center is horizontally the point of perfect balance, vertically it is not; thus in a title page the lettering should be grouped a little above the center. When the dummy is prepared, the pages should be numbered con- secutively, because, when the type is apart and given to several workmen. if the page numbers are omitted. It is advisable to turn all copy, being set, the dummy is often torn Parts may be misplaced or lost plates and instructions in to the printer at one time, but if the work is a book or a catalog with a large number of pages, the work may be started in advance of the final com- pletion of the copy by giving it to the printer in complete 8, 16, or 32 page forms in regular order as they are to appear in the finished work. SELECTION OF TYPE Type faces are of five general classes; Roman, Italic, Soujit> ‘ Gothic, and Gert. The most used types for body matter are classed as Old Style Roman, characterized by its oblique serifs, and Modern Roman which may be distinguished by its straight serifs and thin hair lines. There are a large number of faces, each in the various sizes, belonging to each class, thus affording a wide range from which to make a choice. The best kind of originality is that which comes after a sound apprentice- ship; that which shall prove to be the abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNPRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ $1234567890 Fig. 1019. Old style Roman. The best kind of originality is that which comes after a sound apprentice- ship; that which shall prove to be the abedefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNPRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ $1234567890 Fig. 1020. Modern Roman. The selection of the type in which a piece of work is to be set is an important step because, while th e impression made by an advertise- ment is primarily due to its wording, the typography always has an effect which may or may not be in harmony with the thought in the text. In other words the selection of the type may strengthen the ap- peal made by the text or it may detract from it. In selecting the type faces in which a booklet, advertisement or other piece of sales literature is to be set there are four primary require- ments that must be observed. First—the type selected must be legi- ble; i. e., easy to read. Second—it must be suited in size to the space in which it is to be set—condensed type for a narrow column and nor- mal or extended type for a wide column, etc. Third—it must har- monize with the article advertised—a bold type for an iron or steel product and light face or dainty type for a confection or toilet article. Fourth—it must be properly set; i. e., the headings must be properly ' LETTERPRESS PRINTING 417 displayed, the margins of the proper width, and the whole page made to conform to the laws of effective contrast and balance. The style of type that is used by a majority of the magazines and newspapers has been found by experience to be the most legible and it is therefore the part-of wisdom not to stray far from these popular faces. Bold, heavy type may sometimes be used to catch the eye but a page set wholly in such type offends rather than pleases. Good typo- graphical effect can best be accomplished through contrast—contrast between the type and the white space, as well as contrast between the size and comparative heaviness of the type faces. Too many different faces of type on one page tend to confuse just as too fancy or illegible faces tend to tire the eye and discourage the reader. Legibility is, of course, also affected by the size of the type used and the manner in which the eye is required to follow it. Curved lines, tapering lines, vertical lines and other unusual arrangements are always more or less difficult to read and should be avoided. In body matter the size of the type used should determine the length of the line and 5% point should not be used in a line longer than 15 picas; 6 point in not more than 18 picas; 8 point in not more than 26 picas and Io point in not more than 36 picas. Small type when printed on a low grade of paper is not as legible as when printed on the better grades. The specimens shown on the following pages are all 12 point and are intended not only to represent some of the most commonly used faces, but also to aid in comparing or selecting special styles for special pur- poses, such as hand lettering, for quick reference when conferring with customers, etc. They are also intended to enable one to indicate his preference. In this case something similar may be used if it is impos- sible to furnish the style indicated, as it must be remembered that on account of the great number of different type faces in existence no printer will have all faces here shown, or if he has the face selected, he may not have the size wanted. Not all type faces in use are shown, as several faces which in detail are practically the same are made by different type foundries and are sold under different names. Also many of the faces are made in relative type faces but are not shown, such as wide, medium, bold, condensed, extra condensed, outlined, italic, con- densed title, bold extended, inlined, extended, etc. In making up the specimens shown, clippings of lines or paragraphs were taken from specimen sheets and other printed matter and these were arranged on cards alphabetically. A typewritten list of the titles was then made and this list monotyped. The type was then leaded to leave eighteen points between lines; was arranged in columns and press proofs were made. The specimen lines were then pasted in their respective places, and from this copy the line etchings on zinc were made. The initial following the title line indicates the name of the manufacturer of the type shown, ‘‘A’’ and ‘‘K”’ representing The American Type Founders Co., and ‘‘B”’ Barnhart Bros. & Spindler. The reproductions, of course, do not print as sharp and perfect as would the type had it been practical to use it. Pages 417 to 432, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 418 DURABLE Printing 51 Adstyle—B SPLENDID art so Adstyle, Black—B ROARED AND great 36 Adstyle, Condensed—B PRINTERS FEEL good places Adstyle, Extra Cond.—B AHEAD OF TROOPS 78 Adstyle, Headletter—B EMPLOYING a 78 Adstyle, Italic—B ABOUT never 14 Adstyle, Shaded—B ROB in 78 Adstyle, Wide—B LENT Whose 56 Adtype—A PRO ends 789 Adtype, Italic—A OF THE job for Alfred Medium—B AMERICAN American as $12 American, Extra Cond.—A ESS sing 45 American, Italic—A BANK Cent 82 Antique—B INDUCE is 90 Antique, Bold—A FACES Type 123 Antique, Cushing—A Hsiasss Antique, Extended—B STEAM fresh 43 Antique, Lining Modern—B ORIENTAL for Ladies 56789 Antique, Skeleton No. 55—B COPPER Observer 7870 Archer, Lining—B SAND Bought 36 Arno, No. 2—B Line etching on zinc. Fig. KEY Stolen-K 34 Artline—K PET Mouse-K 25 Ayer—K BOYS Play-K 12 Ayer Italic—K GAME us 32 Bard—B ENTEIRY 12 Bard, Open—B CHECK Sneak 32 Barnhart, Old Style—B OLD Hand-K 67 Ben Franklin—K REPORT Made 90 Bodoni—A RETURN Men 89 Bodoni, Bold—A TYPE hands 456 Bodoni, Bold Italic—A COMPO mats 123 Bodoni, Bold Shaded—A SECURE Wire $123 Bodoni, Book—A MENTION did 6789 Bodoni, Book Italic—A EXPECTED 890 Bodoni, Card—A SITE investigate 90 Bodoni, Italic—A RATES June 890 Bookman, Oldstyle—A PRINT Pro 45 Boston Breton—A NEPHEW with 39 Bullfinch, Oldstyle—A RIVERS of 79 Cadillac—B NEVER Though 23 Cadillac, Condensed—B VEST With 55 Caledonian—B COMMERCIAL ENGRAVING AND PRINTING MODERN Disco s90 Camelot, Oldstyle—A THOUGHT IN SELECTS Cardstyle—B BENT Rod-K 83 Caslon, Adbola—K NO Pipe-K 46 Caslon, Adbold Extended—K CHARITY Bazaars—K 80 Caslon, Adbold Ex. Cond.—K DIG Deep-K 56 Caslon, Bold—K GIRL Smiling—K 43 Caslon, Bold Condensed—K BE Quick-K 38 Caslon, Bold Italic—K REAL American 67 Caslon, Condensed—A MUSICAL Invitations 456 Caslon, Extra Condensed—A SUPREME in 67 Caslon, Heavy—A REMARK Met 23 Caslon, Lining—A FARMERS for 90 Caslon, Lining Italic—A DESIRE With 789 Caslon, New—A BUSY Scientist 890 Caslon, New Italic—A PAYING Types 73 Caslon, Old Roman—B FOR elegance is 89 Caslon, Old Style, No. 471—A ADVERTISE in 9o Caslon, Old Style Italic—A GUARD Places 67 Caslon, Recut—A AGROUND by 123 Caslon, Recut Italic—A HORSES Sell 58 Castor—B 1021. Specimens of type styles. LETTERPRESS PRINTING SOLDIER in 84 Catalog, Old Style—B Machinery 23 Cathedral Text—A AB the course 90 Caxton, Lin. Oldstyle No. 2—A fe S 82 Celtic No. 1—B ASSEMBLY in 45 Century, Bold—A BEAU Print 56 Century, Bold Italic—A God entitle of 890 Century, Expanded—A BIG Tent-K 62 Charter Oak—K Public Weets Thirk 80 Chaucer Text—A ACT Improve 890 Cheltenham, Bold—A PERUSE Reveries 90 Cheltenham, Bold Cond.—A COUSIN cord 45 Cheltenham, Bold Italic—A CROFT classic 890 Cheltenham, Italic—A CROFT classic 890 Cheltenham, Old Style—A Magazine will be 56 Cheltenham, Wide—A LETTERS12 Chester, Title—B SEAL Cloaks an 86 Clarendon, Lining Fr.—B COMPO results 890 Cloister, Bold—A REQUIRED the890 Cloister, Bold Italic—A PRODUCTIVE of 67 Cloister, Italic—A PROGRESS have 890 Cloister, Oldstyle—A Line etching on zinc. Fig. ORIGINAL ED Cloister, Title—A PET and 283 Club—B FRESH IF39 College, Title—B CARPET 58 Concave, Lining—B IRON execution 789 Cromwell—A ATE Various $189 Della Robbia—A TIN men 128 DeVinne, Bold—B WOMEN Staring 82 DeVinne, Compressed—B MUSICAL Music of 890 DeVinne, Ex. Compressed—B TINPrompt 35 DeVinne, Inclined—B INHABIT Hen 67 DeVinne, Lin. Italic No. 2—A Wire Finisher8&6 DeVinne, Lining—B FACE paper 890 DeVinne, Lining Open No. 2—A DOLLAR Shrub6 5 Dewey, No. 5—B AVAN Per 36 Doric, Lining—B TIN Buff 23 Egyptian, Extended—B ROUTE Deep 57 Elzevir, No. 5—B MOBILE Runabouts 123 Elzevir, Condensed No. 50—B HEAR Them-K 72 Encore—K HANDSOME Soldier—K 35 Encore Condensed—K JUDGMENT 78 Engravers, Bold—A 419 LATEHST 419 Engravers Roman—B STORIES U62 Engravers Roman, Cond.—B BEST 55 Engravers Title, No. 7—B SEEDLESS Blank 86 Fifteenth Century, Lining—B Printers Cppe 456 Flemish Black—A RENT Outlay 73 Florentine Bold—A THEATRE Quincy 890 Florentine Bold, Ex. Cond.—A JOURNAL Elect men French Title—B PINK Hose-K 41 Girard—K PROGRESS Universal 123 Gothic, Alternate No. 1—A RELIEF FOODS Gothic, Bold Plate—B INDUSTRY OF 37 Gothic, Circular No. 44—B DAY Looked Down 93 Gothic, Degree No. 1—B NEATLY To 67 Gothic, Franklin—A JUDGMENT in 678 Gothic, Globe—A ONE ate 89 Gothic, Globe Extended—A SPECIAL CARS 78 Gothic, Lightface No. 45—B LIMBURGER CENT Gothic, Light Plate—B ONRAILROAD 75 Gothic, Light Plate Cond.—B ABLE Public Has 63 Gothic, Lining No. 60—B GAL Brave 98 Gothic, Lining No. 82—B 1022. Specimens of type styles. 420 SHOULD a 95 Gothic, Lining No. 90—B MONEY Brokers by 297 Gothic, Lining No. 117—B ARE Uniform Faces 1289 Gothic, Lin. Cond. No. 529—A PATRONS Thought 56 Gothic, Lin. Cond. No. 524— Take out all spacing. ~~ Contract spacing. C) Reverse turned letter G][ New paragraph where marked. Wor FT No paragraph here. JC Move to right or left. = Move up or down. lead Insert lead. he Insert space between words. ig + Correct uneven spacing. X Change this imperfect letter. fff Ligature instead of separate letters. Atak Change to italics; also indicated by ——— under word. Change to small caps; also indicated by LmNL under word. cafes Change to capitals; also indicated by under word. howm Change to Roman type. Change to bold face. Change type, wrong font. O Spell out abbreviation or numeral. Q/ Change letter as indicated. AM Transpose letters or words. ke Put in lower case type. f Delete mark, take out. alk Push down space. ..ses Retain this word, ‘‘stet’’ being usually written in the margin. MU Straighten lines. (.] Indent one em. y/ Insert comma. ©/ Insert period. yf Insert hyphen. ee V/ Insert apostrophe. V W Insert quotation marks, L MA (7 Insert brackets. 2am/insert one-em dash. zam/ Insert two-em dash. fey, Insert en dash. ©) Insert colon. 5] Insert semicolon. A Make corrections indicated in margin. (2) Query to author. Line etching on zinc. The lettering and characters were written and drawn on a proof of the type matter and the etching was made from this combination copy. Fig. 1051. Proof-reader’s marks. LETTERPRESS PRINTING AAS: standing idle awaiting an O. K. from a customer be charged for at reg- ular production hour rates. When proofs have been submitted the cus- tomer should promptly examine, make corrections if any, mark “O. K.” or “O. K. with corrections,” sign with full name, to show that the proof has been approved by the one duly authorized, and return both the proof and the copy. The setting of tabular matter, such as columns of figures, whether the combination copy. en REDUCING COSTS smu ~a yery simple, yet effective, way of_cutting down printing C costs.is to exercise proper care in 2 the preparftion of copy. Chajlges ay in the text should be made while it isin the manuscript form, not. Lad! aft® it is in type and galley proofs submitted. , Quite often va what seems to be a _ simple # change a entails aconsiderable _espense/ for illustration/ the s/ ¢ X~Addition of one short word, or the AGM . . - tins: substitution of a longer one, may Sy 66 99 — V V necessitate the,running over, or resetting of all that prtion of the 9 — paragraph following the change, 7 before sufficient space be found, a! is an error to attempt to ex- pedite the delivery of YOUR ke printed matter byy rushing un- revised copy into the hands of Jes the printer,the more time de- voted to proper preparation, the less required for eee { tions and avoidable defays. ae Records show that jon an aver- »/ Lh age, thefislcompositor,responsible @® for only % per cent. of the errors in proofs, the other ninety, seven =/ per cent. coming as a result of $m. @ changes from original copy. eat Uc CTRe customer sometimes ques : tions the justness of the printers extrg charges, but mény of these &/ Jf are for changes and_ revisions made necessa@fy on account of WU hurriedly and improper prepared copy. Fig. 1052 is a line etching on zinc. Fig. 1052. Proof marked with proof-reader’s marks. i Cafes Le Reducing Costs VERY simple, yet effective, way of cutting down printing Costs is to exercise proper care in the preparation of copy. Changes in the text should be made while it is in the manuscript form, not after it is in type and galley proofs submitted. Quite often what seems to be a simple change entails consid- erable expense; for illustration: the addition of one short word, or the substitution of a longer one, may necessitate the ‘“‘run- ning over”’ or resetting of all that portion of the paragraph follow- ing the change before sufficient space be found. It is an error to attempt to expedite the delivery of your printed matter by rushing unre- vised copy into the hands of the printer—the more time devoted to proper preparation, the less required for costly corrections and avoidable delays. Records show that, on an aver- age, the compositor is responsible for only three per cent. of the errors in proofs, the other ninety- seven per cent. coming asa result of CHANGES from original copy. The customer sometimes ques- tions the justness of the printer’s extra charges, but many of these are for changes and revisions made necessary on account of hurriedly prepared copy. The marks were drawn on a proof of the type matter and the etching made from Fig. 1053 was printed from a wax mould electrotype made from the type. Fig. 1053. Proof of corrected matter. 44.6 COMMERCIAL ENGRAVING AND PRINTING hand or machine set, also matter running line for line with copy or any other class of composition requiring special style, spacing or justifica- tion involves an extra cost over that charged for straight matter; also setting ‘‘side heads,” which are titles run in indentions at the side of body matter, instead of centered over it. MAKING UP As soon as the corrections as indicated on the proof have been made, the type is made up into pages or forms, as the case may require. The proof for folders, booklets, catalogs, and other publications when made up of considerable matter is usually cut and made up into a dummy as a guide for the makeup man to follow. The proof, when trimmed and made into a dummy, should be carefully marked with the galley numbers that the compositor may have no difficulty in locating the material in case there are several galleys. The page or small form is made up ona wide galley, known as a job galley, which has been placed on a stand or rack in an inclined position, and after the form has been completed it is tied up with string or a special tying device and slid off on the imposing stone. The page, or form, is again inked and a page proof is taken while the form is still on the galley, or, a ‘‘stone proof”? may be taken with planer and mallet after the form has been placed on the stone. Large forms, or forms that are made up of several pages, are made up in sections, or separate pages and these are assembled to their respective places on the imposing stone, which is a large table, with a perfectly smooth and level thick marble or cast-iron top. The imposing stone must be freed from all dust or dirt before the form or pages are placed on it to be made up, and after the form is removed from the stone the under side of the type is carefully brushed off to remove any particles of dust that might be attached, as dirt under any of the characters would cause them to stand more than type high and produce a defective impression. IMPOSITION When two or more pages are to be printed at the same time, the proper placing of the page forms on the stone preparatory to being locked in the chase for the press is known as imposition. The position of each page in the form is determined by the number of pages to be Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1054. A page form made up of Linotype slugs and a halftone. LETTERPRESS PRINTING 447 + € * Bg Crt Re & + = Le 4oO ® PSs woBaed es Square halftone, 150 line, no line. Photographs of the sheets were trimmed and mounted on a gray card. The page numbers were written with pen and ink and the halftone made from the group. Fig. 1055. Imposition of two sixteen page forms to work sheetwise. printed together and the method to be followed in folding the sheets that are to be printed from the form. If to be folded by hand the lay of the form is usually different than if to be folded on a machine and different machines require different lays. The pages must not only be placed so that the page numbers, commonly called folios, will follow each other in proper sequence when the sheet is folded, but they must also be so placed that they will be in proper register when backed up and also to provide proper margins and due allowances for trimming since most all sheets after folding and binding must be trimmed on three sides—top, front and bottom. One of two methods is followed in placing the pages so that when both sides of the sheet are printed the pages will properly back each other. By one the form is printed on one side of the sheet, then turning the sheet over it is printed or backed up on the other side with the same form. This is called a ‘‘work-and-turn form’’ and the sheet printed from it when cut in half produces two complete copies, the pages on each running consecutively when folded. By the second method a certain number of pages are made into one form and this printed on one side of the sheet, and an equal number are made into another form with which the sheet is backed up or printed on the other side. This is called working ‘‘sheetwise.”’ A combination of these plans as shown in Fig. 1055 was followed in print- 448 COMMERCIAL ENGRAVING AND PRINTING ing most of the forms in COMMERCIAL ENGRAVING AND PRINTING, sixteen pages being printed in each form, a form to each side of the sheet and the pages so arranged that when backed and the sheet cut in half— each made a complete 16-page signature with the first 16 pages of the group on one part, and the second 16 pages on the other. The two forms shown in the illustration will be recognized as pages 201 to 232, inclusive, of this book. While the 8, 16 and 32 page forms are probably employed more frequently than any others, there are an almost unlimited number of combinations resorted to to meet special conditions that may arise and 12, 20, 24, 28, 64 or even 128 page forms are not infrequent. When the job is to be bound by saddle wire stitching or by sewing in the common way, the number of pages must be some multiple of four, while if to be side stitched or side sewed a single sheet of two pages can be handled. Small forms are sometimes assembled into one large one, and after the sheet has been printed it is cut and the smaller sheets are folded separately, each as a signature, which may be assembled with or inserted inside or outside of other signatures. The size and number of pages in the job and the number of copies to be printed are also factors to be considered when planning the im- position. Of course, a greater number of small pages than large ones can be handled in one form and usually only when a large quantity is to be printed is it practical to handle very large forms, when it may also be necessary to obtain paper of a size not regularly carried in stock. As it will be seen that the pages are not always printed in regular sequence, it will be understood that when it is desired to get the press- ° work started before all pages in the job are ready to print, it is neces- sary to select those pages which will be printed in the first form, or forms, and the printer should therefore be consulted to make sure that there will be time actually gained. REGISTERING COLOR FORMS Forms that are to be printed in more than one color, must be made up to print in register; that is, the forms must be made up so that each line and character will appear in its proper place when printed, al- though part will be printed in one color and part in another, a separate form being required for printing each color. In setting type that is to be printed in two or more colors it is usu- ally set first as though it were to be printed in one color and the proof is then marked for the color scheme. If it is to be printed in two colors, the parts to print in the second color are removed from the original form and the spaces are filled with leads, slugs, etc. The removed parts are then made up into a new form, being spaced out with furni- ture, leads, and slugs so that each line or part will register or fit. This work is also called skeletonizing. Shops in which much of this work is to be done are equipped with a register table, with glass top and specially lighted so that one form may be made up over the other. In such work, instead of separating the original form into two or more forms, as may be required, it is often less expensive to make as LETTERPRESS PRINTING 449 CLOSING QUOIN 4 WITH KEY ped " METAL FURNITURE REGLET ‘Et }-BRASS RULE BORDER PLANING DOWN WOOD FURNITURE—/ — : CROSS BAR IN CHASE _HALFTONE PLATE SET iN TYPE FORM Double print square halftone, 133 line, no line. Made from a slightly retouched photograph. The arrow lines were drawn on the proof from type of the lettering which was arranged separately for double printing. Fig. 1056. A form in a chase being locked up for the press. many electrotypes of the form as there are colors in which it is to be printed, furnishing the electrotyper with a proof indicating the color scheme that he may rout from the different plates the parts necessary to remove in order that each plate may print only its proper color. LOCKING UP THE FORM The chase or metal frame in which the form is to be locked while being printed is next placed on the stone around the pages which are in their respective places; and after the necessary furniture has been placed around each page the tie-up string is removed, and the form is drawn closely and properly together. When both sides of a sheet are printed, the matter on one side must exactly correspond in position or register with that on the other in good printing. The furniture may be either of metal or wood, is less than type high and is made in pica widths from one pica up and in various lengths, and it is used for building forms out to larger sizes, spacing between pages, etc., being more readily handled and making a more rigid form than if smaller materials were used. The form is planed down by placing a smooth surfaced wooden block on the face of the type and tapping it gently with a mallet. The purpose of this is to force down any characters that may be higher than others. The form is then lifted to see if all of the parts are se- curely locked and then if a proof is required it is inked with a roller. The proof s usualy taken on damp paper with a planer and mallet. The quoins are wedge shaped pieces of metal, used in pairs, and with the aid of a revolving key they are forced into position for holding the form in the chase. Wooden quoins are wedge shaped pieces of wood which are used mostly for locking type in the galley for proofing and are lightly driven into place with a shooting stick and a mallet, the former being a short bar of iron with a notched foot, 450 COMMERCIAL ENGRAVING AND PRINTING HIGH AND LOW SPACES AND QUADS The spaces, quads, leads and slugs ordinarily used in hand set mat- ter are about three-sixteenths of an inch lower than the type. This difference makes it easy to distinguish them from the type that is to print and renders them less likely to work up to the paper on which the printing is being done. Type that is set for electrotyping only, should be set with high spaces and quads, which are the same height as the shoulder on the type. This makes it possible for the electro- typer to obtain a better mould and this, of course, results in a better printing plate. FORMS TO BE ELECTROTYPED If an electrotype is to be made of the type form, this to be used in printing instead of the type, the page is locked up in special chase made for this purpose. Large pages are usually electrotyped separately, but several small ones may be made up in one form, leaving space between to allow for sawing apart and sufficient margins for proper separation and mounting. The finished electrotype plates are then made up into forms for printing. Forms that are to be electrotyped should be set in new type or type that is used only for electrotyping. Type that has been used on the press becomes more or less worn even when used comparatively little, and a font of such type may contain many imperfect characters. De- fective type is not readily observed in the galley or stone proofs, but the imperfections are very pronounced when a press proof is taken of the forms, and for this reason forms that have been set from used type should be corrected only from press proofs before being electrotyped. This will save much work for the electrotyper and the pressman, as well as prevent the imperfections that sometimes appear in the fin- ished work, notwithstanding the most careful attention on the pant of the electrotyper and pressman. LABOR SAVING FONTS AND SPECIAL CHARACTERS Leads, slugs, brass rule, borders, and wood and metal furniture are purchased by the printer in what is known as labor saving fonts, that is, in a series of lengths and widths, each piece made to exact point or pica measure, thus making the assembling of units to make up a form a matter that can be quickly and accurately done. Many special type characters that are infrequently used do not come from the type founders as a part of fonts with which they may be used, it being necessary to purchase separately such characters as accented letters, special fractions, etc., in quantities as extras. OWNERSHIP OF PLATES, HIG: Different printers have different rules regarding the ownership of plates used in a job of printing. There is, of course, no question as to the ownership of plates that are furnished by the customer to the printer with which to execute a printing order; but it is a general rule LETTERPRESS PRINTING A451 that when electrotypes are made of type forms or duplicate plates are made by the printer in order to facilitate or expedite the printing order, such plates are the property of the printer. Such duplicate plates are usually made at least at the partial expense of the printer and in all cases for the most expeditious handling of the order, and the customer thus receives indirect benefit on subsequent orders in that the printer holding the plates is able to make a more favorable price than if nec- essary to reset the job. An extra charge is made for the use of type that is kept standing for use from time to time, or for expected use, when so held on the order of the customer. Regardless of the form which the printed work is to assume, whether it is a folder, booklet, catalog, book, house organ, trade journal, newspaper, etc., the preliminary work of preparing the copy, setting the type and making up the forms follows the same principles as outlined in the preceding text, the work being modified only as the special requirements demand. The form of type, or type and plates is then locked up in a chase for the press, if the printing is to be done directly from the form, or for electrotyping or stereotyping if the work is to be printed from plates. Job composition is charged for on the basis of workman’s time required for doing the work. The rate per hour is determined by the cost system in use in the plant doing the work, while machine com- position is usually charged for at a rate of so much per thousand ems if straight matter, this rate differing with size of type being set, while for short runs, or extremely complicated matter, it is charged for on the hour basis of workman’s time. DISTRIBUTION After the required number of impressions have been taken on the press from the type form, or after electrotype has been completed, in case the presswork is to be done from plate instead of the original type form, the type and other material making up the form is known as “‘dead matter’ and must be distributed or returned to their proper places and this is called ‘“‘distribution.’’ This means not only the return- ing of the different type letters, characters, spaces and quads, etc., to their respective compartments in the cases, but also the proper filing of furniture, rule, leads, etc., that all may be in readiness for the next job in which they will be needed. Body type that has been set on the Linotype, Monotype, Intertype, or other typesetting machines is usually taken directly from the form and thrown into the stock of reserve metal for future use, or into the melting pot on the machine where it is melted and used again. NON-DISTRIBUTION In many offices, job printing as well as newspaper, there is in practice in the composing room what is known as the non-distribution system. By this system every job, excepting the plates for the illus- Pages 449 to 464, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 452 COMMERCIAL ENGRAVING AND PRINTING trations, is set in new material including type, spaces, quads, leads, slugs, rules, borders, etc. As soon as the form has been plated or printed, the plates for the illustrations, if any, are removed and the entire form is dumped into the melting pot and the metal cast into ingots to be used again in the making of new material. Under this plan, all body matter is set on a machine as it is needed, as well as such parts of the display matter as can be so handled. Other display lines are cast on slugs from matrices assembled by hand, or set by hand from the cases. If set from the cases, foundry cast type is not used but type is used that has been cast by machines in the plant. Owing to the fact that so many faces and sizes of type are used for display, it is often impractical to change the composing or casting machine for the small amount of any one size, or face, that might be required at one time, thus the matter can be more quickly set by hand from the cases. The machines for making display type, rules, leads, etc., are used mostly to cast such characters and material as are neces- sary to keep the cases full of type and other material, and a reserve of each character in storage as may be necessary for any demand. This plan not only saves workman’s time in distributing type and materials after the form has served its purpose, but also permits the use of new material for every job. PRESS ROOM OPERATIONS If the form is a small one it is usually printed on a platen press, commonly called a jobber, of which there are a number of makes. Outline-vignette halftones, 150 line. Made from retouched photographs. Fig. 1057. Golding jobber No. 7. Fig. 1058. Golding jobber No. 18. Job presses of the smaller and lighter type. LETTERPRESS PRINTING 453 _ Fig. 1059 is an outline-vignette halftone, 133 line. Made from a photograph of a retouched photograph. Fig. 1060 is a line etching on zinc and was made from a pen drawing. Fig. 1059. The Laureate Fig. 1060. Diagrammatic side view Model J press. of the Laureate. Platen press of the larger and heavier type. Such presses are built in different sizes capable of handling forms from about 8 x 10 to 12 x 18 inches. In operating such a press the sheet to be printed is ‘“‘fed’’ to the press by being placed on guides known as gauge pins on the platen. The latter through a rocker like motion carries it to the inked type form in the chase, which is securely held against the bed of the press. Grippers aid in holding the sheet to the platen and in pulling it from a heavy form. The act of bringing the paper to the type with a squeeze to obtain the print on the paper from the type is known as the impression. While seemingly a simple matter this is in reality a rather delicate operation, for the press must be in correct adjustment in order to give just the right amount of squeeze and a firm, rigid and even impression to the entire surface of the form. The arms carrying the rollers with which the type form is inked also operate with a rocker like motion. The rollers receive a fresh supply of ink from the fountain roller as they come in contact with it at the end of their upward motion. This supply is equally distributed over the surface of the rollers during their travel over the ink disc or through contact with distribution rollers, before they pass over the type form. The press so operates that while the printed sheet is being removed and a new one to be printed is being inserted the form is automatically re- inked. Then while the sheet is receiving the impression the rollers are receiving a new supply of ink. Between the alternate operations of inking the form and taking the impression the sheets are being fed and removed from the platen, which process continues until the required number of copies have been printed. 454, COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. Fig. 1061. Miehle two-revolution, two-roller pony cylinder press. Such presses are adapted to the printing of all small work, such as envelopes, letter heads, cards, office forms and miscellaneous pieces, the forms for which contain no large halftones or solid printing sur- faces that require the even distribution of ink or a large amount of it, or heavy impressions. They are usually of the ‘‘clam-shell’’ type of press as shown in Figs. 1057 and 1058. Small forms up to 14 x 22 inches, that contain fine screen halftones from which high-class work is to be produced, or tint blocks, color plates, etc., which require better distribution of ink as well as a heavy impression, are run on a heavier built press. A press of this type is shown in Fig. 1059. This press is of the sliding platen type and in operation the platen is first brought to a position parallel to and then drawn against the form. Forms requiring a still greater impression and a larger and more even distribution of ink than can be obtained on either the light or heavy platen presses are printed on a small cylinder press, commonly known as a “pony cylinder” which will print forms up to approxi- mately 24 x 36 inches, as well as a form as small as a single line of type. Larger forms requiring greater ink distribution and greater impres- sion are printed on a cylinder press of which there are many makes, some of which will accommodate forms up to 46 x 65 inches or larger. PRINTED SIDE DOWN PRINTED SIDE UP DELIVERY DELIVERY QUO OO OO INK | FORM Fy INK PLATE bs FORM ROLLERS FOUNTAIN Line etching on zinc. Made from a pen drawing on which proof from type of the lettering had been pasted. Fig. 1062. Diagrammatic view showing travel of paper through the Miehle pony press. LETTERPRESS PRINTING 455 Outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. Fig. 1063. Miehle two-revolution, four-roller cylinder press. The type form while being printed on such a press is in a horizontal position on a flat surface known as the bed. This oscillates forward and backward under the rotating cylinder, which carries the sheet that is being printed. The cylinder makes one revolution as the form comes forward under it, rolling, as it were, over the type form and causing the paper to take the impression from the type. When the form has traveled the full length of the press, the impression cylinder is auto- matically raised just enough to allow it to clear the type form on the bed of the press, which then travels backward to the point of starting, the cylinder making a revolution without making an impression at this time. These operations are repeated for each impression printed, the form being automatically inked before each impression and the sheet being delivered by the “‘fly’’ which picks it up as it begins to unwind from the cylinder. On most of the presses the delivery device can be changed so as to deliver the sheet with either the printed side or the blank side of the sheet up. Such a press is known as a flat bed, two revolution cylinder, and is the kind of press most used for the better class of catalog, book and job work. UNPR H FORM RINTED PapER PRINTED SIDE DOWN PRINTED SIDE UP ————— BELIVERYSL— be 2 Y ROLLERS e eee Ven ae ee ee ETS \ e260 HH CR ——=s —eaieaeiieaiabietnenasil 2 i eee Bless FRG QE 2 BD TOE LT LE BT OT OT BNA ONG on a INK PLATE - Line etching on zinc. Made from a pen drawing on which proof from type of the lettering had been pasted. INK FOUNTAIN Fig. 1064. Diagrammatic view showing travel of paper through the Miehle cylinder press. 456 COMMERCIAL ENGRAVING AND PRINTING As the tympan, the surface on which the sheet to be printed is placed, on a platen press covers the entire area of the form and all parts receive the impression simultaneously, it is very apparent that it would be difficult, if not impossible, to so perfectly adjust the press and form that the impression obtained will be as even and as uniform as is possible when printed on a cylinder press. On the latter only a very small part of the cylinder is at any one time in impression with the form over which it rolls evenly. ALL PLATES MUST BE OF PROPER PRINTING HEIGHT It is of primary importance that every printing plate be of proper printing height. This applies whether the plate is mounted or un- mounted, flat or curved. Any variation from the standard height means loss of time on the press. If plates are too high, they must be planed down; if too low, they must be underlaid. The first operation by the pressman is to ‘‘level the impression,” i. e., get all plates to the proper height, if there is variance, so that they will print a flat uniform impression. This testing and correcting should be done previous to placing the form on the press, and a most satisfactory method is by the use of the Hacker plate gauge and rectifier illustrated in Fig. 1065B. With this device, the thickness of the plate is taken under printing pressure and the variance is shown on the dial in thousandths of an inch. The instrument applies the same pressure which the plate re- ceives in printing, thus measuring its functioning height which varies from the height without pressure. The plate can then be planed down if too high or underlaid if too low until the proper height is obtained. When all the plates in the form have been treated in this manner, they will print up uniform on the first try and be ready for the makeready proper at once. MAKEREADY Every form, no matter how large or how small, or what kind of press is used, must have the proper makeready before the best results in press work are possible. The principle involved in the makeready is the same for all presses. The object sought is so to equalize the impres- sion as to bring out all characters in the form clearly in the print. A tympan, usually made of a firm surfaced paper under which is paper packing, is first placed over the platen, if the form is being printed on a job press, or over the impression cylinder, if it is being run on a cylinder press, and a light impression is taken from the form on it. Then begins the work of makeready preparatory to printing. The size of the form, the nature of the plates, the condition of the type, the kind of paper on which the job is to be printed and many other factors determine the amount of makeready required, but forms containing fine screen halftones in vignetted finish require more time than any other phase of the work of makeready. This applies especially to job and book work of the better quality. Such work readily shows the effect of insufficient attention to make- ready. In newspaper printing the use of a thick soft tympan with sufficient squeeze or impression to bring all parts of the form in even contact with the soft paper used, and a soft quick-drying ink, make it LETTERPRESS PRINTING ADT Measuring mounted plates under pressure Square halftone, 133 line, with line. Made from retouched photographs. The two halftone negatives were stripped together and the white line between, also that inside the border line, was cut on the plate. Fig. 1065B. The Hacker plate gauge and rectifier with auxiliary equipment. unnecessary to give much time to makeready; but these conditions cannot prevail where good paper, good ink and fine halftones are being worked, for the object is to bring out in the printing all detail in a clean, sharp manner, and at the same time this must be done without showing any impression of the type or plates on the reverse side of the sheet. In fact a good pressman looks as carefully to the back of the sheet as to the face. In printing halftones the shadows require more impression than the high lights. Therefore, it is necessary to cut thin sheets of paper, usually of tissue, and known as “overlays’’ or “underlays,”’ of various sizes to distribute the impression properly as required. In the make- ready of vignetted halftones several thicknesses of tissue paper may be used for the overlay for the shadow or heavy part of the illustration, while perhaps only one thickness is used on the extreme edge of the vignette. It is not unusual to spend several hours on a makeready where a form contains several fine halftone plates, while on the other hand forms made up entirely of type matter in good condition may be made ready in a very short time. HAND-CUT OVERLAYS AND INTERLAYS In preparing an overlay or underlay by this method, a printed impression is first taken of the plate on a paper of light weight but of good enough quality to take a fairly clean print and strong enough to permit handling. This print is placed with the back of the sheet on Pages 449 to 464, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated “Paper Co., Hamilton, Ohio. 458 COMMERCIAL ENGRAVING AND PRINTING the face of a sheet of carbon paper, and the two are placed on a smooth surface. The pressman then marks out the lines for the different over- lay sheets. Beginning with the solids and shadows first, a line is drawn to follow the outline of each solid, the surrounding parts in the next lighter tone are outlined in the same manner, and so on the different tones in the illustration are outlined in accordance with their strength of color. The extreme high lights require no underlaying, hence are omitted entirely in the underlays. The print with the outlines indicat- ing the overlays is now placed face down and on the back of it are found the outlines of the overlays, these having been transferred to the back of the sheet by the use of the carbon sheet. A sheet of tissue is placed over the traced outlines and with a sharp knife is outlined to correspond with the part of the illustration it is to cover. Each sheet of the over- lay is cut in a similar way, after which the sheets are pasted together one on top of another in their respective places. Then the entire over- lay is pasted to the sheet under the top sheet on the platen or that on the impression cylinder. Some subjects can be made ready better by using the cut-out method, utilizing one or two or more sheets of paper that are heavier than tissue, each being designated as a ply. Thus the overlay would be called a one-ply, two-ply, or three-ply overlay, depending upon the number of sheets used. By this method, after the print has been taken on as many different sheets as there are to be plys in the overlay, all of the middle tones and the high lights are cut away in one. In the second sheet only the lighter middle tones and high lights are cut out, while in the third sheet only the extreme high lights. These sheets representing the different plies of the overlay are now pasted together one on top of the other and mounted on the sheet underneath the top sheet. If there are several halftones in the form, each must have a separate makeready, as must also the type that is being run in the form. If plates are mounted on blocks that are not type high, they must be underlaid with cardboard or paper to bring them up to type height; or if they are higher than the type they must be removed from the form and dressed down to type high. Letters and other characters in the type form that are worn to such an extent that they are lower than surrounding type must be either replaced by inserting new type or built up by underlaying so as to print properly. The greatest thickness in the overlay is placed so that it comes di- rectly over the heaviest, usually the darkest, part of the illustration when the impression is being made. Considerable skill is required on the part of the pressman for proper makeready. Therefore, it is not so much the amount of time he may give to a form as it is the manner in which he makes the makeready that is responsible for results. Some pressmen prefer to place at least a part of the makeready be- tween the halftone plate and the block on which it is mounted. When this plan is to be followed, the engraver should be so instructed when the plates are ordered, so that they may be mounted in such a way as to be easily removed from the block for the insertion of this interlay before they are mounted permanently for printing. The nature of the LETTERPRESS PRINTING 459 The view at left is a square finish halftone, 150 line, no line, made from a marked first press proof. It shows the shape and position of each of the six sheets of tissue and the order in which they were pasted up for the overlay which was pasted under the top sheet on the cylinder in printing the halftone at the right. The plate at the right is a square halftone, 150 line, no line, and was made from a photograph of a carving on stone. Fig. 1066. Method of making a hand-cut overlay. plate, the kind of press and the skill of the pressman are all factors to be considered in determining as to how the proper makeready may be accomplished. A good print can be made from any good halftone, except vignettes, without overlay or underlay if sufficient pressure be applied and good ink and good paper used. This method, however, while not injurious to the plate for a few impressions on a hand press, would be damaging to the plate if followed in printing on platen or cylinder presses, be- cause the edges of the plate would wear down quickly and the plate would thus lose its fine printing qualities. OTHER OVERLAY PROCESSES In addition to the commonly used tissue paper process of overlay, and the cutout method, there are also in use a number of patented processes for the making ready of halftones and other plates. By the mechanical chalk relief process the halftone for which the overlay is to be made is placed on a job press and after it is inked with a special ink, three prints, one on top of the other, are made on a hard- surfaced paper. A sheet of special chalk-coated overlay board is then placed on this print and a printed impression is then made on the reverse side of the overlay board with the plate. In the operation the print on the hard surfaced paper is off-set to the back of the overlay board, which now has a print on both sides, one being exactly opposite the other, the one on the back of the board being of course in reverse. The sheet of overlay board is now passed through a special etching solution which through erosion removes the chalk coating on the sur- face except on the part to which the ink was applied in making the impression. The ink on the printed impression acts as a resist to the 460 COMMERCIAL ENGRAVING AND PRINTING etching solution and retains in relief all details as represented by the print. The etched overlay is now placed under the sheet of packing on the press to register with the plate in the form and with a sheet or two of soft paper between the packing and the overlay, and it is ready for printing. It will be noticed that the part of the plate taking the most ink when making the printed impression, likewise retains the greatest height from the surface on the etched overlay. This results in the greatest thickness to that part of the overlay, so that when the over- lay is applied to the plate it gives the greatest impression when the printing is being done from the plate. The Duro-Overlay process is somewhat similar to the chalk relief overlay except that a special powder is applied to both sides of the sheet after the impression has been made with a specially prepared ink and that no acids are used. The coating of the overlay board is soluble in water and the powder which has been applied to the print acts as a resist to the water. Of course where the powder lies thickest the resist to the water action will be stronger, the resist being less strong in the middle tones and still less in the high lights. Both sides of the sheet are treated with sponge and water to remove the coating, after which the overlay is soaked in a special oil which hardens it and makes it pliable. The overlay is used under the packing in the same manner as the chalk relief or paper-cut overlay. A metallic overlay may be made by using a thin sheet of zinc as the base. To make this the halftone is placed on the press and a print is made from it on a sheet of zinc carrying all the ink possible but ob- taining aclean impression. The print is then dusted over with dragon’s blood, and the plate is heated and etched as in the process of making line etchings on zinc. After etching, the plate is ready to be used as an overlay under the packing in the same manner as other overlays. Typolith is a system of soft-hard makeready, the basis of which is a metallic overlay to which is added a resilient covering of fabric. It is for use on platen and cylinder presses and under license to be obtained from the patentee. It is claimed that by its use good halftones of any screen ordinarily used may be satisfactorily printed on paper of prac- tically any weight or finish. THE MC KEE PROCESS This is a patented process for treating electrotypes so that the makeready is in the plate itself and printing can begin as soon as the plate is placed on the press. The necessary variations in pressure of the printing plate on the sheet being printed, are obtained by pro- ducing in the face of the plate different levels, representing the various graduations of shades and tones in the picture reproduced by the plate. In making plates by this method, after the finished electrotype has been backed to the proper thickness proofs are made from it and these are used in making an overlay, or matrix, as it is called. The matrix while made from the proofs and in a manner similar to that of preparing a hand-cut overlay, is made in reverse of the overlay ordinarily used, LETTERPRESS PRINTING 461 i. e. it is thickest for the high lights and thinnest for the solids of the picture. The electrotype is placed face down in register on the matrix and the whole put through a special machine which shaves off the back of the plate such parts as are supported by the different thick- nesses of the matrix underneath. The unsupported and partially sup- ported portions give way under the pressure of the knife and are thus not shaved or partially shaved off, and on account of the resiliency of the plate they resume their normal position after the pressure is re- moved. The shaved plate with face level and the elevated and de- pressed surfaces of the back, but still in contact with the matrix, is now placed in a press and under heat and hydraulic pressure the raised surfaces on the back of the plate are forced into the depressions of the matrix, thus leaving the face of the plate of variable heights, and the back of it true and level ready for use on the mount or cylinder. While this process is not in general use it is used by many publishers and printers, not only for flat plates for use on cylinder presses but by those who print large editions from curved plates on rotary presses and wherein halftones are used extensively. It has an advantage in being permanent, will not slip or crush, and the same matrix may be used in making duplicate plates without expense for makeready. Also the plates may be used for another edition without expense for makeready. THE CLAYBOURN PROCESS This is a process of makeready for electrotypes, involving special treatment of the plate in the making, and is based on the theory that printing should be done by perfectly even contact between the face of the plate and the paper being printed, and not by pressure. By other processes, the different parts of the plate receive the proper amount of impression to print properly by underlaying or overlaying. In this process special attention is given to five factors, each of which must be right in order to produce perfect printing. They are the plate, the patent base, the press bed, the cylinder and the tympan. These are co- ordinated by correcting the bases, cylinder and press bed by grinding, the use of tympan paper that is uniform in thickness, and by using the special treated electrotypes, the printing face of which has been tested and proven to be on an absolutely level plane. A special tool, weighing approximately two tons, is attached to the press, when press cor- rection is necessary, and under its own power, on its own ways, planes or scrapes both bed and cylinder to meet on a level plane. The process practically eliminates all makeready, it is claimed. ALL OVERLAY METHODS REQUIRE GREAT CARE The greatest of care must be used in the preparation and use of the patented overlays as well as in using the tissue overlays and the cut- out overlays, as the carefulness with which the work is done, and the exactness with which the overlays are placed in position, rather than the process used will determine the quality of the work. When a large amount of printing is done from halftones considerable time is saved through the use of one of the patented processes, some of which A462 CoMMERCIAL ENGRAVING AND PRINTING are sold outright and for the use of others shop rights are sold in ad- dition to the special material. After proper makeready has been completed the gauge pins are set, if the work is being printed on a platen press, or the guides are properly adjusted if the work is being done on a cylinder press, so that the printed impression will be made in the proper location on the sheet. Then after the fountain has been supplied with the proper ink the work of printing proceeds, the sheets being fed to the press one at a time. In the usual run of printing only one side of the sheet is printed at a time. The ink fountain may be so regulated that after proper adjustment when beginning the job, even a long run may be completed with uni- formity in the amount of ink throughout without further attention except to keep it supplied with ink. AUTOMATIC PRESS FEEDING While much of the press feeding is done by hand on short runs, most job and publication work on long runs is now fed with automatic feeders, which are made for use on small job presses as well as for the larger cylinder presses, folding and ruling machines. These feeders are so ingeniously constructed as to appear almost human in their operations. They not only place the sheets in proper position with almost perfect regularity, but they are so arranged that an imperfect sheet will automatically stop the machine before it will allow such a sheet to pass to the printing mechanism. Their use not only insures good work but larger output. They satisfactorily handle practically every kind of paper and can be used economically for most short runs as well as for long ones. Outline-vignette halftones, 150 line. Made from retouched photographs. Feeder raised to permit Feeder in position ready access to platen. for operation. Fig. 1067. The Miller platen press feeder. LETTERPRESS PRINTING 463 Square halftone, 133 line, no line. Made from photographs of retouched photographs. Fig. 1068B. Dexter suction feeder (left), and continuous feeder (right). INK ROLLERS Another very important requisite in the production of good print- ing is good ink rollers, which are an item of considerable expense to every printing establishment, although usually looked upon as not be- ing of much consequence. There is not only the expense incident to wear, but the rollers must be kept resilient and of a consistency suit- able to the season in which they are being used; 7. e. rollers made for the winter use cannot be successfully used in warm weather and those made for summer use cannot be used in winter. Also it is almost neces- sary to obtain new rollers with which to print a very delicate or light shade of tint. Thus, when anyattempt is made to produce a good qual- ity of work it is essential that the supply of rollers be adequate to meet any conditions that may arise. ) SUIP-SHEETING In printing forms on which it is necessary to carry considerable ink to obtain sufficient color on the printed sheet, it is often necessary to slip-sheet the work to prevent the freshly printed sheet from off-setting or smudging the sheet placed next to it. This is done by slipping a clean unprinted piece of paper between each of the printed sheets as they are delivered from the fly of the press. This entails additional expense because an extra operator is required for placing the clean sheets between the printed sheets as they come off the press and for removing them after the printed sheets are dry, and an extra charge is made for it. The necessity for slip-sheeting does not depend solely on the amount of color necessary to be carried on the work. The kind of paper used, the kind of ink, and the weather conditions, are all factors 464, ComMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1069. The Johnson gas burner in use on a two-color Miehle press. which determine whether or not slip-sheeting is necessary. There are ‘nks on the market which have quick drying properties and which can be used for some classes of work, making slip-sheeting unnecessary, although an unusual amount of ink may be carried by the form. The necessity of slip-sheeting is also overcome on some work through the use of a gas burner. This is a device, or kind of gas burner, producing a low continuous flame across the full width of the press and over which the freshly printed sheets pass in their delivery from the fly. The use of this flame not only aids in the drying of ink but is also an aid in preventing trouble on account of static electricity which at times is more or less serious in the press room. One type of burner is shown in Fig. 1069. When it is attached to the carriage delivery, the sheet not only passes over it as it leaves the tapes, but the burner passes forward and backward over the sheet after it has been deposited on the delivery board, thus heating both sides of the sheet. NUMBERING In printing sheets that are to be numbered consecutively, and in the same color in which the form is being printed, a type high number- ing machine may be placed in the form and the numbers automatically printed as the rest of the form is being printed. While this entails an additional expense, the cost will be less than if the numbering is done as a separate operation on many jobs. Outline halftones, 133 line. Made from retouched photographs. Fig. 1070. Standard model. Fig. 1071. Plungerless. Types of numbering machines. LETTERPRESS PRINTING 465 One of these machines will print consecutive numbers, or only odd or even numbers or multiples; duplicate, triplicate, etc., or print ten to a hundred impressions of a number before changing to another and then repeat; number backward, or perform almost any feat of number- ing that can be imagined. SCORING Heavy weight, book and cover papers and cardboards, fold with a more nearly perfect and cleaner folded edge if scored before folding. This is done by feeding the sheets through the press giving them a light impression with a brass rule, applying just enough pressure to make the sheets fold easily and smoothly without breaking. The fold is made toward the raised side of the crease. SPECIAL PRESSES In addition to the light and heavy platen and the small and large cylinder presses mentioned, which are used for the run of ordinary job work, there are a great many special machines built for printing special classes of work. A multicolor press is for printing several colors at one operation. A perfecting press prints on both sides of the sheet as it passes through the press and usually delivers the sheet folded. A web press prints from a continuous roll or web of paper. The duplex is a two cylinder machine printing either from the roll or sheet and printing both sides of the sheet at the same operation through the press. The stop cylinder press is little used, having been replaced with modern presses. In operation the impression cylinder after taking the impression from the type form is automatically raised and remains stationary while the type form is on the backward motion—the cylin- der starting again as the form comes forward under it. There are several makes of small presses on which long runs of small forms can be printed at high speed very economically. These are automatically fed, and some are especially adapted to type forms or forms in which there is a combination of type and line engravings. Special presses are made for printing railway tickets and coupons, amusement tickets of all kinds, dairy, ice, etc., tickets and coupons, paper and cloth bags, labels of every description, cut square or ir- regular, or slit and rewound, gummed sealing tape, recording meter paper and cash register forms, lunch and hotel checks, loose-leaf and manifold work, index cards, merchandise, patched and eyeletted tags, folding boxes, office and factory forms, milk bottle caps and a great variety of jobs requiring a number of colors or operations. Most of these presses print from the roll at high speed and deliver finished products in one passing of the stock through the machine. The New Era press, shown in Fig. 1076, has automatic roll feed, standard sections to print three colors on the face and one on the back of the stock, slitters, punch head and rewind delivery. Attachments may be added for printing additional colors, for perforating across Pages 465 to 480, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 4.66 COMMERCIAL ENGRAVING AND PRINTING UNPRINTED © PAPER ii e ofl | IP - Fig. 1072 is an outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 1073 is a line etching on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1072. The Kelly press with Fig. 1073. Diagrammatic view of paper automatic feeder. travel through the Kelly press. or lengthwise of the web, numbering, reinforcing tags, eyeletting, folding, etc. That shown in Fig. 1075 prints a single color and has punching and cutting attachments and stacker delivery. The Miller High-Speed press, Fig. 1074B, is an automatically fed machine for all classes of job printing including heavy forms, fine halftone and multicolor work. Its speed is from 2,000 to 4,000 impres- sions per hour. A reciprocal movement of bed and cylinder, each of them traveling but half the distance, serves to slow down the periph- eral speed of the cylinder. It will handle sheets varying from tissue to cardboard and as large as 1234x20 inches. | The Kelly press is a three roller, two revolution, job room printing machine, designed especially to do the work ordinarily produced on platen presses but at greater speed. As it registers accurately, and has ample ink distribution, it may be used as successfully for color work as for the better classes of one color work. It may be changed instantly to hand feed, or the reverse, by simply lifting, or lowering, the hinged portion of the feeder while the press is idle or in operation. Sheets as Fig. 1074B is an outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. Fig. 1075 is an outline-vignette halftone, 150 line, and was made from a slightly retouched photograph. Fig. 1074B. Miller High-Speed press Fig. 1075. New Era press. LETTERPRESS PRINTING 467 Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 1076. New Era press. large as 17 x 22 inches may be printed in one color on one side on it at a speed of from 1500 to 3600 per hour. | The envelope and card press shown in Fig. 1077 prints from curved stereotypes or electrotypes up to 10 x II inches in size, or from type forms up to 34 x 77 inches at a speed of from 5,000 to 12,000 per hour. Made up envelopes as small as 2% x 31% inches up to 5 x I 1% inches, and cards from 21% x 3 inches up to 11 x 12 inches can be satisfactorily handled onit. The roll back second color printing attachment makes it possible to print in one or two colors, as desired, at one automatic feeding. The press shown in Fig. 1079 is for printing envelope blanks after dieing out and before folding. It will print in one or two colors the blanks for envelopes ranging in size from 134 x 27% inches to 5 x 11%4 inches, using curved plates up to 12 x 17 inches or type forms up to 4/8 X 77@ inches, at a speed of from 5,000 to 10,000 per hour. TAs Ge 1ST COLOR (prs: FOUNTAINS aes) So) OK ow, veoye PRINTED STOCK <\ PRINTED SIDE UP TOCK, SEPARATOR 7 Ye IMPRESSION CYL aa STYPE CYL 2ND COLOR Fig. 1077 is an outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1078 is a line etching on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1077. Harris two-color envelope Fig. 1078. Diagrammatic view showing and card press. envelope travel. 468 COMMERCIAL ENGRAVING AND PRINTING TYPE CYL. 1ST COLOR AUTOMATIC STOCK SEPARATOR TYPE GYE.. 2ND COLOR. “4 0) PRINTED STOCK AM ©) ——— Wa \ FEEDER CYL. IMPRESSION CYL Fig. 1079 is an outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1080 is a line etching on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1079. Harris two-color envelope Fig. 1080. Diagrammatic view showing blanker. paper travel. The special Meisel press, shown in Fig. 1081, prints from a roll of paper and performs sixteen operations at one time, turning out the waybill form with its many parts, imprints, perforations and carbonized sides complete, with the rapidity of a newspaper press. The collect and prepaid waybill forms for salaried offices comprise six parts, on five of which are imprinted the name of the shipping office, the waybill Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1081. Special Meisel press for printing and finishing waybills for the American Railway Express Co. LETTERPRESS PRINTING 469 Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1082B. Duplex flat bed web perfecting press. number, and in the case of very large cities, the date. One part of the form—the office copy—is carbonized on one side, while other parts are perforated with large round holes and _ half circles, which assist in pasting to the package. The eighth part, or master form, has an extra portion including the shipper’s receipt. This has four carbonized parts and is folded complete. The type of press used by the medium sized daily and weekly newspapers is shown in Fig. 1082B. This prints from flat type forms, on both sides of the paper from a roll, which it also slits, cuts and delivers in 2, 4, 6 or 8 page papers, folded to one-half or one-fourth page size at a rate of 5,000 to 6,000 papers per hour. The Miehle two color two revolution cylinder press is adapted to the printing of long runs of fine color work. In principle this is two presses in one, both printing on the same side of the sheet and each cylinder printing from a separate form. The forms are placed on oppo- C\ TRIANGULAR = FOLDER Rear SLITTER IMPRESSION CYLINDER © Po TYPE FORM oe oan INK FOUNTAIN IMPRESSION CYLINDER INK FOUNTAIN pee Oe TYPE FORM = INK FOUNTAIN INK FOUNTAIN EQUALIZER ROLLS a Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1083B. Showing web lead and features of the Duplex press A470 CoMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 150 line. Made from a photograph of a retouched photograph. Fig. 1084. Miehle two-color two revolution cylinder press. site ends of the bed of the press and each is inked from its own fountain with its special set of rollers. The sheets are fed to the cylinder print- ing the first color and after receiving the first impression they are auto- matically delivered or fed to the second cylinder where they receive the second color. ROTARY PRESSES Where large production and speed are essential rotary presses are extensively used. These are built in many different sizes and styles and are adapted to the printing of about everything from a small single sheet to pamphlet, booklet, periodical, magazine and newspaper work. All type is set and plates of illustrations are made for use on such presses as for printing on flat bed presses. The forms are then electro- typed or stereotyped and the resulting plates are curved to fit the plate cylinder from which they are to be printed. The paper may be in sheets for some of the presses, although it is almost always taken from the roll and receives the printed impression when passing between the form or plate cylinder and another cylinder known as the impression cylinder, the paper being printed on one side and then often on the other by another set of cylinders. Special presses are built for different classes of work but the principle of printing from the rotary cylinder is the same in all. Certain types of this press might be classed as being of regular or stock design, but many are built to order to meet special conditions. All are expensive and some of the larger and more compli- cated machines cost many thousands of dollars. SA Sie PRINTED SIDE UP Nee PRINTED SIDE DOWN DELIVER PER DELIVERY \ uf ve = UNPRI PUPS LL I LITA LS LOS INK FOUNTAIN INK PLATE FORMS Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1085. Diagrammatic view showing travel of paper through the Miehle two-color press. LETTERPRESS PRINTING 47] Outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 1086. Hoe 64-page periodical rotary electrotype web perfecting press and folder. Different presses are made to print, in from one to six colors, any multiple of four pages up to 128 pages at one operation and deliver these pages in various ways. The pages may come from the press on flat sheets or folded in signatures—that is, with the pages of a single sheet folded to their proper position; or they may be delivered, folded and pasted or saddle stitched with wire into complete books, or folded, assembled and bound complete with covers or inserts or both that may have been printed on other presses. These results are accomplished by adding the necessary mechanical units but combining them all in one complete machine. The output of such presses, also is increased by duplicating the plates, thus running two or more sets at one time; or by increasing the width of the web printed or adding equipment to handle additional webs. The rotary electrotype web perfecting presses are used for printing periodicals and magazines, and curved electrotype plates are used on them. The packing on the impression cylinders may be soft, semi- hard or hard, thus permitting adaptation of the makeready to the class of work desired. Just as much time is required for the makeready for printing fine halftones on a rotary press as when they are printed on a flat bed. A separate set of plates is of course required for each color and each set is run on its own set of cylinders, with its own inking mechanism, etc., the printed web or webs being cut, folded and assem- bled for delivery. Presses used for the finer grades of work are built to overcome the difficulties incident to offsetting, although quick drying inks are used. They also provide for the perfect register of color plates. 472 CoMMERCIAL ENGRAVING AND PRINTING I Vg gGgAagGq ad é (6 Vag ad AI Aa Ee 27°24 \/ PRINTS PAGES 9 11 13 15 25 27 29 31 34 36 38 40 50 52 54 AND 56 q Ww HN LN mi mil hl im Vn edo ae pf VeRFFGIG AGA c= - Zz wy [ SECOND CYLINDER PRINTS PAGES: 2 4 6 8 18 20 22 24 8 41 43 45 47 57 59 61 AND 63 PLATE _CYL. AND INKING MECHANISM FOR EXTRA COLOR CUTTING CYLINDER T TURNING ' BARS | CUTTING ener 8 SHEETS, 4 PAGES EACH = 16 SHEETS, 4 PAGES EACH PLATE CYL. OFFSET ROLL DELIVERY COLLECTING AND FOLDING CYL. 64-PAGE_PRODUCT Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1087. Diagrammatic view of Hoe 64-page periodical press and sketch showing one order of arrangement of the plates for printing and the method of slitting, gathering, cutting, stitching and folding the webs. A sheet feed rotary press has some advantages for job work, because almost every kind of stock can be obtained from the paper jobbers in the sheet, while it would be difficult and sometimes impossible to ob- tain special stocks in the roll of required size. Such presses are usually supplied with two automatic feeders, feeding alternate sheets and giving a production that is about double that of the ordinary two revolution cylinder press. The type of press as shown in Fig. 1086 is used for printing farm journal and mail order publications. The one illustrated has four pairs of plate cylinders and an extra cylinder for color printing. Each cylinder will hold plates for sixteen pages, each approximately 1034 inches by 14% inches. The color cylinder makes possible the printing, when desired, of an extra color on sixteen pages. While the machine is designed to print from two rolls, position is provided for the third, which may be of a different kind of paper from the other two, thus providing for a cover when desired. The webs are slit, cut, folded and wire stitched as they pass through the folding mechanism and the complete journals, folded to page size are delivered at the rate of 6,000 to 12,000 per hour, depending on the number of pages and the number of sets of plates used. It also has offset rolls from which sheets of offset LETTERPRESS PRINTING A Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1088. Hoe double rotary electrotype web perfecting press and folder for illustrated periodical and magazine printing. paper may be run between the side of the web first printed and the second impression cylinders, to prevent the sheets from smutting and offsetting on the cylinders as they are printed on the other side. The offset webs are rewound after passing over the impression cylinders and are used again and again. It also has oil fountains with offset rolls, which are also used to prevent offset from the side first printed, sometimes in connection with the offset rolls and sometimes alone. A mixture of kerosene and machine oil is used in these fountains and it is transferred by a composition roller from the fountain roller to a plush covered roller, which is in contact with the impression cylinder and by friction frees its surface of the ink that may adhere to it. The press shown in Fig. 1088 prints from two rolls of paper and has ee Gases tg eee ea ese oe C=2===53 oe PLATE CYL. ¥ i eae En \_4 =o QI A eee] | fesen | oe 9 () a C) O GB] 010 OriivOGioo: iO exe Ow NIA WRAL : . Sea foh a Eom g ~ a C) yy = Oe ane Pag Se . j : Ke) we YAW | Fe ——————— UNPRINTED PAPER “% PLATE CYL. IMPRESSION CYL. PLATE CYL. Line etching on zinc. Made from a pen drawing on which proofs from type of the.lettering had been pasted. Fig. 1089. Diagrammatic view of Hoe double magazine press. 4,74, COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 1090. The Cottrell multicolor rotary press. four pair of plate cylinders, offset rolls and oil offset devices. The folder is provided with two automatic feeders for feeding in, when desired, covers and insert sheets printed or lithographed in advance, the whole being delivered in book form, folded to page size, cut open at the head, side and foot and wire stapled. It will produce 8, 12, 16, 20, 24, 28, 32, 40, 48, 56 or 64 pages and an extra four pages and cover from the feeders, when running as a one color machine, and various combinations as to colors and number of pages which may be printed at one time are possible. MULTICOLOR ROTARY PRESS The Cottrell multicolor rotary press shown in Fig. 1090 prints four colors superimposed upon each other wet. The colors are printed in the same order as though they were being printed on separate presses, but they are all printed while the sheet runs through the press once, the same set of grippers carrying the sheet until all of the colors are printed. This insures accuracy in register, avoids the troubles some- times due to shrinkage or stretching of paper due to atmospheric conditions and the improper drying of ink between printings all of which cause more or less annoyance and spoilage. The pressman is also able to see the final result from the finished sheets at any time and may change the amount of any color as necessary. If the colors are printed one at a time on separate presses it is necessary to depend on matching the progressive proofs furnished for this purpose and the last color must be printed before final results can be determined. It is, of course, necessary to use ink of a special quality in order that the colors may be successfully superimposed while wet. Pages 465 to 480, inclusive are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. “ ga ge ye ee ee ee ee PE a A CRA IE oh LETTERPRESS PRINTING AT5 PLATE CYLINDERS USUAL ORDER—BUT NOT ALWAYS YELLOW BLUE BLACK IMPRESSION CYLINDER Oe fa eee 2 S== res WHITE SHEET = = 6 ee Se py pas aS] 5 | ty =-~\ TRANSFER { SaaS = ea =~r--—-- 1 I re) = t : qe ei 7 = if are im. | lan ara y I Wa =4 eZ is = ; j L- eA = SLIP SHEET | f Cd ah Ne TRANSFER | y | | | er Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1091. Diagrammatic view showing travel of paper through the Cottrell multicolor press. The press consists of one large impression cylinder and four plate cylinders, each with its own inking mechanism. The sheet is taken by the grippers on the large impression cylinder, is carried under the yellow printing mechanism, then the red, then the blue and finally the black, delivering the sheet completed; and at the same time automatically delivering a slipsheet if desired. Naturally, the four colors take their impression at the same time on the one impression cylinder and it is manifestly impossible to make the four forms ready on the same im- pression cylinder by ordinary methods. This condition is met by the use of the McKee process of makeready which is described elsewhere. This press may also be used for printing one, two or three colors. Rotary newspaper web perfecting presses print from stereotype plates curved to fit the plate cylinders. Electrotypes are not used on newspaper presses ordinarily, because, although they would produce better printing results, considerable more time is required for making electrotypes than for making stereotypes. As time is an important element in the printing of newspapers, very little attention is given to special makeready. The color printing features, as well as the ca- pacity, folding and delivery of the product from newspaper presses are the same as with the magazine presses, except that they are so con- structed as to be especially adapted to newspaper work. To meet conditions in the required output, newspaper web per- fecting presses are built in a great number of styles and sizes. Among the factors to be dealt with in building these presses, nearly all of which are built to order, is the size and number of pages, number of colors to be printed, number of copies that must be produced within a certain time limit and the shape and size of the space in which the press is to be erected. They are all made to print from curved stereotype plates, although curved electrotypes or nickletypes may be used for long runs or color printing. A press with a maximum capacity of 32 pages is commonly referred to as a quadruple press, 48 pages as a sextuple, 64 pages as an octuple, 80 pages as a decuple and those with capacities doubled as double quadruple, double sextuple, etc. The press shown in Fig. 1092 prints from eight rolls of paper at one time, eight pages on each side of each web—128 pages in all, slitting, A476 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 1092. Hoe double octuple newspaper perfecting press with units superimposed. collecting and folding them into four 32-page sections, two of which are delivered in front as shown and two in the rear, at the rate of 18,000 of each section per hour. Either end of the press, or any one or | any number of the decks can be operated, if desired, while the re- mainder of the press is idle. This and the option in changing width of | webs and manner of gathering, folding and delivery, makes it possible to produce a wide range in the product and by decreasing the number of pages and duplicating the plates the speed in delivery is increased. Also either or both ends of the press may be used for color printing as ) Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Drawing was made of only one end of the press and when making the etching a duplicate negative was “reversed” and stripped to join with the first. Reference letters and a style of type were selected that would not appear backwards when reversed. Fig. 1093. Diagrammatic view of Hoe double octuple newspaper press. g LETTERPRESS PRINTING ATT Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1096. Hoe machine for cutting, creasing, scoring and printing in two colors. for the comic sections of Sunday papers. The solid lines in the diagrammatic view in Fig. 1093 indicate the lead or travel of the webs when the press is used for printing in one color and the dotted lines indicate the travel if one color is being printed on one side and one, two, three or four on the other of two webs on opposite ends of the press. The reference letters A indicate the unprinted rolls of paper and the lead of the different webs through the press; AA, offset Tollcomelds inking mechanisms; M, plate cylinders; W, impression cylinders; Y, folders and X the deliveries. Single revolution flat bed cylinder presses are used mostly for coun- try newspaper work. The impression cylinder makes only one revo- PLATE CYLINDER—1st COLOR FEED BOARD “ eae Say — ac so Se INK ROLLERS — BON eget Eee= o: {iS PLATE CYLINDER 2nd COLOR SCORING AND CUTTING FORM Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1097. Diagrammatic view of Hoe cutting, scoring and printing press. 478 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1098. Langston press for printing corrugated and fiber board. lution while the type form passes forward and backward under it. The cylinders on such presses are much larger in diameter than those on the two revolution cylinder presses, since the circumference must equal the distance traveled by the bed in both the forward and backward movement. In order that the cylinder may clear the form while on the backward movement, the surface of one-half the periphery is lower than the remaining half which comes in contact with the printing form while the printing impression is being made. Such presses are also so built to give easy and quick access to the type forms while on the press, thus permitting of corrections in the shortest possible time. While they may be used for ordinary job work in addition to newspaper printing, they are not adapted to fine halftone printing for booklet or DISTRIBUTING ROLLERS INK FOUNTAIN ped SECOND COLOR Pio ; DISTRIBUTING CYLINDERS ‘INK FOUNTAIN FIRST COLOR DISTRIBUTING CYLINDERS + _ IMPRESSION CYLINDER Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1099. Diagrammatic view of the Langston press for corrugated and fiber board. LETTERPRESS PRINTING 479 catalog work because of their light construction and inadequate ink distribution and usually their inability to give close register. The machine shown in Fig. 1096 is used for printing, cutting, creasing and scoring paper, cardboard and other materials for boxes, cartons, etc. The printing is done from curved plates 14-inch in thick- ness fastened to the plate cylinder. The cutting is done by sharp- edged steel rules .923 in. high, and the scoring and creasing, at the same operation, by blunt-edged steel rules -918 in. high, which are locked up on the bed of the machine. Either or both of the printing mechanisms may be used or silenced when cutting or scoring. The press shown in Fig. 1098 will handle flat sheets, fed singly, as large as 50 x 126 inches, printing them in one or two colors and slitting and scoring them one way at the same operation if desired. The type cylinder is spirally grooved for holding metal or metal backed curved plates, or the machine may be equipped with maple lagged cylinders to which rubber type can be tacked. The McDonald printing machine shown in Fig. 1100 will print eight different colors in one operation and at a speed of 100 yards a minute. It has eight printing nips, each of which is a unit for printing one color and they all work in common with a central impression cylinder. Each nip holds an engraved cylinder and a color box in which there is a brush roll which transfers the special color from the pan on to the printing cylinder. The design on each printing cylinder consists of only that part of the complete design which is to be printed in the one color, thus a combination of all the different colors represented by the different cylinders is required to produce the complete design. Designs em- ploying eight or a less number of colors can be printed on the machine with the passing through once of the material. As the sheet passes tae __'NK ROLLER 4%-IN DIAM Fig. 1100 is an outline-vignette halftone, 133 line, made from a slightly retouched photograph. Fig. 1101 is a line etching on zinc made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1100. Fig. 1101. The McDonald machine for printing wall paper, silk and cotton. A480 COMMERCIAL ENGRAVING AND PRINTING between the first engraved cylinder and the central cylinder, it receives the first color, the second from the second cylinder and so on, the ma- terial being printed complete after passing the last cylinder. The blank material is taken from a roll and after being printed, is carried on an endless belt a sufficient distance for it to dry before being re- rolled. The mandrel of each printing cylinder is geared with a central gear on the large cylinder and this with the positioning of the nips and the uniform diameter of the cylinders, insures proper register. This style of press is also made with a less or greater number of nips. | The cylinders for printing wall paper are of wood and the designs or patterns for printing are built in relief on these cylinders with pins, pieces of wire and sheet brass. The outline of the designs are first Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1102. Loyster press for printing and die cutting milk bottle caps and similar articles. drawn on the cylinders, then the brass pins, without heads but with flat tops of different shapes—square, round, hexagon—and other material are inserted as necessary to form the printing surface. The cylinders for silk and cotton are engraved or etched intaglio on a copper shell which is pressed over a steel mandrel and when printing the ink is scraped off the raised surfaces with a knife just before the cylinder comes in contact with the cloth, the ink remaining in the design, which is represented by the depressed parts of the surface of the cylinder, and as the impression is made the ink is taken from them as in the process of printing rotary photogravure. The special press for printing in two colors and die cutting milk bottle caps and similar articles, as shown in Fig. 1102, is fed from the roll, using cardboard 13 inches wide. A printing head for printing flat electrotypes eight-up is employed for each color, and they are so con- structed as to be adjustable for register with each other and with the cutting dies. As the web of cardboard passes intermittently under the printing heads, it is printed first in one color, then in the other. It then advances step by step to the cutting dies, by which the printed caps are cut out eight at each impression, and are deposited on a can- LETTERPRESS PRINTING 481 vas belt and conveyed into a paraffining machine where they are coated with hot paraffine on both sides and edges and delivered at the rate of 75,000 per hour. COST OF PRINTING The successful printer—and the successful one will in the end give greatest value for money expended with him—bases his charges on the cost of production. He has an accurate system of timekeeping and costs, which enables him to make proper charges. The items involved in compiling the cost of any piece of work include the preliminary work in laying out the job, if this has not been done before it was turned over to him, the composition—hand or machine, or both—proof-read- ing, correcting the proof, making alterations, the imposition of the forms, the locking up of them, the makeready on the press, reading the press proof, the press work, the ink, the bindery operations, as may be required, the cost of stock, art work, engraving, or any other mater- ial that may have been used in the job, delivery of the finished product, distribution of the used type back into the cases and the wrapping, filing and storage of plates. And to this must be added a percentage for expenses such as salaries, light, rent, heat, spoilage, depreciation, non-chargeable time, interest on investment, etc. Miscellaneous job work can not be billed fairly, either to the buyer or producer, at a fixed rate for stock, composition, presswork or binding. The cost of paper will vary depending on the size, quality and quantity and the amount of matter to be set, as well as the manner in which it is to be set and made up must govern the cost of composition. Extremely light weight papers, as well as very heavy ones, and forms containing many vignetted halftones or large areas of solid colors, are difficult to handle and therefore can not be printed as speedily as forms made up of a moderate amount of type matter and printed on medium stocks— these conditions as well as the size and kind of press and amount of ink must determine the cost of the presswork. Likewise binding ma- terials and operations, under different conditions vary greatly in cost, thus the only equitable method of estimating and billing the labor on any job is on the hour cost basis, while materials must be billed on the basis of actual cost. GENERAL All work produced in an experimental way at the customer’s re- quest is considered an order; hence, all composition, sketches, draw- ings, plates, press work and bindery work and materials, although used in a preliminary way, are charged for. While prompt delivery is an essential requisite to good service, every department to which the work must go should be given at least a reasonable length of time in which to contribute its part toward the work. Unreasonable demands for delivery usually result in errors of a more or less serious nature and the general quality can not be brought up to that which might be expected if proper time is given for the exe- cution of the work. Special rush orders, when occasion arises for them, which necessitate interference with other work or require over time work call for extra charges, depending upon the extra cost of produc- tion. A482 COMMERCIAL ENGRAVING AND PRINTING The greatest aid that can be given a printer to enable him to turn out good work quickly is the proper preparation of copy, which will obviate the need of extensive alterations in proof when submitted, thus making it possible to send forms to press quickly after the prompt return of proof. Good printing at the lowest possible price is obtained through co- operation with your printer. Give him a carefully prepared, accurate layout of what you want; get the copy to him in ample time, as haste usually means poorly printed plates on account of lack of makeready; smudged copies, because they could not be given time to dry properly before handling; and poor printing generally. Don’t hold the proof until the day before the job is wanted then expect it to be completed on time. See that all changes to be made are looked after before the job is on the press, thus saving press time as well as making it more convenient to make the alterations. The impression often prevails among business men that the smaller printing establishments or shops for various reasons can turn out work more economically than the large, well equipped establishments. Cost finding has established the fact that there should be but little, if any difference. Machinery and other labor-saving equipment represent a consider- able original investment and this together with idle time, deprecia- tion and insurance, must be considered as a part of the cost of opera- tion; and while the use of such equipment is conducive to efficiency and economy of service as well as quality, a charge must be made for it commensurate with the cost. “Fig. 1125. HE literal meaning of the word lithography is ‘writing on stone” and until recent years all the designs were engraved or drawn on stone and printed from stone. While many of the designs for use on stationery and blank forms are still engraved on stone, from which transfers are made for offset printing, the greater part of the plates used in offset printing are made by photo-mechanical processes from drawings or photographs. Although lithographic printing has been generally superseded by offset printing, some work is still done by the old method and as offset printing is a development of lithography a description of the older method will be helpful to an understanding of the new. The principle involved in working these processes is based on the well known fact that grease, or oil, and water will not mix. The lines which form the subject to be printed are laid upon the plate or stone with a greasy ink and during the process of printing the remaining surface is kept constantly dampened with water. As the ink roller, which carries the same greasy ink as used in making the design, passes over the surface, the ink adheres to the lines in the design but is rejected by the remainder of the surface which is damp. The paper to be printed is then placed upon the plate or stone, pressure is applied, and the design thus imprinted upon the sheet. The plate or stone is then re-damped and re-inked for each printed impression taken. Lithographed work and offset printing may be identified by the clean, sharp, fine lines which are in a soft, even color, such as is notice- able on stationery printed by these methods and the uniformly well covered solid surfaces on large work, such as posters. Another indica- tion of it is the absence of any trace of indentation of the printed design on the reverse side of the printed sheet that might have been caused by squeeze in making the impression as in letterpress printing. ORIGIN OF THE PROCESS It was in 1796 that Senefelder discovered, near his home in Bavaria, a certain limestone formation which possessed an equal affinity for both grease and water. The story is that he chanced to write some memoranda on a convenient stone with crayon, and the idea then occurred to him to endeavor to obtain an impression on paper by cov- ering the letters with printing ink. It worked, and Senefelder, being *Square halftone, 133 line, no line. Made from a wash drawing. A484 COMMERCIAL ENGRAVING AND PRINTING very anxious to discover some cheap method of printing, soon per- fected the process to a point where it was available for commercial purposes. While the process was continuously developed, its greatest growth both as to volume of work produced and the quality of it has been since the advent of the offset method of printing. USES AND ADVANTAGES It is well adapted to, and extensively used for, printing bank and office stationery, such as letterheads, checks, drafts, stock and bond certificates, insurance policies, diplomas and other forms that must be printed on a paper capable of being easily written on as well as being well printed. It is practically impossible to obtain on the papers usually used results that will compare favorably with those obtained by this method, by printing such work from type or relief plates on letterpress, especially if the work embodies a design or illustration in fine line, halftone or stipple. By far the greater part of the better class of labels, in one or more colors, is printed by this method. This is true not only because of the high class work it is possible to produce, but also because of the reason- able cost of large quantities, for the design can be duplicated at small cost and this permits the printing of several at one time, thus reducing the number of press impressions. Until the advent of three and four color halftone process plates, all of the better color printing was done by lithography. Offset printing is now used extensively in the production of art subjects, magazine covers, calendar backs, display and street car cards, hangers, etc., in competition with halftone process color work. It is also extensively used for posters in one or more colors for bill boards and other large display work, because of its low cost as com- pared with that produced by other processes. CLASSES OF WORK The details of the process differ according to the requirements of the work in hand. It might be grouped into three general classes of work-—‘‘ink” or “line,” “chalk” or ‘“‘crayon” and = -photegrapait=s The first is used to designate the various forms of black and white, com- monly called commercial printing; the second to designate poster work and the reproductions of art, usually in colors, and the third photo- mechanical processes by which drawings in line, pencil, crayon or wash, and photographs, may be reproduced in press plates for offset printing. In line and crayon work, the design may be drawn directly upon a printing plate or stone, or engraved on stone to be transferred to the printing plate, or drawn upon transfer paper and then transferred to the printing plate or stone. Fine line work must be engraved on stone or photographically reproduced from drawings as it cannot be drawn on a metal plate. Methods are also modified to meet existing shop condi- tions, as the personnel and equipment in one shop might make a method practical there that would be impractical in another shop. LITHOGRAPHY AND OFFSET PRINTING A485 LITHOGRAPHIC STONES The best stones for lithographic purposes still come from Bavaria. Stones of a similar composition are quarried in other parts of the world, but their quality is somewhat inferior. They are furnished to the trade in slabs three to four inches thick, and ranging in size from 6 x 8 to 44 x 62 inches in area. These stones vary in color, being found in light and dull shades of cream, dull yellow and gray. When the design is sketched directly on the stone, a light, even color is desirable, in order that the lines may be visible, but for transfer work this is immaterial. The surface of the stone has to be very smooth and level before the subject matter is placed upon it. The smoothing is accomplished by grinding the face with sand and then polishing with pumice stone and emery. It is also necessary that the reverse side be relatively parallel with the printing surface, or the pressure applied in printing would cause breakage. SKETCHES As in other processes of engraving and printing, when an original design is being made up, the first step in the making of a lithograph job is the preparation of the sketch or rough layout. After this has been approved, a tracing of it is made from which a rough transfer is taken to the stone on which it is to be engraved. In case the sketches are not made by the lithographer, the artist should, of course, be told . that the sketches are to be reproduced by lithography, so that a design may be made which is practical for lithographic reproduction. ENGRAVING THE STONE The stone after being carefully cleaned is polished with a thin solu- tion of gum arabic, which is then washed off, leaving a thin film of the gum in, rather than on the stone, thus making the entire surface imper- vious to grease. The design having been traced from the sketch to the stone or sketched on the stone, then is scratched (engraved) in the film of gum by means of sharp pointed steel tools. The subject or design is engraved backwards, or in the reverse position, so that when the impression is pulled from it, the print will be in the right or positive position and thus read from left to right. The engraving is a very tedious process, as practically all of the work has to be done under a magnifying glass and with great care. This applies to commercial work such as letterheads, etc., in which the detail is small. While of course care must be exercised in engraving larger subjects, the use of the magnifying glass is unnecessary. The engraved lines are made very shallow, the aim being to cut only through the prepared surface, which is very thin. This uncovers the absorbing qualities of the stone at these points, and it will then take the ink. The amount of work neces- sary to make an engraving and the time it takes can hardly be appre- ciated without seeing it done. It often takes several days to complete a very small picture, such, for example, as a view of a large build A486 CoMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 133 line. Made from a slightly retouched photograph. Fig. 1126. Engraving on stone. After the pictorial and decorative parts and the special designed lettering have been engraved, the smaller lettering is engraved with an engraving machine or by hand, or it may be added later by trans- ferring, if the lettering is to remain a part of the original engraving, otherwise the lettering would be transferred direct to the printing plate, since practically all patching of proofs from type or other pre- pared designs is made up at that stage. The shaded background and vignettes, as well as the shading on lettering and other ruled work, are etched on the stone after the special ground for it has been prepared and ruled with a ruling machine similar to that illustrated in Fig. 1127, the diamond point on the machine cutting lines through the prepared surface and permiting the chemical when applied to act on the surface of the stone. The ruled shading and mechanical stippling may also be done with a shading machine, using a transfer ink, in which case this part of the work must be done after the incomplete design has been transferred to the printing stone or plate. Nearly all black and white lithographic work is first drawn or engraved by hand upon small flat stones, about 6 x 8 inches in size and Outline-vignette halftone, 150 line. Made from a black on white print from halftone, 150 line, four inches wide. Fig. 1127. Lithographic ruling machine. LITHOGRAPHY AND OFFSET PRINTING A487 Outline-vignette halftone, 133 line. Made from a slightly retouched photograph. Fig. 1128. “Sticking up” transfers on a layout sheet. about three inches thick. From these the engraved subjects are after- wards transferred to facilitate printing, and to preserve intact the original engraving, to a much larger printing stone which is used on the lithographic printing press, or to a plate for offset printing. Small stones are used because they are more convenient for the engraver to handle, and they occupy less space when filed away; also because, as the designs become obsolete, the smaller stones holding only a few designs, can be ground down quickly and used again or discarded; whereas large stones holding many designs might have to be preserved for a long time even though most of the designs engraved on them were obsolete. The fact that transfers can be inexpensively made from the original engraved stone makes it practicable to run more duplicates in one form by lithography than by any other process. This greatly shortens the time required for press work in running off large editions. The S | ye | | pa Ki Tr" NEN GRANTE | 4 A ! 0% AON yer. } oKIPLING } g R ¢ DAKDALE * ’ : : j i Fig. 1134B. The separate engravings for a three color subject. Pen stippled on stone and printed by the offset process, Neste) en en ee eo aa ieee Fig. 1135B. Drawn in crayon and etched on stone. Printed by the offset process. LITHOGRAPHY AND OFFSET PRINTING 49] ANY Bee CORN NY PN RAT i Ny My AN KY ; oY” ANWR AHN 4 Ni, NZ WQS mh 1 Yok EY pes mT / r y / \Geaes i LVR BB KNiih) C) C) Ke AUTOMATIC PILE FEEDER coyavag ax RUBBER BLANKET CYL. eC @ UNPRINTED @ SHEETS 4 lo) IMPRESSION CYL. | (eo) a, , a) 2—* 000 (a= ———— 1 ; 5 QOOOO =i ———— i CHAIN DELIVERY O= =e | J PRINTED SHEETS O aS PRINTED SIDE UP pease sal OO) — seem Oa Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. y AN ‘ay St 3 Fig. 1162. Diagrammatic view showing paper travel through Harris offset press shown in Fig. 1161. 516 COMMERCIAL ENGRAVING AND PRINTING Comparatively few printers are equipped to do stone lithographing or offset printing. It has been taken up almost exclusively by houses specializing in lithograph work of one kind or another. WINDOW TRIMS Most of the large special window trims are produced by the litho- graphic process. The idea is first worked out in a sketch or dummy, the design is then engraved and printed in sections by lithography and after this the sheets are mounted, die cut, and assembled or so arranged that they may be readily put together when delivered to the person who is to use them. Square halftone, 150 line, no line. The view at left was made from a retouched photograph and that at right from a black on white print from a halftone. The two halftone negatives were stripped together and the white line between was cut on the plate. Fig. 1163. Machine for graining zinc and aluminum plates (left) and a stone grinding machine (right). PRINTING ON METAL The printing and decorating on tin in one or more colors which is extensively used for signs, containers, etc., is done by the offset process. In fact, tin had been printed by this process long before it was discov- ered that it could be applied to paper. The sheets of thin rolled steel on which a layer of molten tin has been deposited by dipping are made in standard sizes which may be cut and printed in sizes as required. Sketches of subjects that are to be reproduced on tin, especially those that are to be printed in several colors, should be prepared by one who is familiar with the methods used in printing tin, since there are tech- nical points to consider, especially in the white and gold or lacquer printing, and when these colors are used not only as the base but in effecting some of the color combinations. The printing is done on special presses of either the flat bed or rotary type and the sheets after printing are stoved or baked, to give the colors permanency. This is a special branch of lithography in which only a limited number of con- cerns are engaged. The press shown in Fig. 1164 is used for lithographic printing on tin and metal sheets for boxes, signs, crown caps, dials, etc. While Pages 513 to 520, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. LITHOGRAPHY AND OFFSET PRINTING 517 Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1164. Hoe two-cylinder lithographic press for metal decorating. it is built to print from stone, it can be arranged for printing from zinc or aluminum plates by the use of a false bed. The large lower or transfer cylinder is covered with a rubber blanket which receives an impression from the inked stone or plate as it passes underneath. The blanket then “‘offsets’’ the impression to the sheet of metal as it is fed between the transfer cylinder and the upper or impression cylinder. As but one color is printed at a time the sheet of metal must, of course, be run through the press for each of the colors to be printed, when printing color work. The methods of making the plates or stones for metal printing are the same as for making them for printing on paper. The machine illustrated in Fig. 1166 is made for printing tin or metal sheets in one color from a maximum size of 26 x 34 inches down IMPRESSION CYLINDER : FEED BOARD DELIVERY BASKET Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1165. Diagrammatic view of two-cylinder metal decorating press. 518 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1166. Hoe rotary offset press for printing on tin and sheet metal. to a minimum size of 17 x 21 inches. It is capable of a running speed up to 2,800 impressions an hour, depending on the ability of the operator, the kind of stock used, and accuracy required in register, and is for high grade work—solid colors or delicate tints—in accurate register. DRY OFFSET PRINTING For some classes of work, such as tint backgrounds for checks, offset printing is done without the use of the dampening rollers. The INK ROLLERS INK ROLLERS PLATE CYLINDER —>~ ( WATER ROLLERS OFFSET CYLINDER IMPRESSION CYLINDER ee DELIVERY Pepe, —- <== 9 TIN Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1167. Diagrammatic view of Hoe rotary offset press for printing metal. LITHOGRAPHY AND OFFSET PRINTING 519 zinc plate is etched to give the lines and characters that are to print a slight relief from the plane that is not to print. Then in printing, only the lines in relief receive the full charge of ink and print the full color, although there will be more or less of a tint between lines. The process is practical only when the subject to be printed is made up of lines closely assembled, as if the design contains large open spaces, these would not be deep enough on the plate to prevent the sheet of paper from becoming smudged or offset while being printed. This process is also used to some extent for printing tin. *Fig. 1175. than the one above. It is also known—depending upon the country in which it is used—as litchdruck, photo-typie, alber- type, artotype and heliotype, and in Europe the process is generally designated as collotype; this term coming from the Greek word, ‘‘kolla,’”’ meaning glue or gelatin. In this country it is also some- times incorrectly called photogravure. 4 Y ARIOUS titles are given to the photo-gelatin process other ADVANTAGES OF THE PROCESS The chief advantage of printing by the photo-gelatin process is that there is obtained a true photographic gradation, absolutely un- broken by any line or screen. This condition and the yielding qualities of the printing plate make it possible to produce by this method softer prints than by lithography or photogravure. The shallowness of the printing plate, however, does not permit the heavy application of ink in the shadows that is possible from a deeply etched photogravure plate. The ink on a photogravure print may be almost felt in places, whereas a print from gelatin has practically no thickness at all; the photo-gelatin has absolute smoothness and softness, whereas the photogravure may be made to give great strength and richness, as well as softness. USES TO WHICH IT IS ADAPTED For the better classes of reproductions, when only a small run is required, it is one of the most economical processes known, owing to the small initial expense in the preparation of the plates. It can be used for all the purposes detailed in the article on photogravure, as well as many others. It is especially adapted to small posters, theatrical pictures, trade advertisements and fashion plates. The subject is fre- quently duplicated on a larger plate when large quantities are ordered, so that more than one copy may be printed at each impression. Photo-gelatin prints are also largely used as a substitute for photo- graphs of silverware, furniture and other manufactured articles when a small quantity of reproductions is needed and something better than a halftone print and less expensive than an actual photographic print is desired. The process is frequently used for reproducing wash *Line etching on zinc. Made from a pen drawing. "OdBOIYD ‘JooT}g U0PBUIGSE AA STE “OD Jodeg Zuriq A, 94} Aq opeur ‘az1y ‘onbywy dose -q] 09—EgexTz TO poqulig ‘ssoooid unvjed-ojoyg oy} Aq opeut und y ‘“goyTT “Stq = Sateen Seen Oey ed COS eee > —- - ws t & ma ed aaa , . 4 iF ‘ - - ‘ * ft * \ + wy ¢ 4 wv « : ? a \ ‘ wo . . THe PHoro-GELATIN PROCESS 521 drawings of birdseye views of manufacturing plants when large prints are desired for framing. The prints are especially well adapted to hand coloring. PRINCIPLES OF THE PROCESS Practically all photo-mechanical processes are based on the action of light on gelatin in the presence of a bichromate. Ordinarily, gelatin when placed in cold water absorbs a certain amount of water and expands. In hot water it dissolves. If, however, a sufficient quantity of bichromate of potash, or of ammonia, is dissolved in the hot water containing the gelatin solution, the resultant gelatin and bichromate possesses a new property, after the water has been removed from it. It is then subject to the action of light. Kept away from the light, it still swells in cold water and dissolves in hot water, but if the light is permitted to act upon it, it ceases to have these qualities. This chemical action forms the basis of all photo-mechanical processes in common use. Since the bichromatized gelatin has the quality thus described, it is easy to take a sheet and expose some part of it to light while shielding the remainder. The part thus exposed becomes insoluble, while the shielded part retains its normal condition of solubility. It is thus possible, through the use of a photographic negative, to regulate the action of light on the gelatin as desired. After exposure to the light under the negative the sheet of bichromatized gelatin becomes a reproduction of the negative in varying degrees of solubility and insolubility, according to the degrees of opacity in the negative. Moreover, the sheet of gelatin carries with it the other property of varying degrees of absorption and expansion. So that, in printing from the finished sheet, a picture is obtained that has not only varying degrees of light and shadow, but also varying degrees of relief and depression. In the process most used today, the bichromatized gelatin is poured on a glass plate, and after drying in an oven, is subjected to the action of light through the negative, as just described. By exposure to light the parts where light has acted strongly (the shadows) are rendered waterproof, so that they no longer absorb water. The parts where the light has acted not so strongly (the middle tones) wil! only partly absorb water, while the parts to which no light has been ad- mitted (the high lights) retain the normal property of absorption. In reproducing the negative on the plate, the edges of the negative are covered, so that only the part to be reproduced will print on the gelatin. The negative must be reversed, either by stripping or by the use of a prism, in the manner described on the discussion of the making of halftones. Otherwise the print from it would be reversed. — After exposure the plate is sponged, first with water which opens the pores of the gelatin, and then with a solution of water and glycerin, the glycerin to prevent as far as possible the rapid drying of the plate. In those parts where it has not absorbed water, the ink will be retained. Where water is partly absorbed, the ink also partly adheres, and Pages 521 to 536 inclusive are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 52? COMMERCIAL ENGRAVING AND PRINTING where the gelatin has absorbed its full quota of water, the ink will not adhere. Lithographic ink, which is the ink used in printing by the photo- gelatin process, is grease with color added to it. After the plate is thor- oughly sponged and dried, a roller charged with this ink and passed over the plate speedily reveals the light-produced image. The picture so secured is transferred, by pressure, to paper and the operation is repeated for each print required. MAKING THE PLATE It may be interesting to follow out one of the methods of actually making a photo-gelatin plate and printing from it. As a substratum for the plate, shake to a froth in a bottle ten ounces of albumin or dextrine and six or eight drops of sodium silicate. Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 1177. Hand press for proving photo-gelatin plates and printing small orders. Let it stand for half an hour and then filter. Take the clean plate glass and go over it on one side with the mixture, using a sable brush. Set on edge to dry. Then repeat the operation, this time letting the glass dry the other way up. Repeat once more, flowing a gentle stream over the plate for half a minute and they dry again. When finally dry, coat with a mixture, made as follows: 44 grains of Nelson’s gelatin, soaked for twenty minutes in cold water and heated until melted, preferably by means of a water kettle. Then pour into it the following warm solution, which must not be permitted to reach the boiling point: one-half ounce of water and six grains of ammonium bichromate. Mix well and filter. Take the glass plate with the substratum and flow this solution over it, placing it at once in a drying box. It will dry in a few hours and is then ready for immediate use. It must lie absolutely level in the drying box. THE PHotTo-GELATIN PRocEss 525 Outline-vignette halftone, 150 line. Made from a slightly retouched photograph that was made from a black on buff print from 175 line halftone, 614 inches wide. Fig. 1178. Cylinder press for printing photo-gelatin plates. The time of exposure of the gelatin under the negative will vary from fifteen minutes to an hour, dependent on the character of the negative, density or otherwise, and the prints are made in much the same manner as those from halftone or line negatives when made on metal for etching. After printing, wash the plate in cold water from one and a half to two hours and dry in the open air. This drying will consume about five hours. PRINTING FROM THE PLATE When thoroughly dry, the plate is ready for printing. The glass plate with the gelatin printing film is locked or clamped to the press. It is inked by means of a lithographic roller, freshly inked for each impression. The plate is first dampened with a very weak solution of glycerine and water and this is allowed to evaporate slightly. If the FEED BOARD UNPRINTED SHEETS IMPRESSION CYLINDER oe PRINTED SHEETS COMPOSITION INK ROLLERS LEATHER INK ROLLERS INK DISTRIBUTORS INK DISTRIBUTORS BED FOR : SaSSaaSSSSSSS== Agree GLASS PLATE oe ONS QQQQQ QQ QQ (=p Ile = ere TSO OLele. OOOO OO CUO OOr@® Line etching on zinc. Made from a pen drawing on which proofs of type of the lettering had been pasted. Fig. 1179. Diagrammatic view of photo-gelatin cylinder press. Spat COMMERCIAL ENGRAVING AND PRINTING high lights begin to show a muddy appearance, the plate should be dampened again with glycerine and water. Two colors—usually two shades of the same color—are sometimes used, each being applied with a different roller. The shades most frequently used are blacks, browns, dark greens and dark blues. Both hand and power presses are in use for printing from photo- gelatin plates. A hand press of the type shown in Fig. 1177 is used for proving and small runs, while for large plates and the longer runs a press is used of the type shown in Fig. 1178. Best results are obtained in the photo-gelatin process by printing on hard mat surface ledger and bond papers that are not too rough. Usually, when the run is completed, the gelatin is removed and the plate glass used over and over again. It is obvious that when the gelatin film is removed from the glass it is destroyed. If left on the glass, even though it may have had only a short run, it cannot be pre- served any great length of time for later editions. COPY FOR PHOTO-GELATIN REPRODUCTION Photographs, retouched photographs, wash drawings, crayon drawings, paintings—in fact, any copy that can be reproduced by the halftone process can be reproduced by this process, and as in making a halftone the reproduction can be made to any proportionate size of the copy. The best results are obtained from copy in soft effects rather than from that in strong color with hard lines. Copy in colors is unsuited for direct reproduction, and if used requires the same handling as when such copy is prepared for reproduction in halftone for printing in one color. oS *Fig. 1225. HE use of engraved stationery in its various forms is one of the refinements that have become a part of modern culture, and it can hardly be called a luxury. Its appeal is to persons of dis- criminating tastes, and it has gone forward rapidly during the last few years. No other process of printed reproduction equals copper and steel plate work. In speaking of engraved work, we, of course, refer to the best class of engraving, and not to the inferior work, turned out by some houses that is unfortunately crude in execution and lacking quality in every way. All work cut or engraved intaglio on copper is usually known as copper plate engraving. Many have the impression that copper plate engraving is used almost exclusively for visiting cards and wedding invitations, but the purposes for which it or steel plate engraving may be employed to advantage are almost innumerable. THE USES OF COPPER PLATE ENGRAVING Its principal use is for the best form of social, wedding and party invitations, announcements, visiting cards, birth and death announce- ments, business announcements, holiday greetings, etc., and ina limited way for business or commercial stationery. The various forms for which it is used are usually printed in limited quantities. Plates engraved on copper will produce perfect printed copies up to several hundred im- pressions, sometimes several thousand impressions, the number de- pending upon the character of the work, the stock upon which it is being printed, the manner in which the plate has been engraved, and the skill with which the plate is handled in printing. There is no practical method of hardening copper plates to make them withstand long usage, and the process of printing from them by hand is so slow and expensive that it is impractical to use them for long runs, or on work that may call for frequent repeat orders. While copper plates may be nickel plated and thus increase their length of service, either for hand, or power press printing, usually *Combination halftone, 150 line, square-outline, no finishing line. Photograph of group of plates, slightly retouched, used for background on which lettering was drawn. Outlined letters cut on same plate with halftone. 526 COMMERCIAL ENGRAVING AND PRINTING plates that are to be subjected to long runs are cut on steel and hard- ened. The hardened steel plate with proper handling will give an almost unlimited number of impressions. ENGRAVING THE PLATE In copper plate engraving a piece of copper is used, highly polished on the side to be engraved, about one-sixteenth of an inch thick and slightly larger than the sheet to be printed from it. The text to be Square-vignette halftone, no finishing line, 150 line, from photograph slightly retouched. Fig. 1226. Engraving the plate. engraved is carefully arranged as to form and number of lines. The engraver faintly marks the base line for the different lines to be en- eraved on the plate, then marks the line indicating the top of the body of the small or the lower case letters, and then another line indicating the top of the capital letters, these lines being ruled from left to right on the plate. Faint vertical lines are then ruled on the plate if it is to be engraved in a style of letter the main lines of which are perpendic- ular. If the plate is to be engraved in script, the lines are ruled at an angle to correspond with the main down-strokes in the letters. The words of the text matter to be engraved are now laid out roughly and ~ spaced properly to conform with the design that is desired, then the actual engraving or plate cutting with tool is begun. The text is cut in reverse, i. e., it reads from right to left on the plate. The heavy lines are first cut, usually all of the perpendicular lines on the plate, then all of the light perpendicular lines, after which the cross lines connecting the up and down strokes and finishing points are engraved. The plate is gone over carefully for defects and misspelled words or other corrections, and the guide lines removed by polishing the plate. Designs with vignetted or ruled background may be engraved on copper although they are usually made on steel. The process followed CopPpER PLATE ENGRAVING Sper SS 3 eS Naan ee ~ Square finish halftone, no finishing line, 150 line, made from slightly retouched photograph of engraved plate. Fig. 1227. Illustrating three stages of the work in engraving a plate. First, the letters roughly drawn on the plate; second, the main lines are cut, and third, the hair and finishing lines are engraved to complete the work. is the same as for engraving on steel plate and this is fully described in the chapter on Steel Plate and Die Engraving and Printing. Corrections are made by tapping the plate up from the back, thus eliminating the lines first engraved and securing a new smooth surface to be re-engraved, on which the correction is made. PRINTING FROM THE ENGRAVED PLATE The next step is to place the plate on the press for printing. The plate is attached to the ‘‘plank’’ or bed of the press with a prepared soap, which, while holding the plate rigidly for printing, at the same time permits of easy removal after the printing has been completed. After being made ready to make the proper impression the engraved surface of the plate is covered with ink from a roller, care being exercised to fill with ink all lines that have been cut or engraved in the plate. The ink is then wiped off with cheese cloth and the plate polished by hand with whiting until the entire surface is perfectly smooth and clean, the ink remaining only in the grooves of the engraved lines. The sheet to receive the impression is now placed face down on the plate, marks having been placed on the plate to indicate just where the two upper corners of the sheet shall be placed to obtain proper position of print on the sheet. The impression is now obtained by an operation of the press, which carries the plate under a D roll or tympan on which the makeready or “‘rigging’’ is placed, with a strong even pressure, the CL. yj e | Lu lvos -of/ Mlary: O CUM Y ie, Line etching on zinc from proof from engraved copper plate. Fig. 1228. Print as would be obtained if engraved copper plate was mounted and printed on ordinary printing press. Both 150 line halftones from retouched photographs. Complete press, outline-vignette; the close-up view, square finish and line zinc combination. Reference lines drawn on the retouched photograph, text from proofs of type mounted in required position from which the line etching was made. Fig. 1229. A press for printing engraved copper and steel plates. sheet picking up the ink from the engraved lines. After the impression the bed of the press carrying the plate and sheet is brought back to the point from which it started, the sheet removed, the plate re-inked, re-wiped, and a new sheet put on for the following print. Each sheet printed must go through the same process; the average number of impressions that may be made froma plate such as shown in Fig. 1344B is about two hundred per hour. Visiting cards, of course, are run more rapidly, while larger sheets must be run at a slower rate. Copper plates cannot be printed on the ordinary printing press but require a special press consisting of a bed and roller, the printing mechanism of which is illustrated in Fig. 1229. Some plate presses are equipped with power for making the impression, but the inking, wiping and feeding are all done by hand. The ‘plate printer” inks and wipes the plate and operates the press, while his assistant or ““feeder”’ places the sheets or cards on the plate before the impression and removes them afterwards. If the plate on which the engraving is made is smaller than the sheet on which it is to be printed, the process of printing is much slower and often impractical because of the ink that will accumulate on the edge of the plate during the process of inking and wiping and which, unless carefully wiped off before each impression, is likely to make a dirty edge or line on the sheet around the entire edge or part of the edge of the plate. An extra charge is usually made for handling such plates. MAKING CHANGES AND CORRECTIONS It is usually an easy matter to change a letter or a word where the new word has the same number of letters as the old, but it is more difhcult and sometimes impossible to made additions to an engraved Copper PLATE ENGRAVING 529 plate. The addition of a word or letter may mean the taking out of nearly an entire line, in order that the wording may be properly spaced after the new word or letter is putin. This means, of course, not only taking out the old but putting in the new and on a small plate it is impractical to attempt to make a correction requiring both taking out and putting ina long line. Also it sometimes happens that the original plate is not large enough to permit the addition of extra lines or extra words. Of course, no changes can be made in printed cards or sheets that have been incorrectly printed. A charge is made for erasing or taking out old address lines, etc., as well as for putting in the new. When an error has been made in engraving a plate and both plate and the work from it have been delivered, return the plate imme- diately to the engraver, but hold the incorrect work, as usually it cannot be corrected and it is a needless expense to return it. It is sometimes possible to add omissions as in the case of extra lines. A plate engraved on copper may sometimes after it becomes slightly worn be re-engraved and repaired so as to put it in good working con- dition, at less expense than engraving a new plate. Customers having corrections or additions made to old plates Outline-vignette halftone, 150 line, from 150 line halftone print, reduced about one-third. Fig. 1230. An engraving machine. should not be disappointed by, or blame the engraver for an imperfect match of the new with the old, especially if the plates have had con- siderable use. ENGRAVING BY MACHINE Much of the copper plate engraving of every style is now success- fully done by machine. By this process the plate is first coated with an etching ground and the letters are cut or engraved in the ground by the machine, which works on the same principle as the pantograph. The master letters (which are designed by the best available engravers Pages 521 to 536, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 530 COMMERCIAL ENGRAVING AND PRINTING in the country) are placed in the machine and the operator by following the lines on them rapidly transfers the letters to the copper plate. After the engraving has been made in the ground, an acid is applied to the lines which bites out the metal with a wonderful degree of evenness, thus converting the plate into an intaglio engraving. The ground is then removed from the plate and if necessary a small amount of work is done with the tool and the plate is ready for printing. The machine is so constructed that only one size master plate is required and from this the engraved characters may be made in a wide range of sizes, and from the same pattern plate the letters may be made extended either left or right, or up and down, condensed, or to be made to slant at various angles at the will of the operator. The machine is also so con- structed as to be available for engraving in the same manner on steel plates and dies and on lithographic stone. Machine cut plates are very perfect and a remarkable variety of work is done on the machine shown in Fig. 1230. HOW TO ORDER To execute an order properly the engraver must know the text to be engraved, the style, the quantity, the size and kind of stock, color of ink and the time the work is wanted, whether or not it is desired that the plate be returned with the work and manner of shipment. Most of the copper plate engraving is sold through agencies, such as printers, book and stationery dealers, department stores, jewelers, etc., because the average customer has only occasional use for this class of work. When the work is sold through the agency, the manu- facturing engraver may keep the agent supplied with actual samples of latest. styles, forms, etc., and ordinary business can be handled at less cost than if handled with the engraver direct. The different orders are usually small. By having them collected and sent to him in quan- tity, it is possible for the manufacturing engraver to devote his efforts to the production or manufacturing, leaving the retail selling problem to others. Some engravers, however, handle orders direct from the customer and in the case of orders calling for special treatment, unless the selling agent is well informed in the work, it is an advantage to all concerned in reaching a decision as to just what is wanted. Visiting or calling cards make up a considerable part of the orders from the retail agencies, the individual orders being largely for the plate and one hundred cards, or one hundred cards printed from an old plate. TRADE CUSTOMS AND SUGGESTIONS It is not customary to submit proofs of engraved copper plates before printing the finished job. Hence the necessity of writing all copy plainly. When proofs are submitted, and press is kept idle, waiting for an O. K., or the second makeready is made necessary on account of submitting the proof, an extra charge is made for this special service. To prevent errors, copy should always be typewritten and arranged by lines in the manner in which it is to be engraved. If a typewriter is not available, the text should be printed in Roman characters and plainly, that no errors may be made in the spelling of proper names, etc. Do not give copy over the telephone. CoprperR PLATE ENGRAVING od In the case of wedding invitations, announcements, party invita- tions, etc., it is well to state to the engraver that he is privileged to make such changes in minor details, such as the wording of the unim- portant part, arrangement of lines, etc., provided, of course, there is no objection to giving him this privilege. Delay is sometimes occa- sioned through correspondence necessary to obtain permission for these minor corrections, for unless permission is given, engravers will not assume responsibility for changes from copy. In sending orders to be made up from old plates whether from a plate on file with the engraver or from a plate you are sending, always send a sample of work that has been made from the plate, or describe the text on the plate that it may be readily and positively identified. When sending plates, sender’s name and address should be on the pack- age and it will usually save postage if the instructions are sent separate from the package. CARE OF PLATES In most cases the plates used in the production of copper plate engraving remain in the possession of the engraver. The advantage of leaving the plates with the engraver, especially those from which reprint orders are likely, such as visiting cards, is that the plates may receive proper care in the way of protection from scratches, rust or corrosion, to prevent damage in transit in sending back and forth, and to prevent loss. The engraver has a system of filing which will enable him to locate quickly any plate that may be called for, while the customer, especially the one who orders only infrequently, may have difficulty in locating the plate if it is in his possession when he wishes to re-order. Plates should be kept in a dry place and the less handling they receive the better. The slight discoloration of the copper which occurs between runs does no particular harm, but moisture that may get on the surface, even perspiration from the finger tips, will often utterly ruin the engraving. If you must examine the plate, hold it as the engraver and plate printer do, by its edges. If a rust spot occurs in the engrav- ing its removal will either tone down the engraving or leave a hole in the plate, and these holes and scratches hold the ink the same as engraved lines and must be taken out before the plate can be printed. The best rule is to leave the plate in its envelope or wrapper as it should always be protected from contact with other objects that may scratch or dent it. STYLES OF ENGRAVING Script is more largely used than any other style of letter for copper plate engraving, probably because it is least expensive. The styles of engraving vary in price as well as the qualities of stock which may be used for printing, and the choice of engraving and stock depends largely, therefore, upon the amount the customer is willing to spend for the work under consideration. While the styles of letter faces as produced by the various engrav- ing houses are almost innumerable, those shown in Fig. 1253 are the leading and most popular styles. In specifying style of engraving by number when placing your order, be sure that you are ordering from BOL COMMERCIAL ENGRAVING AND PRINTING the style sheet of the engraving house to whom the order is to be sent. All engravers do not use the same numbers to designate the different styles of engraving, hence the possibility of error or delay in filling an order if the style desired is not clearly understood. While invitations and announcements are usually engraved in one style of letter throughout, mixed styles of lettering may be used, if proper balance and harmony are preserved. In the case of a wedding invitation the more important lines, such as the names of the parents, bride and groom, may be cut in one style, while the rest of the lines may be cut in another. SKETCHES It is not customary to make sketches nor to submit proofs for visiting cards, wedding and party invitations and work of this char- acter, but for business cards, letterheads, and the more pretentious business announcements, etc., it is usually a saving of time and expense in the end to begin the work only after receiving the customer’s approval of the preliminary sketch. Special work of any consequence should always be made up in a rough sketch and submitted for ap- proval, as changes at this stage are inexpensive, but often quite the reverse if made after the plate has been engraved. The time required for making a sketch is always considered and included in the estimate for any piece of work where it is advisable that a sketch be made. The creating of ideas and sketches requires the thought and time of the most skilled and highest paid employes for whose time a charge must be made. KIND OF STOCK BEST SUITED White or faint bluish white are recognized as standard colors for all engraved invitations, announcement cards, etc. Pasted wedding bristol, in either plate or kid finish, is usually used in the printing of the various kinds of cards from engraved plates. Invitations, announcements, etc., on folded sheets are most always printed on kid or vellum finished papers. The inks used will adhere to the slightly roughened stocks much better than to the hard smooth surfaces. Soft and spongy papers will not take a clean sharp impres- sion from an engraved plate and the coating on the highly finished papers, such as are used for fine halftone printing, is very injurious to copper and steel plates. Hard bond papers. are little used except in bank note work when the paper is dampened for printing. While engraved copper plates are usually printed with a dull deep black ink, prints may also be made in practically any color, at a slight extra cost. The best results are obtained with black ink, and as the pressure in printing has been sufficient to cause the paper or card to take up all of the ink in the cut lines on the plate, there is not only sufficient ink on the paper to give the text the color to make it easy to read, but there is enough surplus to cause the raised or embossed effect noticeable on copper plate work and without the reverse em- bossed or sunken letter effect on the back of the sheet. A sheet or card with a panel slightly sunk in it, by means of pres- sure and heat, giving the effect of a frame, is known as a panel pressed Me Mose iyfter Mah bie jet fete bhasesice CE Did Kpwidon a Brio Delis etss, Peateveriny Sawlbee wow Lo bernanse emt Flere nseoniers * Pas anvwer bev Ariel Mad Grovege Sexiyencehoe: wnassewer Be msseotsipead Brobabsiahler “Cheam Max é Me torn AMD eenpcl te owelery Me thevsh yp Fiichoe Y prmchow Krall red fieee A Sogeweies: Sopatisenee i 9 EPR ce iho tie Heel stimulate fobs wins Se iivineciy (Pe Bat Ties 8 et Mle cere Mi Moving I Cibavhe he Herve Marecbny wvening Mn swewesed of Decemeber : penivlears hasseboul ssid baile ght biel bo ber Maivly wihirk wl Wers Hobvode LH Lovdbe Gases Tewesren Aas baapelos oelaerntee y me. Mai NX o Fig. 13448. Print from an engraved copper plate. The sheet was platemarked before printing. Printed on hand plate press. Printed on 21x83—74lb. “‘Crane’s Kid Finish” made by Z. & W. M. Crane, Dalton, Massachusetts. Copper Piatt ENGRAVING o41 PARTY AND DANCE INVITATIONS All formal invitations should be engraved. For dinners, dances, or receptions, a specially engraved card should be used. It often hap- pens, however, that the hostess entertains frequently with smaller and more informal affairs, such as teas, bridge parties, etc. In this event, a general engraved form may be used with spaces left for filling in the guest’s name, the date of the function, and the form of enter- tainment. The debutante’s name appears below her mother’s on the invita- tion generally used which introduces her to society. Fig. 1350 Mrs. Samuel Smith (or Mr. and Mrs. Samuel Smith) Miss Smith At Home on Thursday September the fourth from three until six o’clock Highty-two Fourth Avenue Fig. 1351 Mr. and Mrs. John Arthur Morris request the pleasure of company at. on 0 clock 1001 Michigan Avenue The favor of an answer is requested Fig. 1352 Mrs. Harry Louis Ritselman requests the pleasure of the company of on the afternoon of___ 521 West Adams Street Fig. 1353 Mr. and Mrs. John Arthur Morris request the pleasure of company on Tuesday evening the sixteenth of November at half after eight o’clock One thousand and one Michigan Avenue Dancing Fig. 1354B Mr. Charles Parkman Richards Miss Richards request the pleasure of eee * company on the evening of Tuesday February tenth at Dinner at eight o’clock at the University Club Minneapolis 3249 North Meridian Street To meet Miss Margaret Richards and Mr. George Goodwin Fig. 1355 Mrs. George Irving Brown Mrs. Charles Bruce King Tuesday afternoon, October sixteenth Colonial Hall Colonial Tea Two to Five o’clock Fig. 1356 Mrs. Ernest Walker (Monogram) will be at home on Friday afternoon the twentieth of October from three to six o’clock Thirty-four hundred North Main Street Miss Ethel Fuller Browning Mrs. John Banks Biddle Fig. 1357B Mrs. B. M. Moore, Jr. At Home on Tuesday afternoon March second 1131 Clinton Street Fig. 1358 Miss Viquesney Miss Lucile Viquesney The Elks Club on Monday evening the first of January at eight o’clock Rtn Sb wie 10) Dancing Fig. 1359B Mr. and Mrs. H. P. Bolin request the pleasure of your company on Saturday evening, September the twenty-seventh from eight-thirty to eleven o’clock To meet Mr. and Mrs. Roy Hastings Fig. 1360 Mr. Burch Ijams and Mr. Webb Boggs request the pleasure of your company at their Third Annual Yama Yama Dance Terre Haute Country Club Monday evening, September 17, 1923 Please attend in costume Fig. 1361 (Club Emblem) We dance Tuesday June the twenty-seventh Canoe Club Eight-thirty Fig. 1362B Iris Fraternity Formal Dinner Party Friday evening the twenty-seventh of March six o'clock Masonic Temple Fig. 1363 . Delta Sigma Friday evening April sixteenth Brenneke’s Dancing Eight-thirty Fig. 1364B The Members of the Detroit Club request the pleasure of presence at a Reception to be given on Friday evening, December the thirtieth at ten o'clock The favor of an answer to Cotillion the Secretary is requested 542 COMMERCIAL ENGRAVING AND PRINTING Fig. 1365B ; Fig. 1369 The Alpha Theta Sorority 903 3 ; 1923 request the honor of your presence at their The Wi-Hub Circle Third Annual ; __ Elks Hall on Saturday the twenty-second of May Friday evening the eleventh of October eight o'clock R eight o'clock SSaivenDe oe Fig. 1370 Northwestern Fig. 1366B : Game at two P. M. Mrs. Jason D. Lucas ete Beta Mrs. Bernard C. Helm Phi Kapa Mrs. Louis Lane will be at home requests the pleasure of your company on Thursday afternoon June the tenth at the opening from two until five of her new home Eighteen thirty North Alabama Street on Saturday evening October sixth at eight o'clock For Phi Psis Fig. 1367B ‘ and Phi Psi Families Alpha Phi Fig. 1371 request the pleasure of your company at a Delta Epsilon Garden Party Delta Delta Delta on Friday evening the first of May Fourth Annual Forma! at eight o’clock St. Nicholas Alpha Phi Lodge Friday evening April ninth nineteen hundred twenty-three Fig. 1368 eight o’clock Beta Upsilon P of Delta Tau Delta Fig. 1372 requests the presence of Ninth Annual Banquet Phi Chi Medical Fraternity at the Twentieth Annual Stag Dinner Tuesday evening February twenty-eighth Saturday evening November the tenth nineteen hundred and twenty-three nineteen hundred twenty-three at eight o’clock Chapter House Claypool Hotel BUSINESS CARDS The text matter on a business card should be brief and pointed. It should be made up of the individual name, firm he represents, the line of business, and the address. Firms having an established trade- mark, or trade phrase, should add this. The style of engraving should be plain and legible and so arranged as to present a nicely balanced design. No. 13 No. 10 Line zine made from pen drawing with proofs from type of text. Fig. 1380 Diagram of sizes of business cards. Copper PLATE ENGRAVING 043 Firms requiring cards for a number of individuals will find it economy to have one principal plate made with the firm name, line of business, address, trade-mark, if any, engraved and the cards printed in quantity. Separate plates or dies may be made for the individual name and these printed in the lower left corner in quantities as needed. The psychological effect of a distinctive engraved card on the Rel) KUTENBER MOTOR COMPANY Dopp & StarsuK nes, bre. Drew Monrx fowes 72 veer CL Brrbank 64 Meme :Mnoon tly Welire Pod omgany fost Moye FLOYD E. PAYNE CO PAYNES, LUNCHES INDIANA’ N Aibler-Liebor Company Cobar 4 Prcenerred Msemstlactarers Aoticoree peal, bnet. Worm & Company Pork aod Beot Packers atmos Let MODEL 4% eis MILLS Posts toe? MSLeanseoro Ictinois > enews W.T. STALNAKeR Tae Parnpmpen Co eames x : Fo . Frclounapiola, Hhewest Couipun 4, Meolnie Masten Material Yiu Peaneue AC Wreroare Merrerer Cane Can TAMVESTAD HUSIC HOUR erierLOM, KF SMITH LOUNETOM MIO: ae Sem Wamaoe TH AetiTH GAS ENGINEERING CO he AMERICAN Ural, MINING Convan'y I SG Sewky 16 Toomgeed forsee ES fe rey bel 4. Yoolh Egpriloltc bef Wosted lates OY Rode hroacs Poon PL fvteegn Mroheans Me SAL at wolrcry Seow bar, Wl ree raneron can AP nen oe rchiwwnpoler Cromservaby nf Masts 7-0. PALM Re 420, terth Morectinne frock Hime lod hy, Facha mip les Suet SS AW a, SM.Gaim & SON pirenaraierrnres f INDIANA HAROWORD LUMmER “ ‘ Ee BALE IND, pe 7: 17 sfolun ft Watter Goreon. Lb. Golem se hire Melest Carkony. ieee WI Grvg sel bb Coresyiold, Deoet- Y" Marin Wanl Gleasi Car Marte ML PMopesaser Seed Sreshing. BN Bieling Motor Car Co. Aodhan polis Robert G MeClure s Bndlowapeliy Gare 2% Foray Mee hoes § Somrnd Cerne gis Sow erie F Ket Lecay Tek Aron Remhn Chatlomoenp Brow HE Goutl Copan NOt TIE KEND WATCH COMPANY NOTE RIN. NDE MABELLE M. HEAD ey ceenren sremerener marines ems et mere nanan sett psvieby INDIANAPOLIS ASEMICAS Sirermsiey Lack ©. ATLANTIC City Wi reriony lame tT THE BOZEMAN MILLING co. women, OE Wray Canna Mane Muros W. Mascva Aare ay Law comanareen A ery Courrome tiem, Hatter Wise BIST BROTHERS, TACT ORS inelanaerue AAKCH AOD TeRKA cotta Ow. PULERR weer Inrstanavorie Cw ateinnanr co. seoee soorran area cn Goxnox-MeN«aAt Go. EXTENSION 10m ABATES dOteNy orm, Lid Anumican Cast Iron Fire Co. (Missed SD Aacahling Sedvagiche HURST H, SARGENT ATTORNEY AY Law Pa a ne ern ey (Woiwaroue MASSES BQ MAIN MOTOR TRECK COMPANY IN ANARO LIN Preens Halftone, 175 line, square finish, no line. Made from slightly retouched photograph of grouped cards. Reference letters from line negative over which halftone negative was printed in making the plate. Fig. 1381. Group of business cards, suggesting arrangement, style, etc. 244 mind of a prospective customer is the thing that makes it valuable aside from the feeling of satisfaction to the user. A salesman worthy of the name is entitled to carry an engraved business card. COMMERCIAL ENGRAVING AND PRINTING MISCELLANEOUS Fig. 1390 Dr. John H. Hughes announces the removal of his offices to 400-404 Fidelity Building 210 Broadway Hours 10:30 A. M. to 12 M. and 2:30 to 4:30 P. M. Telephones Indianapolis, Indiana November 1, 1923 Fig. 1391 Piano Recital Anna Elizabeth Bochner assisted by Estella Marie Fish Vocalist Saint Rose Academy, Atlanta, Georgia Wednesday evening, May thirty-first Nineteen hundred and twenty-three at eight o’clock Fig. 1392 -ELKS- Brainerd Lodge No. 615 Bae Olek invite yourself and ladies to attend their Twelfth Annual Ball on Monday evening the thirtieth of December nineteen hundred and twenty-three Gardner Hall Brainerd, Minnesota Admission Tickets Two Dollars each Fig. 1393 We will be pleased to have you attend our Annual Spring Opening Monday and Tuesday March 22nd and 23rd Afternoon, Dinner and Evening Gowns, Wraps Coats and Tailored Suits Silk, Wool and Cotton Fabrics Millinery Footwear, Hosiery and Accessories The Dressmaking and Tailoring Departments are now open. The Wm. H. Macey Co. Boston Fig. 1394 Dear Sir: We respectfully refer to the fact that Christmas is coming as usual on December 25th and being anxious to have our patrons purchase early we suggest that all pur- chases made for Christmas will not be due until January statement. This will permit you to trade in November and avoid the rush due to our heavy Holiday business. Thanking you for your patronage, we beg to remain Very truly yours, Globe Clothing Store. ° Fig. 1395 Alfred F. Post and Oscar L. Brown announce the for- mation of a partnership for the practice of law under the firm name of Post & Brown with offices at 1109-12 Law Building, Pittsburg. They will be pleased to serve as counsel in the organi- zation, financing and management of corporations and the affairs of public utilities. Fig. 1395 Mr. 8S. D. Rogers To you, who have been our business associate and adviser for years past we extend Our wishes for a Prosperous and Happy Future Our signatures betoken our wishes Employees of the Dayton Watch Co. September 15 1923 Fig. 1397 Permit us to make personal acknowledgment of the excellent business you are doing this season in Kahn Tailored Clothes and to express our appreciation of your patronage Pres. Indianapolis Treas. December 1923 Secy. Fig. 1398 (Club Emblem) At the request of Mr. The Board of Directors of The Manhattan Club have the honor to extend to ig ean etter eos ie EOS 8 SE ete the courtesies of the Club for a period:of2aes a cae “19222 Samuel Atherton Secy Fig. 1399 (Crest) You are cordially invited to attend the formal opening of Hotel Washington Louisville on Saturday evening the twenty-third of March nineteen hundred twenty-three at seven o'clock Fig. 1400 Kindly reply before April the fifth to William O. Hughes 754 Merchants Building Columbus Plates $2.00 Fig. 1401 Saint Paul Minnesota We acknowledge with thanks your remittance for which a receipt is herewith enclosed. Very respectfully, L. S. Block & Co Copper PLATE ENGRAVING Fig. 1402 (Monogram) Francis Hendrickson Tailor extends to you a cordial invitation to inspect The Spring Fabrics Your valued order will be highly appreciated Buffalo 200 Hume-Mansur Bldg. Fig. 1403 Mrs. M. A. Hipsh Designs a Hat for You Newness in Hats and Millinery Novelties Appointments Telephone 1175 1923 412-414 Baum Bldg. Fig. 1404 American Life Insurance Company New York I am pleased to acknowledge receipt of your appli- cation for insurance and to advise you that it is now fol- lowing its regular course through the various departments of this company. Herbert Brown President Fig. 1405 (Trade-Mark) We are giving you our business Do you give us yours? Davis Bros. Manufacturing Co., Boston, Massachusetts. Fig. 1406 The Hercules Car. Mfg. Co. invites you to inspect the new Hercules Car Space B-14 Second Floor Grand Palace, New York January second to ninth o45 Fig. 1407 John A. Morris has associated himself with a number of well-known business men to build Morris Automobiles for the public This corporation known as the Morris Automobile Company is located at 900-950 East Washington Street Kansas City, Missouri Fig. 1408 Delta Epsilon 0 Delta Delta Delta Fraternity invites you to become one of her members Please answer here Fig. 1409 The Faculty and Senior Class of Sweet Briar College request the honor of vour presence at the Tenth Annual Commencement May twenty-ninth to June first nineteen hundred and twenty-three Sweet Briar, Virginia Fig. 1410 Center Church Washington St. and Wabash Ave. Crawfordsville, Ohio To the ushers Introducing Mr. Please to give the bearer the best seat at your disposal. Walter L. Jayne Pastor HOLIDAY GREETINGS An increasingly popular custom is that of sending holiday greetings to one’s personal or business friends and acquaintances. While it is possible to purchase attractive cards for this purpose at most stationers, these are naturally only general in their character. It is much more intimate and appropriate to have one’s own engraved greeting card, thus lending a personal touch to this courtesy. It would be impractical to attempt to illustrate the unlimited number of shapes, designs, etc., or to print a list of the sentiments that may be expressed. An inquiry to or a conference with the en- graver will result in obtaining that which is wanted. DEATH ANNOUNCEMENTS Fig. 1425 With deep sorrow we announce the death of our President Mr. Frederick William Springer Tuesday, January nineteenth Nineteen hundred and twenty-three The F. W. Springer Machine Company Richmond, Indiana Fig. 1426 With deepest sorrow we announce the death of Mr. John Norton the President and Founder of this Company on Thursday the thirtieth of September One thousand nine hundred and twenty-three Norton Manufacturing Company Springfield, Mass. Fig. 1427 It is with sincere regret we announce the sudden death of Mr. Robert H. Emerson President of this Company Monday, May fifteenth nineteen hundred and twenty-three Emerson Manufacturing Company Cleveland, Ohio. Fig. 1428 With profound sorrow we announce the death of Joseph May Age Eighty-four years which occured Thursday the fourth of September, 1923. He was one of the founders and for many years the President of this Company. The Joseph May Company Jackson, Miss. 246 Fig. 1429 It is with profound sorrow that we announce the death of our Mr. Samuel Johnson which occurred on Thursday, March sixteenth nineteen hundred and twenty-three The Chamberlain-Jones Co. St. Louis, Missouri. Fig. 1430 It is with deep sorrow that we announce the death of our President Mr. Willam Watson on Monday, January the third nineteen hundred and twenty-three Boston Watson Paper Company Massachusetts Fig. 1431 We announce with profound sorrow and regret the death of our President Mr. John Morris September thirtieth nineteen hundred and twenty-three Morris Automobile Company Jackson, Michigan Fig. 1432 In Memoriam Charles M. Kelley President and Manager of The C. H. Kelley Co. Died December 28, 1923 at his home Parkersburg, W. Va. COMMERCIAL ENGRAVING AND PRINTING Fig. 1433 Messrs. James Pike and Company of New York and Chicago announce with profound sorrow the death of their Chicago manager Mr. Charles Anderson on Tuesday the fifteenth of February nineteen hundred and twenty-three in the forty-eighth year of his age Fig. 1434 The Union Life Insurance Company With Profound Sorrow Announces the Death of William K. Brown on Tuesday the twentieth of October One thousand nine hundred and twenty-three He was one of the founders of this company and from the time of its organization was the Secretary and General Manager Henry Russell President Home Office Buffalo, New York Fig. 1435 The Harris Milling Company announces tke loss at Sea of its President John Harris Thursday the thirtieth of September nineteen hundred and twenty-three Minneapolis, Minn. October 1st, 1920. SYMPATHY ACKNOWLEDGMENTS Fig. 1450 Your kind expressions of sympathy are deeply appreciated and gratefully acknowledged Fig. 1451 Mr. John Morris and Mrs. Edith White deeply appreciate your sympathy in their sorrow Fig. 1452 Mr. and Mrs. Newton Clay Mr. and Mrs. Winthrop Colburn Miss Claypool gratefully acknowledge your kind expressions of sympathy Los Angeles, California Fig. 1453 Mr. Walter Elliott and Mrs. Clara Gorgas deeply appreciate your sympathy in their sorrow Fig. 1454 Mrs. William Murray and Mr. Edwin Murray thank you for your kind expression of sympathy Fig. 1455 Mrs. Robert E. Mason Miss Helen B. Harvey Mr. Wm. Howard Harvey ~ gratefully acknowledge your kind expressions of sympathy Fig. 1456 Mr. John Morris and family acknowledge with grateful appreciation your kind expression of sympathy in their bereavement BOOK PLATES The purpose of the book plate is to identify and protect. The book plate is usually mounted on the inside of the cover of each book. The design and process of making may be anything that suits the owner’s fancy, from a letterpress print from line etching to a most Pages 537 to 552, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. CoprpEeR PLATE ENGRAVING 547 elaborate embossed and hand tinted print from steel die. Prints from an engraved copper plate following an original sketch from the owner or.a close personal friend, are in excellent form and have an exclusive- ness that is almost ideal. Suggestions for designs are illustrated in Fig. 297B, under the subject Methods ot Treatment. ETCHINGS Etched plates from which the prints of art subjects are made are produced by scratching or drawing the design with an etching tool on a copper plate that has been thinly covered with wax. The etching needle or tool exposes the metal in the design which has been sketched on the wax, while the wax on the remainder of the plate acts as a resist to the action of the acid used in etching or biting the exposed lines into the plate. Errors may be corrected in the drawing, before the etching is commenced, by re-coating the incorrect surface and then re-drawing over it. After the plate has been etched the wax is removed and prints are made from it as in the process of copper plate printing. The artistic effects in the finished prints depend entirely on the skill of the artist in making the etching, who usually also makes the prints. Dry point or scratched plates are made by the use of a fine etching needle in making the incision of the lines on the copper plate, without the use of acid or etching. ground. The process of print- ing is the same as from other intaglio engraved plates. MEZZOTINT ENGRAVING This is one of the oldest intaglio processes and is no longer prac- ticed except in a very limited way. It is probably the most tedious method of reproduction known and for successful results requires an artist or mezzotinter of highest skill. The surface of the copper or steel plate that is to receive the en- graving is gone over with an instrument called a rocker, a semi-round tool with fine teeth on its surfaces, which is rocked back and forth until the entire surface to be engraved is thoroughly and finely rough- ened in a uniform manner. A proof taken at this stage will show a soft solid black from the entire engraved surface. The image to be reproduced is now transferred to the roughened surface and then by a process of scraping away of the burrs on the rough surface the inden- tations of the rocker are left in the various depths necessary to pro- duce in the print the amount of color required. The best plates have been made on copper, and as burrs are easily broken off in the process of inking, wiping and printing, only a limited number of prints may be made from such a plate, some of the best artists getting only twenty- five or thirty perfect impressions from a plate. Steel Plate and Die Eng i ‘aving, and |D nting ‘Fiosganaiciinnaancacnean MAAR Ass *Fig. 1550. TEEL plates and dies are engraved by the intaglio process, the printing characters being engraved below the surface of the plate or die. Steel plates are largely used for bank-notes, certificates, bonds, commercial headings, business cards, and other commercial work in which it is desired to obtain the effect of copper plate engraving in longer printing runs than the copper will stand. Embossing from steel dies is largely used for business, professional and social stationery, address lines, crests, monograms, etc. For business stationery there is probably nothing else so attractive, and with such distinguishing characteristics as steel die embossing. An embossed letterhead brings a feeling of satisfaction to the one who uses it and it unquestionably adds something to the message that may be written on the sheet and secures for it a more respectful consideration. Those who may have occasion to use only a limited amount of stationery in their business or professional correspondence but who appreciate the value and the satisfaction of using steel die embossed work, will find that even on small quantities the expense is not excessive. Steel die embossing may usually be recognized by its pronounced raised appearance together with its clean, sharp outlines. There is a perceptible embossed effect in copper and steel plate printing, but this is due to the ink lying on the surface of the paper rather than to the paper having been raised from the back by having been stamped or printed over a counter die, as in steel die embossing. HOW TO ORDER The first step in placing an order is to determine definitely the text, style of engraving, and size of die. It is desirable that the customer furnish the text and information as to what the work is to be used for, leaving it to the engraver to submit suggestions by means of rough pencil sketches for the more simple work or finished in pen and ink and color for the more elaborate. Sketches are not only necessary for the guidance of the engraver in most cases, but except in plain work, are almost a necessity to enable the customer to understand what he is to expect in the finished work and to enable the customer and the workman to understand each other thoroughly. Sometimes it may not be convenient to send to the engraver a copy of an embossed sample which it is desired to submit as a guide. *Combination halftone, 150 line, square-outline and line zinc. From slightly retouched photograph of group of dies and plates and pen drawing of lettering. MANUFACTURERS _ _Coppes BRoTHERS &Zook NEE DONTES*, NAPPANEE, INDIANA,U.S.A. Fig. 1551. Special designed letter die. CLARENCE M. BROWN JOHN H. MORRIS ORFICE |O.F BROWN & MORRIS LAWYERS NEW CASTLE, INDIANA Fig. 1552. Plain letter die. QUALITY COUNTS \\ \\ \ NS S ee KASS NE Lf, Wy Hy |} ! 1 My Wt |i pee y CRAWFORDSVIL ; \\ SEND. Fig. 1554. Special designed letter and vignette or ruled-ground die. Printed on 21x33—74ib. “Crane’s Kid Finish” made by Z. & W. M. Crane, Dalton, Massachusetts. STEEL PLATE AND Dtrk ENGRAVING 549 A copy may frequently be successfully made by placing a sheet of tissue over the sample and rubbing over it with the side of a pencil point. A fairly good outline may be made which will give the engraver a thorough understanding of your idea. In steel plate and die engraving, as well as copper plate, the more elaborate as well as ordinary work, is marked out directly on the steel or copper and the engraving proceeds, no drawing being required. Ifa preliminary sketch has been prepared it is used only as a guide in lay- ing out the design on the plate to be engraved. Drawings, line or wash, photographs and other kinds of copy are frequently transferred to the die or plate by photographic process, to save time and to secure accuracy and correct proportions. For work that is to be hand cut, line negatives are used, but copy in the nature of portraits, birdseye views, animals, etc., may be placed on the metal by means of halftone negatives which are afterward etched and tool finished. This photo-mechanical process insures an exact likeness of the original, which is not always possible when the work is hand engraved, unless done by a specialist at a considerable expense. PORTRAITS ENGRAVED ON STEEL A great many portraits are engraved on steel and prints from them used for inserts in special editions of books. The face of the por- trait is usually transferred to the steel plate by the halftone process, also the outlines and is known as a halftone intaglio engraving. The remainder of the picture is etched in through the use of etching ground and ruling machine, re-etching, tooling, etc. The best prints from such plates are usually made on dampened paper and the process of printing is the same as with copper plates. A pleasing effect may be obtained by paneling the sheet on which the print is made. A thin sheet of special India tinted stock is some- Outline-vignette halftone, 150 line, from slightly retouched photograph. Fig. 1561. Steel embossing dies. 550 COMMERCIAL ENGRAVING AND PRINTING times used under the print and extending so as to form a panel for the print, this being used with or without the depressed panel in the sheet. This tinted sheet is placed over the plate after it has been wiped ready for the impression and the larger card or sheet placed over this in proper position to take the impression. The impression transfers the print to the tissue and the pressure causes the tissue to adhere to the main sheet. STEEL PLATE ENGRAVING Steel plates on which engravings are made are about one-eighth of an inch thick and with edges slightly beveled on the side finished with a polished surface. These plates come in a range of sizes to meet every need. For hand press printing, the plate should be larger than the stock on which it is to be printed. The metal is soft enough to permit of cutting the lines in the plates with a hand tool, the method of doing the work being similar to the process of copper plate engraving described in the preceding chapter. Steel plates are more expensive than copper plates and, being harder, are more difficult to engrave, hence engraving on steel plates is higher in cost than engraved copper plates. The chief advantage steel plates have over copper plates is in the wearing qualities of the plate. However, a steel plate or die will take a much higher polish than a copper plate and thus will pro- duce a firmer, cleaner, sharper line. After being engraved, the steel plates may be hardened and their wearing qualities thus made practically without limit. ENGRAVING STEEL DIES The process ‘of engraving a steel die is similar to that of engraving copper or steel plates, with the exception that they are cut or etched deeper, the characters which are to print being first laid out on the metal and then cut in with a hand tool. Vignetted or shaded back- grounds are etched in, such surfaces being first covered with an etching ground, in which the vignetted lines are ruled with a ruling machine, the operation exposing the surface of the metal in lines through the ground. A bank of wax is then placed around the part of the surface of the die that is to be etched, acting as a reservoir for holding the acid, which is applied to the face of the die by stages, and allowed to bite in. The faint lines get a very short bite, while the heavier ones a longer one, etc. The wax bank and the ground are then removed from the face of the die and any imperfections are corrected by hand tooling. Sometimes when a plate finish effect is desired in the print, the character of the work may be such that better results will be secured with a steel die cut for plate effect. Steel dies are about one-half inch thick, this thickness being neces- sary to give them the strength and rigidity required to stand the heavy striking pressure they receive when in use. They may be supplied in almost any desired size. A very large percentage of steel dies are smaller than 2x 6’, some will range up to 4x 8”, and occasionally even up to 6x 10”, which is about the maximum size plates that can be printed or stamped on an embossing press. It requires a very heavy and powerful press for a die as large as 6x 10”. STEEL PLATE AND Diz ENGRAVING 551 Bille firwe Ham BCR SHORT Hoey Saree BR Rrccditsion ERO EBC REE AED. Er Pb: SERWossin, Bntonintagiate Pes. ee EG INGEENDENT Distacr oe Rois. . Bream Mince s, i. pectoris AuRome, Mines, Sere nS omen SSRIS i OaN Casing vrtO% ee : Antvars Automobile Co, MASTS DT HORR OF Anhiaiessstion, Matera did, EJ MS Rabaitasbsns wrens oe THE MOTOR CAR MEE 69. SSBtER YOU MS Haneor THe em RATAPRIN GER Saas WHOLE HE SRESHE FLOOR Beinn ane aL i. « 7 i o Rotary PHOTOGRAVURE 569 MOUNTING THE RESIST The copper cylinder is placed on a special iron truck with a pan of water directly underneath it. The exposed carbon tissue is put into the water and allowed to soak until it will unroll easily, or it is placed dry in position and water is sprayed under it while being pressed down firmly on the cylinder with a squeegee roller. Care is taken that the register marks on the carbon tissue taken from the layout correspond with those on the cylinder. Now the cylinder with the resist is rotated in hot water until the paper backing of the tissue is loosened suffi- ciently, when it is peeled off leaving the gelatine on the cylinder. The transferred film or resist is then developed, after which it is cooled and dried in a room free from variations in temperature or moisture. STAGING AND ETCHING THE CYLINDER The edges and all margins of the pictures are now ruled and painted out with asphalt varnish, likewise all other surfaces of the cylinder that are not to print, and all blemishes, holes and light spots are retouched, and after the etching is done are tooled out to match the screen. Otherwise, the etching acid will affect all exposed parts, and any inden- tation—be it ever so slight—on the surface of the cylinder will fill with ink when printing and cause dark spots or streaks. The cylinder is placed over and within the etching trough, sup- ported on projecting core ends which rest in grooves ina frame. The operator revolves the cylinder slowly, the etching fluid being poured or rubbed on the cylinder, and the progress of the etching being judged to a certain extent by the discoloration of the copper and the experience of the etcher. The gelatin coating of the carbon tissue acts as a resist to the per- chloride of iron, which is used as the etching medium. The etching ts controlled by the time required to penetrate the resist in the high lights and produce a darkish color all over the carbon tissue. In printing the screen and the transparencies on the carbon tissue, the solubility of the gelatine is affected in proportion to the amount of light reaching it. More light is admitted through the high lights, thus making the gelatine firmer and less soluble in these parts; while the deeper the shadows, the less light admitted, and the more soluble the gelatine. As a result, when the resist is fixed on the cylinder, the gelatine coating is left thickest over the high lights, less thick in the intermediate tones and thinnest over the deepest tones. The gelatine immediately beneath the screen lines in the print remains undissolved and prevents the etching of the cylinder underneath, thus forming the walls of the cavities or cups on the cylinder which carry the ink when printing; these cups being deepest in the shadows and shallowest in the high lights after the etching is completed. The etching fluid penetrates the resist and bites the metal in vary- ing depths, corresponding to the proportionate thicknesses of the undissolved gelatin. After the etching is completed, which usually takes about twenty minutes to half an hour, the cylinder is cleaned Pages 569 to 576, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 570 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 150 line, no line. Made from a photograph. Fig. 1591B. Webendorfer Rotary Gravure web press for printing newspaper supplements. with hot water and acetic acid. Little can be done in the way of correction, but light spots may be removed and dark spots filled in to a certain extent. The pictures are etched first on the cylinder, the type matter being painted over with asphaltum, which, after the pictures are etched, is cleaned off the cylinder with turpentine, the etched pictures being painted over with asphaltum before beginning the operation of etching the type. STEAM DRYING DRUM PRESSURE IMPRESSION RU BBER IMPRESSION ROLLER \ \ ETCHED COPPER CYLINDER ETCHED COPPER CYLINDER % DOCTOR BLADE_, is lj _~ DOCTOR BLADE PAPER ROLL aS a Se \ INK PAN\_ ~~ _)7 Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1592B. Diagrammatic view of Webendorfor Rotary Gravure press showing paper travel. Rotary PHOTOGRAVURE o7t1 Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 1593B. Watson sheet fed Gravure press. PRINTING The press on which the cylinders are printed is the most expensive part of the equipment for the process, and is rather elaborate, although the principle is simple. There are two types in general use, the web rotary—printing from 4,000 to 10,000 copies an hour, and the sheet fed rotary—printing up to 3,500 an hour. In the web rotary, the paper is fed to the press from the roll and following the printing is cut automatically and folded to the proper size, or delivered in flat sheets. The paper passes at high speed between ED BOARD GRIPPERS ae + IMPRESSION CYLINDER GRIPPERS STRIPPER CYLINDER ENGRAVED CYLINDER ee a eee Sa SS SS | ————_—— sss SSS DELIVERY TRAYS ——————————————————> ——— FOUNTAIN AND ROLL es Qe peer ————— SS pecron TRAY STRIPPER Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1594B. Diagrammatic view of Watson sheet fed Gravure press. STD COMMERCIAL ENGRAVING AND PRINTING the etched cylinder and the impression roller, which is covered with vulcanized rubber. In the sheet-fed rotary, which is used mostly for commercial work, there is an impression cylinder with a gripping device for holding the sheets in position. This admits of printing sheets of various sizes with- out change in the diameter of the printing cylinder. No makeready is necessary, in the sense in which the word is used in letterpress printing. But little time is required to start the run after the etching of the cylinder has been completed and the cylinder placed on the press. The ink used differs from that for letterpress printing in being much thinner and of a less stringy nature. As the engraved cylinder revolves, the lower surface passes through a trough of ink underneath, and as it turns, the surplus ink is wiped off by means of a steel blade known as the ‘doctor’? which runs the full width of the cylinder, so that when the cylinder comes into contact with the paper, its surface is free from ink except in the cavities. The ‘doctor’ is a thin flexible blade of steel, which is drawn horizontally across the etched cylinder. It also has an oscillating move- ment to obviate the possibility of streaking in any way. The “doctor” not only wipes the ink off the etched part of the cyl- inder (leaving the cavities full), but entirely removes it from the plain surfaces where the plate is not etched, thus leaving clean margins on the printed sheets. The etching is protected by the network of cross lines produced by the screen, and wearing or scratching of the copper surface is mini- mized by the ink, which forms a thin protective film, so that many thousands of copies can be run before there is any appreciable wear on the cylinder. The paper, usually printed dry, passes between the etched surface and the impression cylinder and takes up the ink that has been retained in the little cavities or cups. Because of the varying depths of these cups, the ink lies thinner or thicker in differing degrees in the high lights and shadows on the printed sheet. Softness and elasticity in the surface of the paper are necessary for good soft, rich prints. Even blotting paper gives good results, although the paper should not be too soft or absorbent. The strongly sized book papers are too hard. For the finest art reproductions, plate paper, free from sizing, is used. Enamel coated papers cannot be used as the thin ink affects the coating, causing a smudge. Nor can bond papers be successfully printed by this method because of their inability to take the ink properly. As it is not practical to make corrections or do much retouching on the engraved cylinders, the copy should be retouched before the negative is made. In the case of imperfect negatives or positives, they must be retouched and corrected by the aid of the air brush or retouch- ing pencil. The latter is used to increase the value of the shadows and an etching knife is used to take out high lights when necessary. The presses for printing newspaper supplements have steam cylinders to hasten the drying of the ink as the printed sheet passes over them. They print from the roll of paper, on both sides of the sheet Rotary PuHoroGravurRE DiLo Outline-vignette halftone, 150 line. Made from a slightly retouched photograph. Fig. 1596. A rotary photogravure cylinder on a Wesel combination lathe and grinder for re-surfacing. and have attachments for cutting the paper into sheets, and folding facilities for delivering the job complete. On such a press each side of the sheet is printed from a different cylinder, and we might say on a separate unit, thus one side may be printed with one color of ink and the other with another. It is impractical to print a small edition of a single subject on the large rotary presses. Therefore, a number of subjects are frequently made up together to make a form suitable for the cylinder, when the same number of copies are required of each and the same kind of paper is to be used for all. These may be from subjects submitted by different concerns, used for totally different purposes, or they may be duplicates of the same subject, assembled in the positions in which they are to appear on the printed sheet. It is possible to print back and front of a sheet from one cylinder by running the paper over one-half of it and back again over the other half of the cylinder. In rotary photogravure printed in colors, it is, of course, necessary to have a separate cylinder for each color. A sheet-fed gravure press is shown in Fig. 1593B. This machine will print a sheet up to 25 x 38 inches in size at a speed of 2,000 im- pressions an hour if hand fed, or approximately 3,500 an hour with an automatic feeder. It is suitable for high grade monotone and color work as it is capable of holding exact registration for subjects in color. The sheets are delivered flat, printed side up. Delivery is a special magazine type holding ten trays. The tray travels to the top of the magazine and proceeds to the bottom as the sheets from the bottom trays are stripped off to the piler, which allows a drying time before delivery of ten sheets. Prices on engraving and printing by this method are given on the work complete, the cost of the engraving not being given separately; and, as the cylinder is usually re-ground, polished and made ready for re-etching after the completion of a run, an additional charge is made if the engraved cylinder is held for subsequent runs. *Fig. 1600. ferent kinds of printing; from raised surfaces, or letterpress printing; from flat surfaces, or lithographic printing; and from depressed lines, or intaglio engraving. There are many kinds of ink in each of these main divisions, manufactured with a view to their use on some particular kind of paper, or in connection with some special printing device. Among the different kinds are inks for one color or monotone work, duotone or two color work, halftone and process halftone inks; litho- graphic ink for stone and metal plates, and for offset presses; inks for bond papers and for glazed papers; opaque inks for dark cover papers; inks for butter wrappers; the alkali proof or soap wrapper inks; alco- hol and ether proof inks for pharmaceutical labels, permanent non- fading inks; the safety inks used for printing checks, etc.; stamping inks; copying inks; bookbinders’ inks; inks for printing on wood, metal, glass, celluloid, cloth, leather and rubber; and many others, and all of these in various colors, shades and tones. Primarily, the two materials used in the making of printing ink are pigment (colors) and the medium, or varnish, in which these are ground. The varnishes which carry the pigment and cause it to ad- here to the paper are of two general classes; one of which dries through oxidation, while in the other the moisture is mostly absorbed by the stock upon which it is printed. Linseed oil is the most familiar repre- sentative of the first class and rosin oil of the second. Other ingredi- ents used are gums and waxes, which give greater consistency; vege- table oils and fats, in lithographic inks; and various lead and manga- nese compounds as driers. The oils are boiled, the pigment or color is added, and the combina- tion ground to the fineness desired. The cheaper the ink the less the grinding. Different manufacturers have different processes and methods, some of them secret. As an example of how complicated a process the manufacture of printing inks may be, there is a simple red ink on the market—containing one dry color, the necessary var- nishes and a drier—which is composed of 23 substances and repre- sents 33 processes from raw material to finished product. In inks con- taining two dry colors, the number of ingredients and processes are increased. The choice of materials and the proper mixing require scientific knowledge, and the ink mills employ chemists, who are pre- Prterene in ink is manufactured with a view to its use in three dif- *Combination double print flat tone halftone, 133 line, and line etching on copper. Made from two pen drawings. INKS AND THE Harmony or Coors wey pared to cope with almost any problem that may be presented to them. Almost any requirements of the printer can be met and an ink fur- nished which can generally be depended upon to accomplish the pur- pose for which it is desired. One day an ink man may be called upon to formulate an ink for some new and complicated printing machine; and the next, to supply a product to be printed upon documents for deposit in the corner stone of a public building, and which he is pre- pared to guarantee will remain legible and unchanged for a hundred years or more. Among the qualities that a printing ink must possess are a Capa- bility for distributing evenly, drying with just the properslowness with- out leaving oil on the surface, and durability of color. While every ink manufacturer has his own standard line of colors and varieties, they all find it necessary to do more or less special mixing and grinding to meet new problems which may arise; as well as to satisfy customers who have their own ideas as to their ink requirements. SOME INKS ARE AFFECTED BY PLATES AND VICE VERSA The chemicals used in some of the colored inks affect the metal in plates made of zinc and copper, but plates of aluminum and nickel are not affected. For instance, take a light tint that is to be used as a border and endeavor to print it with a zinc plate, and the tint will be discolored. Doubletone ink which is printed with one impression is used to produce a two tone color effect. This is not intended to reproduce a subject in natural colors, but is used for a soft artistic effect. This ink is made in various colors and is especially adapted to the printing of views in which sharp detail is not essential on dull finish enameled papers, the permanent two-tone effect developing as the ink dries on the sheet. COLOR Color is defined as the property of light which causes bodies to have different appearances to the eye. And on the appearance given the eye by color depends its attractiveness or unattractiveness, as far as the sense of sight is concerned. No two persons see color exactly alike, and some are unable to distinguish between certain of the colors, more frequently red and green. The term tone is properly applied to any variation in color, in- cluding black, white and gray, and should be used in this connection instead of shade. A shade of color is any tone tending from the normal towards shadow; a tint is any tone in which the normal color is increasing in light or whiteness. Hue, properly speaking, is a color itself; that property which distinguishes a red from a green, a yellow from a purple, etc. The term neutral is applied to tones which are without apparent color, such as black, white and gray. Generally speaking, black ab- sorbs all colors, white reflects all colors,.and this is one of the reasons why white forms the strongest background from a color standpoint. 576 COMMERCIAL ENGRAVING AND PRINTING Color is one of the greatest attention getters known to advertising and its use is constantly increasing. Almost any piece of printing, from a letterhead to a catalog, from a window card to an outdoor poster, is made more impressive by the use of color. An extra color will cost more, for it means more expense for com- position, lock-up, electrotype plates and press work, and more money for engravings, when illustrations in two or more colors are used. But the improvement in appearance and pulling power will more than compensate for the added expense. Remarkable results can be achieved by the use of only one addi- tional color. Manufacturers make use of tint blocks to show up their goods in a more attractive manner against a colored background. Special parts are printed in some distinguishable color to explain opera- tion, or to call attention to some special feature, the extra color being often used jointly to emphasize display lines, decorative features, etc. The use of natural colors enables the mind to grasp the actual ap- pearance of the article advertised without having to resort to imagina- tion. To think of an object as green does not make the impression on the mind that seeing the article in green does. Merely for the value it has as an attention attracting power, color work is well worth while. The colors to which the average man or woman are most sensitive are red, green and black. Black on a white background is more effective than white on a black background. Some strong colors will attract attention but they will not hold it. Too many colors simply confuse the eye and too bright colors produce a sense of shock. The best result is obtained by the use of one definite color scheme, but with the lower tones predominating. The object to which attention is to be directed should be printed in a strong color, the background in a tint. The custom is to print the illustration in a dense black, and the remainder of the page in gray (type in black) or brown, which causes the illustration to stand out from the page. The prevailing tone in a color illustration should be matched by the background, or by a surrounding border, or by both, if used. From an art standpoint, yellow and yellow-red symbolize light and gaiety; yellow is the most luminous of colors and the best for lighting up shadows and dark spots. Red speaks of heat and energy; it is the most aggressive of all the colors. Blue is almost the opposite of red; it suggests thoughts of cold and snow; it soothes and constrains. Steel gray is symbolic of weight and solidity; purple of pomp and power; black of sobriety and mourning; brown of bitterness; green of life and growth, and in certain shades, of envy and jealousy; gold of prosperity, etc. Blue, purple and green are known as cold colors, while red, yellow and yellow-red are known as warm colors. The tints are warmer, the shades colder than the normal tones; red becomes warmer as it tends toward yellow-red; colder as it deepens into purple. In the use of contrasting colors a warm color should be contrasted with a cold color. Uniformity of color tone adds much to the artistic effectiveness of printed matter. There is sometimes a difference of opinion in the use of color, between the artist printer and the practical customer, or vice versa. The artistic printer would use blue ink on blue stock, brown ink on light brown stock, etc.; while the customer is looking for contrast— INKS AND THE HARMONY or COLORS EL LLOW ad 1B CHROME GREEN YELLOW YELLOW 1617B 1624B YELLOW- GREEN RED 1625B 1618B LIGHT BLUE- RED GREEN 1619B 1626B 1611B—1612B—1613B IDEAL FOUR PROCESS COLOR RED BLUE 1612B 1614B Fig. 1610B. PURPLE THREE-COLOR 1621B BLUE PURPLE-BLUE 1613B 1622B Full F ull 34 I 9 14 Fie. 16118. Yellow. Fig. 1614B. Four Color Blue. Full 34 3 Fig. 1612B. Ideal Process Red. Fig. 1613B. Three Color Blue. Fig. 1615B. Black. Pages 577 to 584 inclusive are printed on 25x38—80 lb. Aigrette Enamel Coated Book Coated Paper Co., Hamilton, Ohio. ly The inks used were made by Philip Ruxton, Ine., New York and Chicago. , made by the Champion 578 COMMERCIAL ENGRAVING AND PRINTING Full 34 % Y% Full 34 4% \% Fig. 1611B. Yellow. Full 34 % A Full 34 “4 A Fig. 1617B. Chrome Yellow. 1625B. Green. Full 84 ve YG Full 34 % Yq Fig. 1618B. Yellow Red. Full 34 % A Full 34 4% % Fig. 1619B. Light Red Fig. 1627B. Light Brown. : Full 34 \% A Full 34 % yy Fig. 1620B. Red Purple Fig. 1628B. Medium Brown. Full 34 % A Full 34 % 4 Fig. 1621B. Purple. Full 34 % A Full 34 % yy Fig. 1622B. Purple Blue. Fig. 1630B. Gray. INKS AND THE HARMONY OF COLORS 579 1611B 1612B Fig. 1631B. 16115 161 Fig. 1635B. 8B 1611B 1622B Fig. 1639B. 1611B 162 Fig. 1643B. 7B 1612B 161 Fig. 1647B. 3B 1612B 1618B Fig. 1651B. 1611B 1613B Fig. 1632B. 1611B 1619B Fig. 1636B. 1611B 1624B Fig. 1640B. 1611B 1628B Fig. 1644B. 1612B 1614B Fig. 1648B. 1612B 1619B Fig. 1652B. 1611B 1614B Fig. 1633B. e 1611B 1620B Fig. 1637B. 1611B " 1625 Fig. 1641B. o 1611B 1629B B Fig. 1645B. 1612B , 1615B Fig. 1649B. 1612B 1620B Fig. 1653B. 1611B 1615B Fig. 1634B. 1611B 1621B Fig. 1638B. 1611B 1626B Fig. 1642B. 1611B ~ 1630B Fig. 1646B. 1612B 1617B Fig. 1650B. 1612B 1621B Fig. 1654B. 580 COMMERCIAL ENGRAVING 3 1612B 1626B Fig. 1657B. 1625B Fig. 1655B. Fig. 1656B. 1612B 1630B Fig. 1661B. “RD iD Fig. 1664B. 1613B 1622B 1613B 1624B 1613B 1625B Fig. 1667B. Fig. 1668B. Fig. 1669B. 1613B 1628B 1613 1629B Fig. 1672B. a 1673B. 1614B 1618B Fig. 1677B. AND PRINTING 161 2B Fig. 1658B. 1613B 1614B Fig. 1662B. * 16138B 1619B Fig. 1666B. 1613B 1626B Fig. 1670B. 613B 1630B Fig. 1674B. > o se 1619B . 1678B. INKS AND THE HARMONY oF COLORS 581 1614B 1620B Fig. 1679B. 1614B ” 1625B Fig. 1683B. 1614B 1629B Fig. 1687B. 1615B 1619B Fig. 1691B. L 1615B 1624B Fig. 1695B. 1615B 1628B Fig. 1699B. 1614 1621B B Fig. 1680B. 1614B —*«<2‘G GTB Fig. 1684B. 1614B ~ 1630B Fig. 1688B. 1615B 1620B Fig. 1692B. 1615B 1625B Fig. 1696B. 1615B 1629B Fig. 1700B. 1614B 1622B Fig. 1681B. 1614B 1627B Fig. 1685B. ~ Fig. 1686B. 1615B 1617B 1615B 1618B Fig. 1689B. Fig. 1690B. 1615B 1622B Fig. 1694B. Fi g. 1693B. 1615B 1626B Fig. 1697B. 1615B 1627B Fig. 1698B. 1615B 1630B 1617B , 1618B Fig. 1701B. Fig. 1702B. 582 COMMERCIAL ENGRAVING AND PRINTING o 1617B 1619B 16178-16208 1617B x ~~ 1621B 1617B 1622B Fig. 1703B. Fig. 1704B. Fig. 1705B. Fig. 1706B. 1617B 1624B 161789 = "1625 B 1617B 1626B 1617B 1627B Fig. 1707B. Fig. 1708B. Fig. 1709B. Fig. 1710B. 16178 —«:1628B 1617B 1629B 1618B 1620B 1618B 1621B Fig. 1711B. Fig. 1712B. Fig. 1713B. Fig. 1714B. 1618B 1622B 1618B 1624B 1618B 1626B Fig. 1715B. Fig. 1716B. Fig. 1717B. Fig. 1718B. 1618B 1627B 1618B 1628B 1618B 1629B 1618B 1680B Fig. 1719B. Fig. 1720B. Fig. 1721B. Fig. 1722B. . r y 1619B 1620B 1619B 1621B 1619B 1622B 16198 ~=—«:1624B Fig. 1723B. Fig. 1724B. Fig. 1725B. Fig. 1726B. S 16198 —‘:1625B Fig. 1727B. 1619B 1629B Fig. 1731B. 1620B 1626B Fig. 1735B. > p | i | 16208 —«:1630B Fig. 1739B. 1621B 1627B Fig. 1743B. 1622B 1624B Fig. 1747B. 1619B 1626B Fig. 1728B. 1619B 1630B Fig. 1732B. 1620B —«:1627B Fig. 1736B. 1621B 1624B Fig. 1740B. 16218 —«1628B Fig. 1744B. 1622B 1625B Fig. 1748B. tl 1619B 1627B Fig. 1729B. end ¥ 1620B 1624B Fig. 1733B. 1620B 1628B Fig. 1737B. 1621B 1625B Fig. 1741B. 1621B 1629B Fig. 1745B. 1622B 1626B Fig. 1749B. INKS AND THE HARMONY OF COLORS 583 S 16198 1628B A pe 1620B 1625B Fig. 1734B. 1620B 1629B Fig. 1738B. 1621B 1626B Fig. 1742B. 1621B 1630B Fig. 1746B. 1622B > ~ 1627B Fig. 1750B. 584 COMMERCIAL ENGRAVING AND PRINTING 1622B 1628B Fig. 1751B. Fig. 1752B. od 2 1624B 1626B 1624B 1627B Fig. 1755B. Fig. 1756B. oe 1624B —-:1630B 1625B 1626B Fig. 1759B. 2a Fig. 1760B. 1625B 1629B 1625B 1630B Fig. 1763B. Fig. 1764B. 1626B 1629B 1626B 1630B Fig. 1767B. Fig. 1768B. * 1627B 1630B Fig. 1771B. 1628B 1629B Fig. 1772B. 1622B 1630B Fig. 1753B. 1624B 1628B Fig. 1757B. 1625B 1627B Fig. 1761B. 1626B 1627B Fig. 1765B. 1627B 1628B Fig. 1769B. 1628B 1630B Fig. 1773B. 1624B 1625B Fig. 1754B. 1624B 1629B Fig. 1758B. 1625B 1628B Fig. 1762B. 1626B 1628B Fig. 1766B. 1627B 1629B Fig. 1770B. 1629B 1630B Fig. 1774B. 280 something that will “stand out” and be easily read. A plan with color, which is good from the standpoint of both art and utility is to have all reading matter in the darker color, and subdue the tone of the decora- tion or border, to lessen the contrast between the color of the stock and the color of the ink used in printing the text. In choosing the colors for a booklet, or other advertising matter, it is well to take into consideration the probable color preference of the class it is desired to reach. Tones that appeal strongly to youth will leave maturity unaffected; there is also much difference in the color preferences of the sexes; bright colors are more attractive to women than to men. There are national color preferences and racial color preferences. The various peoples seem to be influenced by the nature of their surroundings, the atmosphere, climate, vegetation, etc. The Italians, as a race, are fond of the warm colors and the bright hues, which correspond with the sunshine and brilliant tones of their native land. In England, the land of fog and mist, dull, drab colors prevail. The Indian likes red of almost the same hue as his skin; the black and brown races from equatorial regions love the gorgeous colors of the tropics. Some color combinations which are good from an artistic stand- point and which will result in artistic and attractive printed matter are as follows: COLOR OF PAPER INKS AND THE HArRMony or COLORS COLOR OF INKS Black Dark red, gold and white, light blue and silver. Light Blue Purple, dark blue, light yellow and yellow brown. Dark Blue Light blue and white, green and yellow- red, dark red and gold. Light brown Dark brown Light green Green, gray and lilac, dark brown and silver. Light drab, yellow-red, black and white. Gold, dark brown, yellow-red, dark green. Dark green Gold and white, black and light green. Light gray Dark blue and gold, dark gray and red. Light red Rich green, blue and white, olive-brown and gold. Dark red Dark green, yellow-red and dark blue, white and gold. Red, light blue. Light yellow Emerald green, navy blue, crimson red. White Some color combinations that are offensive to the artist’s eye and tend to create a disagreeable sensation in the mind of most observers are red or yellow-red with violet; yellow-red with blue-green; yellow- red with purple; chrome-yellow with green; yellow with green; greenish yellow with turquoise; yellowish-green with blue green; normal green or blue green with turquoise. Three color combinations that are considered strong are red, yellow and blue; yellow-red, green and purple; green-yellow, purple and purple-blue. Pages 585 to 592, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 986 COMMERCIAL ENGRAVING AND PRINTING While the process colors, red, yellow and blue, harmonize with each other, more pleasing results are obtained when these colors are combined to form different tones. A black page increases in interest with a touch of red, preferably vermilion. The colder colors should always form the predominating tone. Backgrounds of bright red and bright yellow do not admit of the use of any color in printing excepting black, if harmonious results are wanted. In the use of contrasting colors they should be of the same shade or tint in order to give a pleasing appearance. A deep red should not be used with a light blue, nor should a heavy black border be used with headlines set in light face type, as the body of the text will form suffi- cient contrast. However, to call especial attention to some particular feature, the color may be intensified in that part. Yellow and purple-blue, three-color blue and chrome yellow, light red and blue-green are said to be complementary colors because they balance each other. Complementary colors make strong contrasts as compared to analogous or similar colors. Any small object imprinted in color on a large background of a different color will be given a different color tone by simultaneous contrast. TRANSPARENT AND OPAQUE INKS Most of the colored inks used in job printing are semi-transparent or transparent, excepting those especially made for use on colored stocks, such as covers, and these are opaque. The difference between transparent and opaque inks is not noticeable on the ordinary printed page, unless the tone or shade of the ink is affected by the color of the paper, or unless one color has been used in over-printing another. When a color used for over-printing does not conceal or modify the one printed underneath, it is known as a transparent color, or if it modifies but does not conceal the underlying color, it is semi-trans- parent; while if it completely conceals the underlying color, it is an opaque ink. Thus, when a tint is printed to appear as underneath another color, it is necessary to print the tint first, if the tint is an opaque ink, although it may be printed last if it is transparent. The trans- parency or opaqueness of an ink is governed by the base used in com- pounding it, which may be changed to conform with. the requirements of the ink, and any color may be obtained in an opaque if so specified when ordering. THREE AND FOUR COLOR PROCESS INKS In commercial color process printing three colors in pigments that cannot be produced by mixing are used, from which other colors may be produced. These are yellow, red and blue, and they are known as three-color inks. The tones and shades of each of these vary greatly in printing inks as made by different manufacturers, because of the different formulas used. When any two of the process colors are mixed, regardless of the proportion of each color used, the combination is known as a mixed color. This includes the various shades and tones of vellow-red, green and purple. Se a iis Rotates INKS AND THE Harmony or CoLors 587 When all three of the process colors are mixed together, a subdued color is produced. A predominance of any one, or two of the process colors in the mixture, will of course make a color in which one is or both are noticeable. Thus we may get a yellowish, greenish, bluish, or other kind of softened color, as these or other colors dominate the mixture. When any two of the mixed colors are lapped by a third color there is produced a greyed or subdued color. As two process colors are present in green, yellow-red or purple, the adding of a third color means the presence of all three process colors in this color. The re-: sultant color, therefore, is a grayed, softened or neutralized color. Although white, gray and black are generally spoken of as colors, correctly speaking, they are not, but they play a very important part in mixing to obtain shades or tones that cannot be produced by mixing the primary colors alone. White and black are the pigments repre- senting light and dark, and gray is a combination of both. Adding one of these to a normal color, a value or shade of the normal color is obtained. HARMONY OF COLORS In considering harmonies of colors, it is important to observe the practice of nature in this respect. The effect of color in nature is almost invariably soft, quiet and gray. The use of brilliant colors is severely limited, either as to relative area or duration of time, or both. The brilliant flowers, birds and butterflies are only gorgeous accents in a large area of neutral harmonious tones. The brilliant stretch of scarlet sunset, vast in extent, lasts only a few minutes. Powerful colors must be dominated by large areas of quieter tones. The exceptions to this rule are few. In considering colors as to their possible harmonies, it is helpful to arrange them around a circle, asin Fig. 1610B. It will be noticed that the process colors, yellow, red and blue, are equidistant around the circumference. Their combinations, green, purple-blue and yellow-red are midway between the process colors from which they originate. On either side of these colors, are colors in which one of the three colors predominates, as chrome-yellow, green-yellow, etc. In the center of the circle is a segment, indicating the color resulting from a mixture of all three of the process colors. Harmonies of colors may be classed as (1) complementary, (2) analagous, (3) balanced, (4) self-toned, and (5) dominant. The first three can be more easily understood by reference to the circle of colors in Fig. r610B, and by using the loose masks in which openings have been cut as illustrated in Fig. 1794, which when placed over the circle, in register in any position, will reveal only the colors of a harmony desired. The last two named classes are self-explanatory. It is important to remember, in choosing the colors called for by any harmony that any number of tints or shades of such colors may be used, as well as black, white, or neutral grays. The number of tones at one’s command, therefore, are always large. A complementary harmony consists of two colors which lie directly opposite each other and at either end of any diameter in the color circle. 588 COMMERCIAL ENGRAVING AND PRINTING Used pure, complementary colors present the most striking and violent contrast. With softened tones, the results are more agreeable. Mixed together, complementary colors produce a neutralized color. An analagous harmony is one in which only colors bearing a simi- larity or analogy to each other are used. Thus any two, three or four colors as they appear in succession on the circle of colors are analagous. Harmony by balance is produced by using three colors at the ends of the three balanced arms of the color circle, such arms or spokes of the color wheel forming a Y. If a fourth color is desired, one midway between the ends of the Y is selected. A self-toned harmony is gained by the use of various tints or shades of one color. A dominant harmony indicates the presence of one dominant color in all the tones employed. One may choose at random any colors, and LSM Square outline halftones, 150 line. Made from wash drawings. Complementary. Analagous. | Balanced. Fig. 1794. Masks for obtaining color harmonies from the circle of colors in Fig. 1610B. into each of these mix a chosen color. Such mixing will at once bring about a harmony, the sucess of which will vary with the colors chosen. Black, white, grays, gold and silver, in general, may be said to harmonize with most colors. In the use of any of the foregoing harmonies, one is free to employ the colors, brilliant or dull, their tints or their shades. The number of colors in the color circle may be increased to show any desired number, so long as the three process colors remain equidistant, and the same number of graduated intermediary colors, shades or tones, appear between each of the process colors. It is absolutely necessary to remember that the finest harmonies consist of softened colors. These are tones in which gray has been mixed, or in which yellow, red and blue are all present to a certain extent. The softer or more neutralized the color, the larger the area it may cover. Strong and brilliant colors must be used in limited quan- ties, compared to the grayer, or subdued mixed colors. The more violent and brilliant the color, the less area it should cover, if a beau- tiful result is desired. The use of colors can be greatly expedited by following these general rules. Color combinations are endless, how- INKS AND THE Harmony or Cotors 589 ever, and no rules have ever been formulated that can produce beauty automatically. The person of rare taste and skill will] instinctively produce attractive and beautiful color combinations, but the mere workman, through the aid of the suggestions and rules herein, may avoid making bad combinations. To apply the rules here given in ascertaining what colors of ink will harmonize well on any color of paper, consider the paper as one of the colors of the harmony. To obtain the approximate affect on white paper, or with opaque inks on colored paper, of any of the combinations shown in Fig. 1631B to 1774B, cut an opening in a piece of the stock under consideration, the size of the combination, as printed, and place the opening over the samples of color. The same ink when printed on different kinds of white paper may not always appear as the same shade or tone of color, and the appear- ance of almost every color is affected by the quality and color of the stock if printed on a colored stock. Colors of the same name from different ink manufacturers are not always identical in color, in fact, they seldom are, and even the process colors will vary from different manufacturers, and in different inks. Thus, while the colors used on pages 577 to 584, inclusive, are prac- tically standard, they are subject to variation. The original plate, which was duplicated in lead mould electrotypes, used in printing the samples of color, Fig. 1611B to Fig. 1630B, in- clusive, was a combination halftone, 150 line screen, and flat tint plate. The section at the left printed the solid or full color, while the half- tone sections following towards the right, were so manipulated in the etching as to make them print in tones approximating three-fourths, one-half and one-fourth the strength of the full color. The tones obtained from the different halftone sections of the plate may be approximately produced when printed with flat tint plates by using inks made by adding white to the full colors as printed in these samples. In the color combinations shown in Figs. LO31.B 10917745, Ain; clusive, each was made with two printings, the color at left being printed first with a plate as shown in Fig. 1795, then that at right with a plate as shown in Fig. 1796, the lower half of the plate over- printing the lower half of the first color printed, and producing a third color. The color obtained by the overlapping of the two colors is approximately the same as would be obtained if equal parts of the two colors were mixed and printed at one time. The numbers in small figures just above the figure numbers for the color combinations refer to the figure numbers of the two colors used in the combination, that at the left being for the color at the left and that at the right for the color at the right, and by which the colors may be traced to the names of the colors on pages 577 and 578. If a shade or tone chosen is not found among the specimens shown, by changing slightly the proportions of the fundamentals in the one shown that is nearest that which is wanted, the color desired will be obtained without difficulty. While any printer may readily mix inks to obtain approximately any of the colors shown, if he has in stock the three process colors, 590 COMMERCIAL ENGRAVING AND PRINTING mixing white and black, it is usually more practical when a con- siderable quantity of ink is required, to order from an ink maker. The exact colors as shown may be obtained from Philip Ruxton, Inc. It will also facilitate matters if the figure number as given herein is stated and reference is made to COMMERCIAL ENGRAVING AND PRINTING, when sending the order. The ink used in printing any job is an item that must be estimated separately, the same as the quantity and quality of paper, workman’s time for the different operations in typesetting, presswork, etc. Line etchings on zinc. The designs were marked out on metal, outlined and routed. Wax moulded nickeltypes were made from these to use in printing the color combinations in Figs. 1631 to 1774. Fig. 1795. Fig. 1796. The plates used in printing the color combinations in Figs. 1631B to 1774B, inclusive. While experienced printers can closely estimate the quantity of ink required to print a certain piece of work, there is no fixed schedule as to the requirements for printing a stated number of impressions of a form covering a given area. The amount necessary will vary greatly, depending upon the nature of the form being printed. For illustration, a form made up of widely spaced lines of light face type will require much less ink than one that is made up of heavy black face type, or plates containing large areas of solid color. Also the cost of the ink varies with the kind and quality; reds, blues, greens, etc., in the better grades being more expensive than blacks. Ea, it! eta err eat ho ae Ee tee: em —p | iy, bossing, Ay Lamping and n Culling Dies *Fig. 1800. MBOSSING is the process of raising the lines or contour of a sub- kK ject in relief above the surrounding surface, or depressing them below that surface. It is commonly referred to as cold embos- sing or hot embossing and the work may be done on a light job press when the form being embossed is a small one, on a heavier job press for larger forms or on a press built especially for such work. When the subject is a large one covering considerable area and the die js not too deep, or when a form is made up of several dies to be run on one sheet, it is sometimes practical to do the work on a cylinder press. Embossing is much used for booklet and catalog cover designs, labels, display cards, calendars, etc. | In steel die embossing, as explained elsewhere, the color is applied and the embossing done in one operation, but in letterpress printing and lithography the color is first printed in the usual way anda separate operation is necessary for embossing. Embossing cannot be done from type, electrotype of type, or any other kind of relief printing plate, but must be done from a special intaglio plate. Such a plate is necessary even though a part of the subject may show in relief and a part depressed; and many striking effects are obtained through the ingenuity of the designer and the die cutter. T’o the layman some embossed subjects have the appearance of having required two or more press operations to accomplish the results shown, as for instance, to produce raised characters on both sides of the sheet in the same subject. In reality both of these effects as well as variations in the height of the embossed lines and differently finished surfaces of the embossed parts, are obtained with a single impression. The effects are accomplished through the manner in which the die is made. Also dies for some label and other special work, are made with a cutting edge and will emboss and cut, or die out at one operation, others are made to print, emboss and cut at one operation. It is impractical to attempt to emboss small lettering, light face borders and any other small detail, especially on medium or heavy weight stock. The lighter the stock used the more delicate the detail may be in the die, while the heavier the stock the coarser the detail required in the die. A design may be first printed in any number of colors and the entire design then embossed with one impression. Or, the printing may be entirely omitted and the entire design produced by embossing. This latter is known as plain or blind embossing. Then, certain parts of a *Square-outline halftone, 133 line. Made from a wash drawing. The white border line was cut on the plate. 592 COMMERCIAL ENGRAVING AND PRINTING subject may not have been printed at all and the detail of the printed part as well as that necessary to complete the design may be carried in the die, thus producing part of the subject in blind embossing and at the same time embossing the part of the design which has been printed. Embossing has a tendency to burnish bronze and other metallic colors that have been printed, and to brighten others. Blind em- bossing also smooths out the stock in such a manner as to give a difference in color and prominence to embossed parts. Gold, silver and other metallic colors will be given further luster if a sheet of metal foil is placed over the die so that it may come between the sheet being embossed and the die at each impression. Any paper or cardboard that will fold without cracking will emboss well. The depth to which it may be embossed depends upon the nature of the die as well as the stock. Not all paper or cardboard stock can be successfully embossed. A sheet that is brittle will break where the edges of the die come in contact with it, while a very thin sheet that is soft and pliable will not retain the embossing, although the impres- sion when first made will appear very satisfactory. Cover stocks, linen and bond papers, bristol boards, etc., are usually the best stocks for embossing, although some qualities of these are not suitable. Heavy, hard stocks, although they may be pliable, require very heavy pressure to bring out the embossed design properly and it is sometimes necessary to give more than one impression, the additional impression, or impressions, being given immediately following each other. Instead of repeating the impression, better effects are some- times obtained by slightly dampening the sheet before embossing it. A roller covered with flannel and dampened with water may be passed over the surface to be embossed, or the sheets may be dampened by being placed between damp cloths or blotters. Stocks in which the color is not fast, and enamel coated stocks, cannot be worked in this way, and no kind of stock should be dampened to an extent that would cause it to wrinkle or draw. The plate supplied to the printer with which to do the work is known as the female die and the male die is built on the press by the embosser. The male die is made of various materials, different em- bossers having different ideas as to what will produce best results. The materials used may be gutta percha, special embossing compounds as made by different ink manufacturers, plaster of paris, cement, tissue paper, etc. For extra deep embossing and on long runs, where heavy stock is used, a male die built up with pulp board, kraft paper and fish glue, becomes very hard and will last almost indefinitely. The male die is also known as the counter die, or the paper matrix, and by some is called the force. It is unwise to attempt to print the color from a type form and afterwards emboss it, even though the die has been made from a proof of the form. In unlocking and locking up such a form characters in it may shift slightly with the result that the die will not register with all or a part of the printed characters. It is better to electrotype the form, print from the electrotype, and take a proof from the electrotype from which to make the embossing die. As the die has then been made from the same plate as the printed impression, a perfect register is assured. EMBOSSING, STAMPING AND CuTTING D1ikEs 593 KINDS OF DIES When the stock to be embossed is light in weight and a compara- tively small number of sheets are to be embossed, it is customary to make the die on zinc. If the characters are small and little depth is required, they are usually made on 16-gauge zinc, the same as used in making line etchings, but if the lines of the subject are heavy and it covers say 10 or more square inches of surface, and is to be used on medium or heavy stock (the number of impressions to be made with it comparatively small), it is customary to make such dies on zinc I1 points thick. In making dies on zinc that are to work with line etchings that are being made at the same time, the same negative is used for obtaining the print on metal for the die, as is used for obtaining the prints for the printing plate, or plates, the print for the die being re- Fig. 1801. Some types of embossing dies. Double print outline-vignette halftone, 133 line. From a slightly retouched photograph. Proof from type of letter- ing was arranged separately for double printing. The surfaces of the dies were rolled with a gray ink before photographing. versed through making a positive or rolling up, as explained under the process of making line etchings. The cheaper dies are etched to full depth required and very little hand finishing is given them. The better dies, however, are partly etched and the bottoms of the lines are smoothed, deepened and rounded out with a hand tool to give a half round appearance to the embossing from them, while the sharp edges are rounded off slightly to prevent the die from cutting the stock. If lines are only etched the surface of them will have a tendency to be rough and the embossing from them will be flat with square edges and will not be as smooth, clean and pleasing as embossing from dies that have been smoothed and rounded out by hand work. The etched die, regardless of the kind of metal on which it has been made, embosses or raises all lines to the same height, because the lines Pages 593 to 608, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 594. COMMERCIAL ENGRAVING AND PRINTING in the die are etched to the same depth. Greater depth to some of the lines, as for the main lines of lettering in a design, to give greater relief to them, is obtained by further etching them or by hand tooling them. The commonly used types of embossing dies are shown in Fig. 1801. Die A was cut on 14-inch brass and mounted to type high by screwing on to a steel base; B was etched and hand tooled on 16-gauge zinc and mounted to type high on a type metal base by nailing; C was cut on ¥4-inch brass and is unmounted; D was etched on 11 point zinc and nailed on to a type high metal base; E was etched and hand tooled on 16-gauge zinc and backed and beveled for use on patent bases; F isa two-on steel printing, embossing and cutting die as used on the press shown in Fig. 1819; G is an unmounted %4-Iinch brass stamping and embossing plate with cutting edges for stamping with foil or leaf a letter with raised ornamental center and sharp sunken or cut edges and H was etched and hand finished on 11 point zinc and then sweat on a solid type metal base. BRASS DIES It is generally conceded that the best embossing dies are made on brass. The brass plate on which the design is etched, or cut, is usually ¥%-inch thick, although it may be made on metal of any thickness. The 14-inch metal is usually carried in stock by all die cutters, hence there is no delay in the execution of orders when metal of this thickness is used. In making a die on brass that is to work with a printing plate, ora set of plates for printing in colors, the engraver uses the same negative for making the print on the brass plate that is used in making the print or prints on metal to be etched for printing. This plan insures 3 perfect register of the embossing plate with the printing plate or plates. When the negative is not available for making the print on metal, a proof may be made from the printing plate, and this proof before it is dry is placed face down on the brass plate and an impression taken. The design will be imprinted clearly enough on the plate to make it possible for the die cutter to outline the design and then cut, tool or etch the design on the plate from which the embossing is done. The best dies are hand cut, and much skill and care are necessary to obtain lines, forms and letters that are clean and round—lines that will produce sharp embossed characters with correct detail without cutting or marring the stock that is being worked. Designs in which there is elaborate figure work and modeling are sometimes cast in brass from a plaster model. Such a cast, of course, requires finishing but it is often easier to obtain the proper modula- tion for faces and figures by this method than it is by hand cutting. COUNTER SUNK DIES Some subjects require that some special character or part of the design appear in relief on another part which appears in less relief. For example, a panel may be raised and on this panel may appear a monogram, insignia or some other character. In making a die to pro- duce this effect it is first necessary to etch, rout or cut out the part of EMBOSSING, STAMPING AND CutTTING D1Es 595 plate corresponding to the panel and then on the surface of this panel which, of course, is below the surface of the face of the plate, the special design is cut or etched. These dies, carrying as they do one design cut on the surface of the die and another one cut on the surface of the first, are known as countersunk dies. It is not customary for an engraver or die cutter to furnish a proof of the die, either alone or in combination with the printed design with which it may be used, although usually he will make for his own pro- tection a cast in plaster of paris of the more complicated dies to make sure that all the detail has been properly cut and to show the em- bossing possibilities. Usually this is not delivered with the die. When proofs are furnished an extra charge is made for them. A considerable part of a workman’s time is required for the registering and proving of color plates, if the design is printed in colors or even in one color, in addition to that required for makeready, registering and proving the die. Thus the cost of proving such work is an item of some conse- quence. Some of the more simple dies can be cut by hand at less expense than they can be etched. For paneling, plate marking and embossing flat designs of simple outline, cardboard is frequently used as the male die. The sheet is outlined to the shape required and made ready on the press in the same way as a metal die and the thickness of the board used regulates the depth of the embossing, but for a run of any great number of impres- sions a metal plate is to be preferred. Special routing equipment is used for routing brass dies and plates, they being deeper or in greater relief, and not always uniform in these respects as are the usual line plates on zinc. As different printers have different equipment for handling em- bossing dies, the die cutter should be informed as to the kind of press to be used for embossing and the thickness of metal that should be used for the die. STEEL DIES Although a brass die with proper handling will stand considerable wear and render good service for a large number of impressions, when a die is to be subjected to long and severe use it may be cut on a steel plate and the plate case-hardened. This will then permit of almost unlimited use. MOUNTING DIES Unless otherwise instructed, engravers mount all embossing dies that have been etched or cut on 16-gauge or II-point metal on solid type metal bases. When such dies are to be subjected to only short runs and are not to have hard usage, they may be mounted on wood, but generally speaking it is impossible to obtain as satisfactory work from a die mounted on wood as from one mounted on solid metal, because of the sponginess of the wood and the necessity for a firm solid base under the plate in order to get the proper impression. When the usage will not be too severe, dies made on II-point metal may be beveled and used on patent bases. This plan is especially 596 COMMERCIAL ENGRAVING AND PRINTING advantageous when several copies on one sheet are being embossed at one impression on either a job or cylinder press, because by the use of the patent bases correct register is easily obtained. Embossing dies made on brass are delivered unmounted unless otherwise ordered, and quotations are made accordingly. Some em- bossers require that brass dies be mounted on a steel base to make them type high, the die being attached to the steel base with screws. To mount in this manner, holes are drilled in the back of the embossing die and threaded. The holes in the base plate are countersunk so that the heads on the screws with which the plate is attached to the base are above the bottom surface of the base. Use is sometimes made of an additional brass plate or plates for backing a die to type height, the extra plate or plates being attached to the back of the die with screws. Type metal bases cannot be used on plates for hot embossing, be- cause the heat will affect them, although some find bases made of stereotype metal satisfactory if the die is electrically heated. The mounting must be determined by the kind of press and method of em- bossing to be followed, the kind of stock to be embossed and the probable number of impressions, as well as the kind of die being used. MAKING THE DIE READY When the work is to be done on a job press, the ink rollers are removed and the platen is stripped of the draw sheet and all packing. A sheet of cardboard a little larger than the design to be embossed is glued to the center of the platen. The embossing plate, having been locked in a chase, slightly below the center, is now put on the press as for printing. If the die contains large deep areas, the male die in parts directly opposite will need a special built up base on the platen. The plastic embossing compound or special composition that is being used is spread over the card, and parts specially built up on the platen in a thickness sufficient to fill the lines of the die, then three or four sheets of thin tissue are placed on top to prevent the composition from adhering to the die when the impression is taken. The press is now operated slowly by hand to make the impression of the die in the com- position, giving the latter a short time in which to set while the impres- sion is greatest, and afterwards gradually releasing the impression and then removing all but one piece of tissue, after which the press is allowed to stand open while further makeready on the die is completed. The surplus composition around the outer edges is cut away, as well as parts of the surface of it that come in contact with the face of the die but are not to be embossed, thus relieving the pressure from parts where none is required and giving more to the lines in the design that are being embossed. After the makeready has been completed, a sheet of thin tissue is placed over the newly made counter die and an impression made to form it properly as a finishing overlay to the die. The work is then allowed to stand for several hours until the newly made die has thor- oughly hardened. Usually the plan followed is to make the die ready in the evening and let it stand until the following morning, when it is ready for use. TP AS 1S FS 2 EMBOSSING, STAMPING AND Cutrtina DrEs 297 Much skill and care are necessary in making the male die and pre- paring the makeready properly so that the die proper will produce a full clean-cut impression and carry all detail. The die may be ever so good, but unless it is properly handled by the embosser results will be disappointing. While naturally considerable impression is required—this depend- ing upon the size and nature of the die, and stock used—yet the make- ready of the die may be so handled as to make it entirely practical to handle heavy dies on a heavy job press without damage to the press; and lighter dies, of course, may be handled as easily on the lighter presses, thus making special embossing presses unnecessary, except Square halftone, 150 line, no line. Made from a slightly retouched photograph. Fig. 1802. Embossing die in chase on press and makeready with gauges on platen. when the work is unusually heavy or when embossing is made a regular feature of the business. It would be impossible to utilize the male die if made separately, as difficulty would be encountered in mounting it on the platen and in obtaining a register of the female die with it, and the more delicate lines would more than likely be destroyed or damaged in the process of getting it ready to run. It would also be impractical to use metal male dies in connection with metal female dies for embossing paper or cardboards. Not only would they be expensive but there would be difficulty in registering, and special care would be required to prevent difficulties that might come from the dies cutting stock during the embossing operation. Further, for best results, some resiliency in the male die is necessary. After the counter die has hardened sufficiently, the guides are set on the platen as for printing, and the sheets or cards to be embossed are fed one at a time to the press, which is operated as for printing. 598 COMMERCIAL ENGRAVING AND PRINTING The sheets, of course, must be fed accurately to obtain perfect register of the die with the design that may have been printed, or to obtain proper location for the design if it is being blind embossed. HOT EMBOSSING Much of the embossing as done by job printers is known as cold embossing, not all printers having facilities for hot embossing. While excellent work may be done on some stocks when embossed cold, better work may be done on almost every kind of stock if hot em- bossed, and some stocks will require heat to emboss with any degree of satisfaction. Heat may be applied to the die on the press in a number of different ways, the best of which is by an electric current. Several different kinds of electrically heated embossing blocks are on the market, some of them taking dies of one thickness and others of an- other. They also require different methods of attaching the die to the Line etching on zinc. Made from a pen drawing. Fig. 1803. The Thompson electric heating blank for émbossing. heating plate, some of them being provided with clamps for the pur- pose and others requiring that the die be attached to the blanks with screws from the back. The stock being embossed is not heated except as it comes in contact with the hot die, which receives the heat from the base on which it is mounted. Heating the stock while being embossed has a tendency to soften it as well as to cause the embossed design to retain its shape and detail permanently. Different stocks require different amounts of heat and too much heat will cause damage to the stock while too little will not enable the embosser to obtain best results. This method is also used for ironing out panels on rough surfaced stock on which to print halftones or for other purposes. A flat piece of brass or steel of the size of the panel to be ironed out is attached to the hot plate and the sheets are fed to the press as if they were being embossed. Special embossing presses exclusively for embossing are used for heavy and special work. Almost all of them are supplied with equip- ment for heating the stamping or embossing plate with gas or electricity. EMBOSSING, STAMPING AND Curting DtkEs 599 MISCELLANEOUS It is not necessary always to emboss the entire design as cut ina die, as often the design has been so made that it is possible to omit certain parts if found advisable to do so. To accomplish this it is only necessary to cut away the counter or male die, after the makeready has been completed, of the part that is not to be embossed, or, if more convenient, the counter die need not be made for the part that is to be omitted, but the remaining parts of the die may be built up around the omitted part. This is sometimes of advantage when using an old die on which may appear a name, date, or some other feature that it is advisable to omit. Dies may be corrected, or altered, by drilling almost through from the back and tapping up to the surface the part to be corrected and then cutting the correction. It is impractical to attempt to use the same plate for both printing and embossing. For illustration, a reversed line etching may be made to show a white letter on a black background, and then printed in a tint. By embossing the lettering from the same plate plain or blind embossed letters on a background in color will be obtained. If the plate is properly made for printing, however, the edges of the char- acters will be so sharp that they will probably cut or tear the paper when the plate is used for embossing, and on the other hand, if the plate has been made properly for embossing the edges will have been rounded off, so that when used for printing the printed characters will not be sharp and clean. Often in printing and embossing labels or other small subjects, it is found advisable to print and emboss several at a time. To accom- plish this it is not necessary that an original die be made for the entire group of designs as printed, but a die for one label may be obtained and from this electrotypes made. The electrotypes should be made with extra heavy shell for embossing and they can be made up into a form to emboss the entire sheet at one operation. In sending proof of an electrotype form, line etching, or other line plate, and ordering an embossing die to be made to work in connection with it, the proof should be made on a thin transparent paper, which should be thoroughly dusted with bronze. This will make a thor- oughly opaque print which the engraver may use as a negative in making the print on metal for the die, which if on zinc is etched in the same manner as a line etching. This will insure a perfect register of the die with the printing plate. The engraver should also be fur- nished with a sample of the stock on which the die is to be used and should be instructed as to whether the design is to be embossed in flat lines, which are usually obtained by etching, or in half round effects, which are obtained through hand work on the die. In ordering a die to emboss a design that is to be printed in several colors and in which no one of the printing plates carries all of the detail, it is best to have made a shallow etched plate of the working drawing which may be used by the die cutter and from which he may obtain a transfer to use as a guide in cutting the die. Or, the key plate may be used for making the transfer, and, in case it is not to print 600 COMMERCIAL ENGRAVING AND PRINTING all detail, it may be left intact until after the transfer has been made and then altered as necessary before it is used for printing. When it is impossible to obtain a print of a working drawing from the same negative that is used in making the printing plate or plates, it is necessary that the full set of printing plates, if the subject is to be printed in color, be given to the die cutter with instructions as to how the subject is to be embossed, and he will then make such proofs as may be necessary to obtain the transfer for obtaining the necessary outlines for cutting the die. It would be impractical to make a special negative from the working drawing from which to make print on metal to be etched for an embossing die, to register with printing plates made from a different negative of the same drawing. The least difference in size in the two negatives would cause the plates to be out of register, and it would be almost impossible to obtain two negatives of the same subject, made at different times, that would be exactly the same size. The advantages in ordering dies from the firm making the printing plates will be readily seen in the foregoing. - A design to be cut for embossing may also be traced on tissue and then transferred to the metal where the design may be outlined, etched or cut, as necessary. It is always advisable to have dies made by a competent engraver or die cutter. Dies so obtained are less expensive in the end and pro- duce work superior to that produced from dies made by those who are inexperienced in the making of such plates. PATENTED PROCESSES While the effects to be obtained by embossing are practically un- limited in number, a patent is held covering the procedure of printing and then embossing to imitate a piece of cloth pasted on a card, the scope of which should be investigated before planning for work of this nature. There is another process, also patented, by which the printer is enabled to make his own die. As more or less skill is required for making the dies, the success of the method depends upon the ability of the printer, and while practical for some of the more simple designs it is not so for the more intricate and elaborate work unless handled by an expert die cutter. COST OF DIES There can be no fixed scale of prices for embossing dies of any kind. Owing to the variance in the kinds of material on which dies are made and the time required for transferring, etching, hand tooling and special finishing the different items must be charged for on the basis of cost of material and the actual time required by the workman in finishing each individual piece of work. From the explanation of the process it will be readily understood that considerable time is required for the proper makeready of em- bossing dies, after they are put on the press, especially those of large size and of complicated design. Such work also requires the attention of a workman expert in this line, as well as necessitating the standing idle of an expensive press during the process of making the male die EMBOSSING, STAMPING AND CutTtinG Dtkrs 601 Both are outline halftones. Fig. 1804 is 150 line and was made from an unretouched photograph. Fig. 1805 is 133 line and was made from a slightly retouched photograph. Fig. 1804. A binder’s Fig. 1805. A brass plate for stamp. stamping book covers. and makeready. Thus it will be appreciated that the cost of making ready a die is more than for making ready a printing plate. The time required for embossing the sheets after the die has been made ready is about the same as required for printing a one color job in which careful feeding is necessary. : STAMPING PLATES These in reality are relief printing plates and when properly mounted could be used for letterpress printing. On account of the material, such as cloth, leather, etc., on which they are commonly used, they are usually made so as to give greater relief to the printing characters, and the better plates are hand cut and carefully routed so as to produce clean, deep characters on the plates. They are used mostly for stamping leaf and foil, for printing book covers and titles, and for other purposes in which a deep plate is necessary. They are also used for blind stamping designs on cover pages of books, when — MiNalicivivos!| 6 VAIO GS: Square halftone, 133 line, no line. Made from a slightly retouched photograph on which the special background was painted. The faces of the plates were rolled with white ink before photographing. Fig. 1806. The set of brass plates used in stamping the cover of this book. 602 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftones, 133 line. Fig. 1807 was made from a slightly retouched photograph and Fig. 1808 from a black on white print from a halftone. Fig. 1807. Press for stamping Fig. 1808. Sheridan press for hot embossing book covers. sheets as large as 64 x 44 inches. no color is used in printing the design, the design by this method being impressed on the plain stock. They are too used for stamping leather goods and other materials and for printing wooden boxes, Best results are obtained when used in connection with heat. The lettering on the cover and backbone of COMMERCIAL ENGRAVING AND PRINTING was printed with brass stamping plates, the same being shown in Fig. 1806. It will be noticed that the design was made in several pieces. This was done to save material and to permit change in location of parts, which are glued to a base in their respective places for use. Though stamping plates could be etched on thick zinc, they would Outline-vignette halftone, 133 line. Made from an unretouched photograph on which the vignette was painted. Fig. 1809. A rubber plate for printing corrugated board and other uneven surfaces. EMBOSSING, STAMPING AND CuTTING DIES 603 Outline-vignecte halftone, 150 line. Made from retouched photographs. Fig. 1810. Bent rule cutter. Fig. 1811. Rule bender and dies. Outfit for cutting and bending steel rule for cutting dies. be unsatisfactory as they are generally used with heat and subjected to severe usage and therefore a zinc plate would not give the same service as a brass plate. However, when only a few impressions are required it is sometimes less expensive to etch the plate on zinc and then if necessary from this make an electrotype with a heavy shell. Regular type may also be set and an electrotype with heavy shell made from this which can be used for stamping. Such electrotypes or brass plates are usually made about 3%-inch thick to be used on a special stamping press and are commonly called binders stamps. These special presses may be used for either stamping or embossing. STEEL RULE CUTTING DIES It is possible for any job printer to produce various kinds of novel- ties and special pieces of printed matter trimmed to odd shapes by the aid of steel rule cutting dies. In planning a subject to be trimmed to an odd shape, the outcome will be more successful if the trimmed edges are kept as simple in outline as possible and small detail is avoided. These points may usually be handled more successfully if the designer is to!d to plan the design so that it may be die cut. For such work the printing plate is made and printed in the usual way. To make the cutting die a proof is taken from the printing plate and, after being carefully Outline halftone, 150 line. Made from a slightly retouched photograph. Fig. 1812. The steel rule cutting die used in dieing out the subject shown in Fig. 1814. 604 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 150 line, no line. Made from a slightly retouched photograph. Fig. 1813. Steel rule cutting die ready to run on a job press. trimmed to the exact size that the finished piece of work is to have, this proof is mounted on the back of a block of laminated wood. A cut is then made through the block with a jig saw, the cut following entirely around the outline of the printed subject and thus separating the block into two pieces. A piece, or several pieces as the case may require, of type high steel cutting rule is now bent with a special bending machine to conform to the shape of the cut made by the saw between the blocks, and the rule is carefully fitted in. As the body of the rule is of the same thickness as the saw blade, it produces a solid block again after the cutting rule has been inserted. The laminated wood block is used to avoid the possibility of split- ting, shrinking or expanding, thus making it possible for the die to stand considerable usage as well as insuring a perfect register with the printing plate or embossing die with which it may be used. After the cutting rule has been put in place, small pieces of cork, or sponge rubber, slightly higher than the cutting edges of the rule, are glued to the face of the block, these acting as ejecting material to force the die cut sheet away from the die after the sheet has been cut. The cutting die is now locked in the chase and put on the press as though it were a printing plate. The ink rollers are removed from the press and a sheet of brass is glued to the tympan of the press. Sufficient packing is placed on the sheet of brass to give just the right amount of impression to obtain a sharp cut on the sheet when an impression is taken from the cutting die. The gauges are set and the sheets are carefully fed one at a time as in printing. Pages 593 to 608, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champior Coated Paper Co., Hamilton, Ohio. EMBOSSING, STAMPING AND Currinc Drs 605 Outline halftone, 150 line. Made direct from the subject which was embossed on heavy light gray paper. Fig. 1814. Embossed and died out subject made with dies shown in Figs. 1801 and 1812. The impression does not make a complete clean cut. In TAC alt is better if it does not, but the cut is near enough clean to make it easy to separate the cutout from the rest of the sheet. If the printed surface is to bleed off the edges as cut by the die, the printing plate should be made a trifle larger than the die cut sheet is to be, so that any variance in cutting will not be noticed as being out of register. Halftones that are to be printed and outlined by die cutting need not be made in outline finish. In fact it is better to leave Square halftone, 150 line, no line. Made froma slightly retouched photograph on which the background was painted. The pieces were grouped as shown and photographed. Fig. 1815. A group of printed “cutouts”? made with steel rule cutting dies on a job press. 606 COMMERCIAL ENGRAVING AND PRINTING the surrounding background on the plate, as any small imperfections in cutting, or in the register of the cutting die, will be less noticeable if the ground adjacent to the design is printed, also the expense of out- lining and routing the plate is saved. Designs that are to be both em- bossed and die cut are embossed before cutting. The same principle as here explained for die cutting small job work is also used in cutting out and creasing the stock for folding boxes, except that larger equipment is required for the larger boxes and the dies are combined in such a way as to cut and crease at one operation. The method of creasing is explained elsewhere. These methods also are used for making the large cutouts used for window displays, counter signs, calendar backs, etc. Subjects that are too large or too heavy for a press are trimmed with a jig saw. Cutting and creasing presses are made up to 30 x 44 inches in the platen type and very much larger in cylinder presses, that the largest display designs can be handled, or boxes made in gangs. Several special designed machines are on the market that feed, print, die cut and crease almost any class of work in the box or tag line. STEEL CUTTING DIES Steel dies for cutting out special labels, cards, envelope blanks, or any kind of paper or board when large quantities are to be cut, are made of special steel and are used on a special die cutting press. A bar of steel about 1% inch thick and about two inches wide, with one cutting edge, is bent to the required shape, the ends are welded and so treated as to form one continuous piece of solid steel, the cutting edge, or knife line, of which corresponds to the design to be cut out. The flat sheets of stock to be cut are placed on the press in stacks and clamped in proper position. The die is then set in position and is driven by the press completely through the stack of stock. By this method several hundred of the blanks are cut at one operation, the number depending upon the thickness of the sheets; and as the sheets have been cut entirely through no time is required for separating the cut out blanks from the waste. The press shown in Fig. 1819 is used for printing, embossing and cutting out paper seals all at one operation. These presses are built for printing in one, two or three colors in addition to the embossing and cutting out operations. The machine shown in Fig. 1820 is used by paper mills, and others, for embossing paper or other material from the roll. The machine Outline-vignette halftone, 150 line. Made froma retouched photograph. Fig. 1816. Steel cutting dies for labels, envelope blanks, etc. EMBOSSING, STAMPING AND CUTTING DtEs 607 Outline-vignette halftones. Made from retouched photographs. Fig. 1817 is 133 line and Fig .1818 is 150 line. Fig. 1817. Thompson cutting and Fig. 1818. Seybold die press for cut- creasing press for paper box blanks. ting labels, envelope blanks, etc. shown will emboss paper up to thirty inches wide at the rate of 250 feet a minute. The design to be embossed is engraved in relief on a steel roll known as the male or upper roll. The lower or female roll, is double the size of the male and is made of pressed paper in which the design is depressed. The design must be so devised that it will be com- plete in the circumference of the rolls, that it may be repeated con- tinuously on the sheet. The paper is embossed by passing between the rolls. Outline halftone, 150 line. The illustration of the machine was printed from a wax moulded electrotype made Made from a black on white from an outline halftone, 120 line. The reproduction of the specimen is a square halftone print. finish halftone, 150 line, no line, and was made direct from a sample. Fig. 1819. Seal press. Fig. 1820. McDonald paper embossing machine and a reproduction of a specimen of work done by it. *Fig. 1825. HEET music is usually printed by the lithograph process. Before the manuscript goes to the engraver, it is first reviewed very care- fully and marked as to the arrangement of staffs, bars, and divi- sions, so that the turning of the pages of the completed music will come at such places as not to interfere with the rhythm of the composition. The engraving is made on a thin metal plate composed of tin, lead, zinc, and copper. While the engraving is made the actual size of the finished print, the sheet of metal itself is slightly larger in order to leave sufficient margin for handling, and an entire page is always engraved on a single plate. The first step in the process is the en- graving of the lines of the staff. This is done with a tool resembling a five-pronged fork. When this is drawn across the plate, it leaves the five lines of the staff cut exactly parallel and all of the same length, width and depth. The end lines are then ruled and the bass and treble cleff signs are punched in with a stencil die. In the next operation, the bars of the measures are tooled in, after which the notes are stamped in with a stencil. Following them, the stems and connecting bars are tooled in. The words or text matter are likewise added to the plate with stencils or punches representing the different letters of the alphabet and dies of common expressions. After the various expres- sion characters and the text matter have all been added to the en- graving in their proper positions, the plate is ready for inspection and correction. Corrections are made by tapping the plate up from the back so as to bring the face of the engraved metal flush with the sur- rounding metal. The surface is then rubbed down and polished and the correction re-engraved upon it. At this stage in its manufacture the engraving is known as an intaglio plate. The characters that are to be printed from in the finished engraving have been punched or cut into the face of the plate, *Square-vignette halftone, 150 line. Made from a slightly retouched photograph on which the background and lettering had been painted. The punches and tools shown are sorae of those used in making music plates. i i, Music ENGRAVING 609 Square-outline halftones, 150 line. Made from slightly retouched photographs. Fig. 1826. Fig. 1827. Fig. 1828. The first steps in making a music plate. so that when a proof is taken in the ordinary way the characters them- selves do not print at all. The background is all that prints, letting the characters show through in the color of the stock on which the print has been made the same as shown in the print from a copper plate in Fig. 1228. A proof is now taken and sent to the author for final correction or approval. A light colored ink is used on this proof as a convenience in connection with the marking of corrections, as they will be more clearly indicated when the background is in a tint than if it were printed in black. After the engraving has been approved, a transfer is made from the plate to get a proof showing the characters in black on a white ground, as they would ordinarily appear. A sharp, clean transfer will insure k) ore atoshrA : - . ; ree — Square-outline halftones, 150 line. Made from slightly retouched photographs. Fig. 1829. Fig. 1830. The final steps in making a music plate. 610 COMMERCIAL ENGRAVING AND PRINTING a clear-cut printed page, while a poor transfer will produce a rough dirty job of printing. After the plate has been inked, its face is wiped thoroughly clean and is polished by hand as in copper plate printing, leaving the engraved lines and characters filled with ink. A proof is then taken on a special transfer paper, this print being obtained in the same way in which a print is made from an engraved copper plate. A proof is made of each page to be printed and these are placed in their respective positions face down on a lithograph stone from which the final sheet is to be printed. The proof is transferred to the stone, after which the transfer paper is removed and the print is etched into the stone. Scratches and other defects in the plate, such as blots caused by nicks, Line etchings on zinc. Made from black on white prints. Fig. 1831. From an engraved and Fig. 1832. From hand-set music punched plate. type. The two methods in comparison. etc., are taken off during the process of etching. A coating of gum is then applied, which adheres to the stone on all the surface except that covered by the characters in the print. The stone is kept damp throughout the process, so that the ink adheres only to the characters and not to the entire stone. The sheets are then printed on a litho- graph press just as in the ordinary method of lithograph printing. The title or cover pages may be produced by any process of en- graving. The less expensive designs are hand engraved on metal and lithographed by the same process as the pages of music proper. In the case of song books, where a large edition is to be published, the music is usually set in music type and then electrotyped, the final printing being from these electrotypes. The notes on the staff, as well as the staff itself, are set with type characters which have been cast singly and are interchangeable, just as type for ordinary text matter. The text for the words accompanying the music is likewise set from type, properly spaced and arranged for correct position with the music. Pages 609 to 624, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. Music ENGRAVING 611 When printed from music type or electrotypes from type, white spaces will usually be noticed in the lines of the staff at the joints and elsewhere between the characters, of which it is composed. Where worn or damaged type is used, these defects are very noticeable in the finished work. When set in new type and then electrotyped, the resulting electrotypes usually produce cleaner prints than those ob- tained by lithographing, especially in the words. However, the results to be obtained by either process depend on the condition of the type or plates used, the care with which the work is executed and the quality of the paper on which it is printed. Music type may be obtained in several different sizes and special cases are made into which the type is distributed and from which it is set by hand. The electrotypes from which type-set music is printed are pre- served for further use when there is any possibility of reprinting. These electrotypes are usually unmounted and prepared for use with patent bases, so that it is a simple matter to put them on the press for a subsequent printing, and naturally, with frequent use or after long runs they become worn. In Figs. 1826 to 1830, inclusive, are shown, first, a small section of plate on which the staff lines have been engraved; second, a section of plate in which the positions for the notes and other characters have been marked; third, a section after the notes and other characters have been punched or stenciled in; fourth, the plate after the stems and connecting bars have been cut; fifth, the plate after the expression bars have been cut and the lettering punched, it now being ready for making the transfer after the faint guide lines have been burnished off. The hand-engraved plates are usually preserved so that when sub- sequent editions are desired transfers may be made from them and as the life of these plates is practically unlimited, the quality of the printing on subsequent editions is equal to that of the first. With the development of offset printing much of the sheet music is now printed by that method, especially long runs, although the plates are prepared as formerly. Line etchings may be made from the transfer proofs and the printing done with these etchings on letterpress. This method, how- ever, is not favored because the kind of paper generally used for printing sheet music is better adapted to lithographing and offset printing than to letterpress printing. (Wsasrr3 Gre TOMA TERI otnai ot wlan ait It “Fig. 1835. ELLING through the aid of pictorial representations and symbolic designs is the oldest known form of advertising. The ancient Romans scratched messages to the public on the outside walls of their houses. The next step was the written placards of the Middle Ages, which continued to be popular long after the invention of the art of printing from movable types. Churches were the favorite spot for the posting of these medieval advertisements. The poster as it is known today first came upon the scene when the process of printing from engraved wood blocks in colors was invented, and it has continued to flourish from that day to this. A poster is often defined as “‘A picture that tells a story; a terse phrase with no opportunity for fine writing, but a sentence of a few words that suggest a thousand others, and a glow of color.” The value of the poster as an advertising force is well recognized and made liberal use of by advertisers. Its striking effects appeal to all classes, for pictures speak a universal language and there is no waste circulation, as posters are displayed to all alike. An ideal poster for advertising purposes need not be constructed with a view to artistic excellence alone, since color can be effectively used on the bill boards in a way not possible elsewhere. Strong and sensational tones and original combinations give the desired individu- ality. However, the reading matter must be as short as possible and form a harmonious whole with the design. If an illustration is not used, the lettering is usually large and as striking in appearance as possible. Printed posters admit of frequent change of copy, are uniform in appearance and any given territory can be covered quickly and thoroughly by their use. BILLBOARD AND POSTER SIZES Practically every city and town of any size has a bill posting plant from which space may be rented through a poster service organi- zation, thus permitting posting to be done in an economical and sys- tematic way. The boards are now generally constructed of steel, instead of wood as formerly, the usual size being 25 feet wide by 11 feet high over all. This size includes a moulding 6 inches wide, giving *Line etching on zinc. Made from a pen drawing and spatter work on rossboard. The shading machine was used on the border on the print on metal before etching. pee ee ae Poster MAKING 613 the poster a framed effect. Blanking paper is generally used to give a margin of 7 inches of white space between the poster proper and the frame at the top and bottom and a space of 21 inches at the sides. Not only are the conditions made thus attractive for the poster but the value of the space on the board is further increased to the advertiser by being illuminated at night when practical. The standard size of a sheet of poster paper untrimmed is 28 x 42 inches, and the size of a poster is designated by the number of sheets it contains; i. e., a half sheet, 1I-sheet, 8-sheet, etc., and those of 8-sheet size and larger are known as ‘‘stands.” The four-sheet and larger designs are always posted in sections, each four sheets high and sections are added as necessary to obtain the width wanted. Line etching on zinc. Made from a pen drawing. Fig. 1836. Layout of 24-sheet poster on billboard. The surface of a 24 sheet poster is 4 sheets high by 6 sheets wide, and is thus made up of 24 sheets, each 28 x 42 inches. However, the printed surface is slightly less on account of the margins, which are usually about one inch wide on all edges of each sheet. The margins, except those on the outside of the complete design all around, do not show when the sheets are mounted together on the board, the overlapping edges being trimmed off after the printing has been completed, while those that underlap are covered by the edge of the sheet mounted above it. When the sheets are put up they are rain lapped, i. e., the top edge of each sheet runs under the lower edge of the one just above it. In accordance with the standard adopted by the posters and the poster printers and lithographers the sizes of the various cardboard signs and posters are as given in Fig, ivergie. While the size of a poster may be designated as being made up of a certain number of sheets, this does not mean that it is printed on that number of separate sheets, in fact, it seldom is in the larger sizes, and the number of sheets actually used is governed somewhat by the facilities of the poster maker and the nature of the design. For example, a 24-sheet poster may be printed on 12 sheets each 42 x 56 614 COMMERCIAL ENGRAVING AND PRINTING or if it is a design, parts of which require only one or two printings and other parts three, four or more, and these parts are so located in the design as to make it practical to separate them in making the plates, a saving in presswork is often effected by planning to print the subject on sheets other than the standard size, but of such size that when they are put on the board the several sheets make up the designated size. In Fig. 1838 is shown a 24-sheet poster that was posted in twelve sec- tions as shown by the dividing lines, but which was probably printed in a less number since the smaller sections, which were printed in a less number of colors than the remainder of the design, could have been printed two at a time. 4-Sheet Card 11 x 14 inches at Bek Ae ee eve 1 79 (5 22, X 28 79 1e- “ Poster 28 inches long by 14 inches wide 4- a3 gms (a9 high 79 Dil (79 (a9 =v. 28 x 42 inches 32) eS 84 inches high by 42 inches wide 8- ‘ ae a, 84 16- 79 (a5 112 (a9 a9 (a9 168 ce 79 20- (5 6c ND bc (a9 cc 210 79 (a9 94- iz9 a3 112 ce (73 (a3 952 (<9 66 Fig. 1837. Sizes of cardboard signs and posters. METHODS OF ENGRAVING AND PRINTING There are several methods of poster engraving and printing and of course a difference in the quality of work produced by each method; the cheaper posters becoming faded and torn within a very short time after they are placed on the boards. In daylight, yellow is regarded as the most conspicuous color; by artificial light, red. Tests have also been made as to the advertising value of the different color combinations. It has been found that black on yellow can be read at the greatest distance, with green on white, red on white, blue on white, white on blue and yellow on black, following in the order named. Two-color effects are sometimes obtained by using colored paper and an ink of a contrasting color. Owing to the preliminary expense in designing, engraving and making ready for printing, specially designed posters are usually ordered in quantities of not less than 500 to 1,000. When only a few stands are required it is usually quicker and less expensive to mount plain paper on the boards and paint them in an inexpensive way, or paint the sheets instead of printing them, and afterwards mount them on the boards. These hand painted posters are also known as manugraphs. Colored posters were first printed from wood blocks on the letter- press and this method is still used to some extent, but generally for lettering and simple ornamental work. The light and shade effects in soft wood engraving are produced by ruling and cross ruling but can not equal the stipple and grain effect as produced by lithography. High grade pictorial posters are drawn on metal or stone and etched ready for printing. as j Poster MAKING 615 Square-outline halftone, 133 line. Made from a slightly retouched photograph. The white lines were cut in the plate. Fig. 1838. A poster printed in sections of irregular size. What is known as “‘sidewood”’ of maple, basswood, birch, white- wood or soft pine is used in wood block work. The artist sketches the design on the block and the engraver reproduces it as in wood engrav- ing except that on account of the larger and coarser detail of the design and the softness of the wood, larger tools are used and the work may be done more rapidly. Each color requires a separate block and the combination when printed produces a finished picture or design. The different degrees of color intensity are achieved by ruled tints of various densities. Block work is mostly used for the production of posters in which there are heavy outlines and flat, unblended or simply blended color surfaces. A majority of the posters of today are produced by the lithographic method of engraving and printing, which process is described else- where for smaller work. Its use for poster work is a modification on a larger scale. Before the metal plates came into general use the design was reproduced from stone. When large posters are printed from stones the sheets can not be larger than one sheet size as it is impossible to procure stones to print larger sizes. In the early days of lithographic poster printing the artist sketched the designs on stones that were sometimes as large as 40 x 60 inches and weighed as much as 800 pounds. They stood them on end, leaning against a sort of easel, and the workman mounted a small stepladder to reach the upper part. Since the adoption of the offset press to lithographic printing, zinc plates are used almost exclusively. A zinc plate costs much less than stone and can be stored in a smaller space. The printing surface is generally double that of a stone, so that a double sheet, 42 x 56, can be printed from the metal plate at one operation while only a single sheet 28 x 42 could be printed on a stone press. Besides this, the speed of the rotary press is much greater than that of the flat bed press. \ 616 COMMERCIAL ENGRAVING AND PRINTING POSTER SKETCHES The first step in the production of a poster is a decision as to the size it is to be made, and then a color sketch is prepared. Because of the large size of the finished work, the sketch of course cannot be made of actual size, but it is made toa scale, usually about I to 20. After the sketch has been approved, the outlines of the design are photo- graphically enlarged on paper by sections and then transferred or traced to sheets of zinc or stone corresponding in size to the dimensions of the sheets that are to make up the complete design. The outlines of the various colors are sketched on the several key stones or sheets of zinc. The layout is also sometimes made by photographing the sketch as for a lantern slide and then projecting the design in the intended size to a large flat surface on which sheets of paper have been mounted. This enables the artist to outline the design in full final size on these sheets. Practical poster designers endeavor to use tones of color which it is possible to duplicate by lithographic inks and which will be per- manent as well as effective. Some of the most beautiful tones of color cannot be used in printing posters as they will not withstand the rays of the sun. Also in making up a design consideration is given to the fact that if parts of faces or of other conspicuous details are printed on different sheets, distortion is likely to occur when the sheets are not properly matched in mounting on the board, and effort is made to avoid break- ing up the design in this way. Much of the poster work is printed in four colors, yellow, red, black and blue. These are printed in the order named, and the first three are opaque colors while the blue is transparent. Not only must care be used in engraving the plates to see that the set for each sheet will register in printing, but the plates for each sheet must register properly with those of adjoining sheets. Besides this, each color must, in printing, be kept uniform throughout the run, as a difference in tone in any color on part of the sheets would be notice- able and mar the appearance of the design as a whole when mounted together. The posting or putting up of the sheets is also an important phase of the work, as the effect may be greatly lessened if the sheets are put up carelessly and out of register. The sheets comprising a set for a complete poster are folded singly and so stacked and packed and marked that the bill poster on opening the package can tell instantly which sheet goes up first and the order in which the others are to follow. Some lithographers who specialize in poster work keep constantly on hand a supply of stock posters adapted to use for almost any line of business or entertainment. The largest users of these stock designs are the smaller circuses, theatrical companies, fair associations, etc. Blank spaces are left for the insertion of names, dates and other adver- tising matter. These stock posters can be had in any quantity and at a low price compared with the cost of special original work. *Fig. 1845. paper, printing and lithographing industries, the product being usually sold through the jobber to the printer or lithographer and through them to the consumer. Therefore, when the subject of envelopes is under consideration the printer should be consulted re- garding all doubtful points before any definite plans are made. Large stocks of envelopes in various sizes, colors, weights and styles, are carried by paper jobbers. However, to obtain envelopes that will harmonize in color or size with the letterhead, booklet, catalog, or other enclosure, and thereby assure the message a fitting first impres- sion, it is often necessary to order them special made. The paper of which the ordinary made-up or stock envelope is made is usually machine finished book, linen, bond, Manila, or other papers having folding and wearing qualities, which are not suitable for fine halftone or color printing. Further, the seams and gummed flaps prevent the successful printing of special designs made up of fine lines or screen, and the possibilities for good printing are somewhat limited except for the customary return card in type, or type in connection with a rather coarse line etching, wood engraving or coarse screen half- tone of such size and so located as to avoid printing over the seams. And it might be mentioned here that it is advisable to print from electrotype, and thus preserve the original plate, if the seams are to be printed over, as they are very damaging to type and plates. Y | \HE making of envelopes is a special line of business allied to the MAKING BY MACHINE The paper from which stock envelopes are made is furnished by the paper mill to the envelope factory in special sizes so that there may be the smallest amount of waste when the sheets are die cut for the various sizes of envelopes. The dies are made so as to cut the entire outline of the flat envelope sheet, and the sheets are cut on a special die cutting press in lifts of from 100 to 500 sheets at a cut, this depending on the size of the envelopes and the thickness of the paper being cut. The die cut blanks are placed on the elevator of an envelope ma- chine from which they are automatically fed one at a time through the machine. The machine gums and folds the blanks to envelope shape, sticks the sealed flap, dries the gum on the unsealed or open flap and counts the envelopes into bunches of any desired number, at the rate of 5,000 to 10,000 per hour. The bunches are delivered to the *Line etching on zinc. Made from a pen drawing. The ruled background in the pane was made through the use of the shading machine on the print on metal before etching. 618 COMMERCIAL ENGRAVING AND PRINTING Outline halftones, 150 line. Made from retouched photographs. Other types of dies for envelopes are shown in Fig. 1816 on page 606. Fig. 1846. Adjustable dies for cutting envelope blanks. operator, who boxes them ready for delivery. Each machine is built for making but one size of envelope, although change parts may be obtained for making additional sizes, provided the difference in sizes is not too great. COMMERCIAL Envelopes for general commercial correspondence are furnished in the following sizes: No.5 —37;x5% No. 74—3%x 7% No.6 —3%%x6 No. 9 —38%x 8% No. 64—34% x6 No. 10 —4%x 9% No. 6144—3,% x 6144 No. 11 —44%x10% No. 634—3% x 6% © No. 12 —4%x1l No.7 —334 x 634 No.14 —5 x11\% The No. 634 and No. 10 envelopes are the most used sizes and these can be procured from stock in a greater number of qualities, colors and weights, than any of the other sizes. POSTAGE SAVERS The postage-saver envelope has the appearance of a sealed envelope but permits of ready opening for inspection, thus permitting the rate of postage for third class matter, and it is usually made only in No. 634 and No. 10 sizes, but can be furnished in any size. BARONIALS The usual sizes of Baronial envelopes carried in stock are as follows: No.4 —354x4Ht No. 534—41% x 53% No.5 —44%x5k No.6 —5 x6 No. 544—434 x 554 These are used for business announcements, personal and social correspondence. ENVELOPES 619 SOCIAL Social correspondence envelopes are usually boxed and sold in connection with folded note sheets and there is less uniformity in sizes, numbers and names of stock from different jobbers and makers than in commercial lines, each making its own line of specialties. CATALOG The ordinary sizes of Manila catalog envelopes are as follows: 454 x 634 oh ee 4g) 844x114 44x74 64x 9% DieexoL 2 65 xi 644x 9% 944x12\% 54x7T% ie xl0le 10Me xls 54x84 74x 10% 11%x 144 These are made in open end, gummed or ungummed; open end clasp, open end string and button, etc. TWO-FOLD The No. 714 Commercial, which is also known as a two-fold enve- lope, is carried in stock by all jobbers in several qualities, weights and colors, and can be made to order from any stock. The size is distinc- tive, being 74 x 37 and the letterhead sheet used with it is 714 x 10% inches, necessitating only two folds for enclosure, thus preserving the original effect of a nicely engraved or embossed letterhead, without marring by folding. The cost of extra stock on account of the size of the envelope being larger than the customary 634 size is offset by the saving in cost of letterhead sheets, because of their reduced size, it being possible to obtain nine of these sheets from a 22 x 34, or double folio sheet, instead of eight of the usual 814 x I1 size. The regular size letter sheet, 8% x II, may also be utilized as a two-fold sheet if used with No. 9 or No. 10 envelopes. MANNER OF BOXING Jobbers do not break boxes of envelopes when selling them, con- sequently the printer must charge extra when an odd quantity is ordered instead of even boxes. Stock envelopes are packed 500 to the box in the medium size; some of the smaller sizes 1000 to a box, while the largest catalog envelopes are packed 250 to the box, as are many of the finer grades of correspondence and wedding envelopes. SPECIAL MADE Special made envelopes may be made in any desired size from any stock selected and may be made up before or after printing. How- ever, on account of the possibility of better printing when the sheet is printed flat than after it is made into the envelope, it is advisable to print the flat sheet first and then make it into envelopes after- wards. This plan also permits use of the advertising facilities afforded Pages 609 to 624, inclusive, are printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 620) COMMERCIAL ENGRAVING AND PRINTING Square-outline-vignette halftones, 150 line. Made from slightly retouched photographs. Front view. Side view. Fig. 1847. Machine for making envelopes. by the use of the back of the envelope by making it possible to print both front and back at the same time at no extra cost, and it also makes it possible to print more than one at a time. Also by printing the flat sheets it is possible to print envelopes of different sizes, letter- heads in different sizes, statements or other forms all on the same sheet at the same impression. This plan not only saves press work, but insures uniformity in printing, as well as in stock. This is not practical for short runs, but may be made so where large quantities are being printed. In printing a combination sheet, a layout sheet should be obtained through the printer from the envelope manufacturer to make sure of correct posi- tion and size for the envelopes that are to be printed, and to insure minimum waste of stock in cutting. The sheets, or parts of them, on which the envelopes have been printed are cut off and sent to the paper jobber, who sends them to the envelope factory to be made up and returned. Envelope factories are conveniently located in nearly all parts of the country and have large facilities for making up special envelopes from sheets. There- fore, little time is required for handling such an order in any quantity and the cost is not materially increased. HAND MADE In the making of hand made envelopes from special stock and in special sizes, the sheets are partly trimmed on a paper cutter and then with an adjustable die they are cut to envelope shape. This die can be so adjusted as to make the cut necessary for any size of envelope and from 100 to 300 sheets are shaped at one cut, this depending upon ENVELOPES 621 Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1848. Kinds of envelopes with trade names. The names of the envelopes illustrated above are as follows: APA, High Cut Open Side; APB, Low Cut Open Side; APC, Side Seams Open Side; APD, Square Flap Open Side; APE, Reverse Face Wallet Flap; APF, Reverse Face Window; APG, Open Side Pointed Flap; APH, Two Fold Imperial; API, Baronial Open Side; APJ, Bankers’ Safety Open Side; APK, Open Side Transparent; APL, Wallet Open Side, Side Seams; APM, Postage Saver Window; APN, Postage Saver, “Penny Saver;” APO, Postage Saver; APP, Postage Saver, “Penehook;” APQ, Portfolio Open Side; APR, Double Metal Tongue Merchandise; APS, Pamphlet; APT, Open End Catalog; APU, Open End String and Button; APV, Transparent Document; APW, Safety Express; APX, Single Metal Tongue Reversible; APY, Bankers’ Safety, Open End; APZ, Policy Open End; AQA, Glove Open End; AQB, Pay; AQC, Open Side String and Button; AQD, Pass Book; AQE, Optical; AQF, Needle; AQG, Theatre; AQH, Drug; AQI, Comb; AQJ, Coin; AQK, Open Side Filing; AQL, Adjustable Expanding; AQM, Expansion with Tape; AQN, Single Metal Tongue; AQO, Cabinet; Tete Mailer; AQQ, Security Express; AQR, Paper Tongue; AQS, Metal Flap; AQT, Envelope-Bag; AQU ag Envelope. 622 COMMERCIAL ENGRAVING AND PRINTING Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1849. A combination layout sheet of flat envelopes and letterheads. the weight of paper used. The sheets are then hand folded and pasted, being folded usually several at a time, this depending upon the thick- ness of the paper. They are then run out on a table about fifty at a time, leaving a margin of about one-half inch of the edge exposed for pasting. The edges are covered with paste and the sheets folded and put together at the center seam, after which they are put in press and left long enough for the paste to permeate the paper. They are then run out and the bottom seam is pasted, and after they are thoroughly dry the flap is turned down and the envelopes are boxed. In printing small orders of special envelopes it is sometimes advan- tageous to have the sheets die cut before printing; then after printing they are returned to the envelope factory to be made up. SPECIAL FLAPS The envelope factories have many different stock dies for cutting special shapes for the flap, on which may be printed a trademark design or other advertising matter. These stock dies are used for customers without extra charge and they are also in position to furnish special made-to-order dies at a nominal additional charge when a special flap is desired. These special flaps may be had on any of the standard sizes at a very small increase in the cost of manufacture, the flaps being printed at the same time as the face. Should extra stock be required because of increased size of flap, this would of course add to the expense. The dies of the different factories for making stock envelopes may also differ slightly for cutting the same size and style of envelope. REVERSED FACE This is also sometimes called hotel style, souvenir or advertising envelope and is a special made envelope usually printed in the flat sheet and then made up. The seamed side of the envelope is usually (ree, ae) ae ee ENVELOPES 623 “SERVICE THAY SATISEBS © The Mustratex our Seal Flap i #4 Stee, Mads isc in P4 Maze, ay Mooncoebnt iy i Souarn Staten Envelope Company outer at thew 6 se shoot woe AR ws BS ee “GOOD FOR BAD BOYS” SHOES Brans THe Weae FISH POULTRY MEAT: SOs eae Double print square halftone, 150 line, no line. Made from a slightly retouched photograph. The envelopes were grouped on a gray card and photographed. Proof from type of the reference letters was arranged for double printing. Fig. 1850. Envelopes with special flaps. used for the return card, stamp and address, leaving the entire surface of the reverse side smooth and clean for illustrations of products, plant, or other matter. WINDOW ENVELOPES Any envelope in any size may be made with a die cut opening in the face through which the name and address of the addressee on the enclosure may be exposed. Postal rules require that the die cut open- ing, window, or transparent panel through which the address on enclosure must be plainly exposed, must be parallel with the length Double print square halftone, 150 line, nol ine. Made from a slightly retouched photograph. The envelopes were grouped on a gray card and photographed. Proof from type of the reference letters was arranged for double printing. Fig. 1851. Reversed face envelopes. 624 COMMERCIAL ENGRAVING AND PRINTING of the envelope and shall not occupy any space within 13% inches of the top, or within 34 of an inch from the bottom or ends. One style of window envelope is made by mounting a separate piece of transparent paper over a die-cut opening; another is made by treating a panel on the face of the envelope with a chemical which causes the paper to become transparent, while in another style an opening is die-cut in the face. Postal regulations require that the sender’s name and street address or post office box be placed in the up- per left corner of all window envelopes and that the address within be written in a strong color on paper that is white or of a very light tint. TWO COMPARTMENT ENVELOPES These are special made-to-order envelopes containing a compart- ment for a letter or other first-class matter, and another for catalog or other third or fourth-class matter, the combination being mailable at same postage as if mailed separately, although transmitted as one and insuring the arrival of both at the same time. In having an envelope made special to order, it is more practical, hence less expensive, to select one of the standard sizes, letting the distinctive feature of the special be the stock it is made from and the manner in which it is printed. Odd and special sizes may be used when only a small quantity is required, as they must be hand made and small orders are about as cheaply made by hand as by machine. Envelopes for the enclosure of catalogs and booklets may be made from almost any cover stock and can be furnished side or end opening with gummed or ungummed flaps, or with clasp or tension fasteners. i i eo Me Cree ee “Fig. 1865. linen rags, grass fibres, etc., is the principal ingredient in all kinds of paper, their variety is so great that we do not appre- ciate the number of kinds until we begin to consider. The accompany- ing list, as given in Fig. 1866, although incomplete, will give some idea as to the many kinds made and will also assist in more definitely identifying special papers for special purposes. Boards made of paper, wood or rag pulp are included, as in reality they are but thick sheets of paper. When the various qualities, weights, sizes and colors are taken into consideration for each of these items, it will be appreciated that the list covering the paper making industry is a long one. Of these kinds, News, Book (including eggshell), M. F. (Machine Finished), S. & S. C. (Sized and Super-Calendered), Enamel Coated (Gloss and Dull), Cover, Glazed, Blotting, Safety, Gummed, Wrapping, Writing, Linen, Ledger, Cardboards, etc., are most used in the various processes of engraving and printing. Although the methods of manufacture are very complex, the chief processes in paper making are practically the same, regardless of the finished product. The principal operations are the cleaning and prep- aration of the raw material, the reduction to pulp and the re-manufac- ture into paper stock. A inen rag vegetable fibre in the form of wood, cotton and MATERIALS USED The chief materials used are wood pulp, rags and old paper. Ordi- nary newspaper stock, as well as some of the cheaper grades of book and wrapping paper, is made from a small percentage of wood pulp and a heavy percentage of mechanical wood filler. The medium and better grades of printing and book paper are made entirely from wood pulp, or rags, or a mixture of rag and wood pulp. The most used woods are spruce, hemlock, chestnut, poplar and pine. As is true of all other manufactured goods, the quality of the materials used and the care taken in the manufacturing processes determine the inferior or superior qualities of the finished product. Good clean water in large quantities is also an important requisite, as, for illustration, it is estimated that *Square halftone, no line, 133 line. Made from a retouched and “faked in” photograph. 626 KINDS OF PAPER COMMERCIAL ENGRAVING AND PRINTING Absorbent Coupon Lining Sack—Cement Album Cover Lithograph Sack—Charcoal Anti-rust Cracker Shell Board Litmus Sack—Sugar Anti-tarnish Crepe Loft-dried Safety Asbestos Crinkled Loose-leaf Sand Backing Board Decorating Luminous Saturating Feit Bag Document Manila Macaroni Screening Bank Note Drawing Manifold Sheathing Bible Drug Manila Shield Boards Binders Board Duplex Map Shoe Boards Black Duplex Board Mat Board Shoe Tissue Blanks Easel Board Matrix Signal Blotting Egg Case Board Metallic Sign Bogus Electric Board Milk Bottle Cap Silk Wrappers Bond Envelope Mill Boards Silver Tissue Book Express Mill Wrapper Slate Bottle Wrapper Felt Mimeograph Starch Box Filtering Mounting Stencil Box Board Flour Sack Music Stereotype Box Covering Friction Board Napkin Strawboard Bristol Fruit Wrapping News Straw Wrapping Buggy Board Furniture News Board Sulphite Boards Building Glassine Novel Superfine Building Board Glazed Oak Grained Tablet Butchers’ Manila Grass Bleached Offset Tack Button Board Grease Proof Oil Tissue Tag Board Carbon Tissue Gummed Oil Board Tar Board Card Board Halftone Onion Skin Telegraph Card Middles Ham Oyster Pail Board Template Carpet Lining Hanging Packing Textile Cartridge Hard Fibre Paper Stock Board Text Cash Register Hardware Papeterie Ticket Catalog Heavy Wrapper Papier-mache Tissue Chair Seat Board Healing Parchment Tissue Manila Cheviot Ice Cream Pail Paraffin Tobacco Chip Board Board Patent Coated Toilet Cigarette Indented Boards Boards Toweling Cloth Board Indurated Pattern Trunk Boards Cloth Lined Ingrain Wall Paper Pattern Boards Tube Boards Coated Book Insulating Photographic Tympan Coated Box Board Interleaving Photogravure Typewriter Combination Board Jacquard Board Photo Mounts Vulcanizing Condenser Jute Board Picture Board Vellum Cone Jute Manila, Press Board Wagon Boards Container Board Kraft Pulp Board Wall Paper Coptube Label Rag Wrapping Water Proof Copying Leather Railroad Copying Waxed Corrugated Ledger Railroad Manifolding Wedding Cork Lined Board Railroad Manila Sulphite Cotton Batting Linen Record Wall Board Cotton Sampling Linen Finish Roofing Wrapping Counter Board Lineoid Rope Writing Fig. 1866. The principal kinds of papers. from 50,000 to 75,000 gallons of water is used in the various steps in making of a ton of rag paper. PREPARATION OF WOOD BY THE MECHANICAL PROCESS Wood is converted into pulp by one of two processes, the chemical process or the mechanical process. If by the mechanical process, the logs, which will average about twelve inches in diameter, are shipped to the mill, cut into lengths of about four feet, and the bark removed. There are different methods of removing the bark, but drums of a revolving type are in use by the larger mills. These drums are about ten feet wide and fourteen feet in diameter and have a capacity of from five to seven cords. The wood, carried to them by conveyors, tumbles about in them as they revolve and after about two hours they are Pages 625 to 640, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. PAPER 627 Square halftone, 150 line, no line. Made from an unretouched photograph. Fig. 1867. Wood as received at the mill. stopped and the wood dumped onto a chute which guides it to a pond. The wood is sorted as it is taken to a platform, that free from bark is then sawed into shorter lengths and carried to the grinders or chippers, the rejected going again to the barking drums. The bark as it is re- moved is conveyed to a bark press where the water is pressed out of it and it is then used for fuel under the boilers. The blocks, usually about twenty-four inches in length, are ground into a mass resembling sawdust by bringing them in contact with large Courtesy Fibre Making Processes, Inc., Chicago Fig. 1868 is a square halftone, 133 line, no line, and was made from a black on India halftone print. Fig. 1869 is a line etching on zinc and was made from a dark blue on India print from a line etching. Fig. 1868. Fig. 1869. A barking drum. 628 COMMERCIAL ENGRAVING AND PRINTING Courtesy General Electric Co., Schenectady, N. Y. Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1870. A four-pocket pulp grinder. grindstones. These stones measure from four to five feet in diameter and have a face of from two to four feet. The cases in which the stones are enclosed are provided with pockets or hoppers into which the blocks are placed and by hydraulic pressure are forced against the stone. A constant flow of water reduces this mass to the form of pulp, which flows into a pit or tank underneath the grinder, after which it is screened to free it from splinters and chips and is then run through a wet press machine, which presses it into sheets for shipment to the paper mill in case the pulp is not made into paper at the pulp mill. These sheets are broken up at the paper mill by a beating engine and reduced to pulp, the quality of which depends largely on the coarseness or fineness of the surface of the stones on which it was ground. The wood is usually ground while it is green and the blocks from logs of large diameter are split before going to the grinder. Ground wood pulp is not used in the manufacture of the higher grades of paper because of its coarseness, but is largely used for news- paper and the coarser grades. Ground wood pulp contains all of the chemical elements of the wood, such as the resin, gum, etc., and the fibres are short and inflexible to such an extent that pulp made in this manner does not have the proper felting properties for the better grades of stock. Papers made of it become brittle, lose strength and discolor very rapidly. PREPARATION OF WOOD BY THE CHEMICAL PROCESS Reduction of wood to the pulp by this process is accomplished mostly through the use of chemicals; two methods being in common use. One is the so-called sulphite method, in which the re-agent used is sulphurous acid and lime; the other and older is the soda process, PAPER 629 in which caustic soda softens and separates the fibres. The chemical process permits the fibres to become much finer than in the mechanical process. Two processes are included in the sulphite method; the high pressure system, in which strong solutions of the chemical re-agents are used under high pressure in the digester; and the slow process, where the time required is much longer and the pressure in the boiler is not so great. Different qualities of pulp are made by the two processes and it is possible to make many different kinds of pulp by each of the two methods. Great care must be used in the proportions of materials and time used so as to maintain the standard of the mill. Up to the point where the blocks are ready for the grinder, the chemical process is the same as the mechanical, with the exception that in the manufacture of the highest grades of pulp, the knots are bored out of the logs. Instead of being ground, the blocks are put through a chipping machine and are reduced to small chips. These chips are then disintegrated by passing through a crusher and are then screened to enable the chemical solution to more thoroughly penetrate the material, and are then conveyed to the chip bins and from there to the digester. Sulphite of lime liquor is then introduced and the resulting mass boiled together, removing lignin, resin, etc., and thoroughly separating the fibres. Then by a series of screening and washing processes it is freed from acid and other foreign substances when the bleach, chloride of lime or bleaching powder, is added. After the pulp is carefully put through these operations, it is ready for the beater, unless it is to be shipped from the pulp mill to a paper mill, in which case, it is rolled into sheets, dried and packed for shipment. The soda process is a general term applied where sulphite of lime is not used, caustic soda being the usual substitute. Courtesy Carthage Machine Co., Carthage, N. Y. Outline-vignette halftone, 133 line. Made from a sligntly retouched photograph. Fig. 1871. Open view of chipper. Inside diameter of feed spout 1914 inches. 630 COMMERCIAL ENGRAVING AND PRINTING Courtesy American Welding Co., Carbondale, Pa. Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1872. Digesters in which wood pulp is cooked. Many different kinds of pulp are manufactured from wood. The kind of wood used, the strength of the liquor, the pressure applied in the digester, the length of time of the cooking and the beating all have to be taken into consideration when pulp is selected for certain kinds of papers. One kind will work up well for one paper and would be imprac- Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1873. Bales of the better grade of rags as received by a paper mill. PAPER 631 Square halftone, 133 line, no line. Made from an unretouched photograph. *Fig. 1874. A rag sorting room. tical for another. As much care is necessary for the selection of the proper constituents for suitable wood pulp as in the selection of rags for rag pulp. CLEANING AND PREPARATION OF RAGS It is asserted that paper made of rags will outlast paper made of any other material and that a deed made on rag paper by King Roger of Sicily, 1106, A. D., is the oldest piece of paper in the world. While a few paper-makers use new, clean rags, from shirt, collar, underwear and similar factories exclusively, in the manufacture of high grade writing papers, these having the original strength of fibre, the majority use rags that are collected from every source and from all parts of the world by the “rag man”’ and sold to the paper mill in bales of about 1,000 pounds each. These rags when received at the mill are unassorted, dirty and full of foreign material. They are thrown into a large cylindrical recep- tacle called a “thrasher.”” The thrasher is equipped with long wooden arms or beaters, which pound and thrash the rags, loosening the dirt and beating out the dust which is carried off by suction air tubes. From the thrasher, the rags are taken to the sorting room where they are sorted as to size and condition, different kinds requiring dif- ferent treatment for making into pulp. Black and red rags with fast coloring are unsuitable for the manufacture of the better grades and are sorted and used in the making of other kinds. Except in the manu- facture of building papers, felts, and similar products only cotton and linen rags can be used. The woolen rags must be sorted out. These are either sold to mills making felts, or to manufacturers of “shoddy ”’ *The photographs from which the halftones were made for Figs. 1873, 1874, 1875, 1876, 1877, 1878, 1880, 1889 1890, 1894, 1900 and 1921, were kindly loaned by the American Writing Paper Company, Holyoke, Massachusetts. 632 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1875. A rag cutter. cloth for clothes. Hooks and eyes, buttons and foreign substances are removed by drawing the rags along scythe-like blades mounted point- up on the sorting benches. After the rags are thus freed from foreign substances, they go to the cutter, a machine which chops them into small pieces by means of revolving blades. The manner in which the rags are cut plays a very Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1876. Dusted rags. The dusters are within the small house-like structures in the rear. PAPER 633 Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1877. The bleach boilers. important part in the finished paper. Here, too, they lose a part of their dust and dirt. From the cutter, the rags go to the ““‘whipper” for a further cleans- ing. The whipper is a large, hollow cone with spikes projecting inward against which work the spikes of an inner drum, thus loosening, al- though not dislodging, all of the dirt and dust. The rags, now cut in small pieces, go through the final preliminary cleaning process in a machine called the ‘‘duster.”” The duster is a large cone-shaped, revolving sieve in which the rags are tossed and shaken about, the loosened dirt and dust being carried away by suction tubes and the rags coming out clean as far as is possible by dry-cleaning. The dust from the rags is sold to the manufacturers of the cheaper and coarser grades of paper, such as is used for roofing materials, etc. From the duster, the rags are carried on an endless belt to the bleach boilers, being carefully inspected on the way to detect unchopped pieces, buttons or other foreign substances. The bleach boilers are large revolving containers, holding as much as five tons. After the rags are fed into this machine, it is sealed and they are boiled in a solution of lime and soda from twelve to fourteen hours. In this first cooking process, all the coloring and glutinous matter as well as dirt is thoroughly loosened from the fibre. After the rags leave these boilers, the dirt and color are allowed to drain off the mass of cooked rags. From the drain, they then go to the ‘“‘washers’’—oval-shaped tubs—where the final cleaning and disin- tegrating process takes place. The washer is a large oval tub in one side of which there is a roll equipped with blunt bars which brush against similar bars in the bottom of the tub. As the dirt is separated from the fibre it is removed by continually running water into one side and which is discharged with the dirt through the octagonal drum on the opposite side of the washer. After washing, the bleach or bleaching Pages 625 to 640, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 634. COMMERCIAL ENGRAVING AND PRINTING wer Os ee Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1878. A pulp washer. powder, as it is sometimes called, is added. Bleaching powder, usually chloride of lime, is as the name implies, used to whiten the stock. The white, swimming mass of fibre which is the result of the fore- going cleaning processes is now called “half-stock.”’ Up to this point about 35% of the original volume has been lost in cleaning. From the washer the “‘half-stock”’ is transferred to drainers, which are cellar-like compartments with perforated brick floors, and allowed to drain for a week or more. Then it goes to the beater where it is reduced to pulp. The beaters are very similar in appearance and opera- tion to the washers. Old rags, after cleaning, do not require as much beating as new, as the fibres have been softened through previous use, washings and scourings. PREPARATION OF GRASS FIBRES In the preparation of flax, hemp, manila, jute, esparto, bamboo, bagasse, straw and other grass fibres, the fibre is separated from the waste material and reduced to pulp by processes of cooking, washing and beating similar to those used in the preparation of rags for pulp. The stronger fibres are used in papers where strength and toughness are required. If these fibres are used as the body of the material, the process begins with the digester and from that point follows the same route as paper made from rags. White pulp cannot be made from jute, because the tannin-like bodies distributed throughout the mass of fibre will not bleach. PREPARATION OF PULP FROM PAPER Old paper stock is used extensively in the manufacture of pulp, the paper being collected and baled in much the same manner as old rags. Clean cuttings from the trimming of books, magazines, etc., have a PAPER 635 Square halftone, 133 line, no line. Made from a slightly retouched photograph. *Fig. 1879. A row of pulp beaters. greater value than scrap or old paper that has been printed. Linen and bond papers of high grade, of course, have a greater value than the cheaper grades of book or coated stocks. The clean and unprinted of these used in new pulp may begin with the digester or beater and follow the same route as pulp made from raw stock. Old newspapers, some of which are de-inked before using and some are not, are used for making the cheaper grades or for fillers and their use in the process begins with the beater. The value of enamel coated stocks for re-making into pulp is greatly diminished because of the presence of the clay used in coating and the difficulty of separating this from the fibre before re-using. THE BEATER The making of paper proper begins with the beater, which is of vat- like construction, and which thoroughly separates the fibres and reduces them to a thick, creamy mass. The quality of the paper depends largely upon the fibres used and upon the amount of beating they receive in this machine, blottings and antiques requiring less than books, writings, etc., because of the softer stock used. Prolonged beating of hard or strong tough stock usually adds to the strength of the sheet but it can be overdone. Here it is that sundry materials are added for sizing, loading, etc., and different fibres are mixed, if the paper is to be made partly of rag and partly of wood. Here, also bluing is added for the white paper or the coloring for colored paper. Considerable skill is required in adding the coloring matter to secure a uniform color throughout the mass, as well as holding to the mill’s standard shades. The length of the fibre does not necessarily determine the strength *The illustrations for Figs. 1879, 1884, 1885, 1891, 1896 and 1899 are shown through the courtesy of the Crocker- McElwain Co., Holyoke, Massachusetts. 636 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1880. A Jordan or refining engine. of the sheet as the strongest sheet may be obtained from short fibres that felt well. From the beater on to the completed sheet, the process is practically the same whether the raw material is rags, wood, grass fibres or old papers. Square halftone, 150 line, no line. The photomicrographs were grouped and the halftone made from the group. The white lines between the views were cut on the plate. Fig. 1881. Ground wood. Fig. 1882. Sulphite. Fig. 1883. Rag fibre. Photomicrographs of paper-making fibres. Magnified about 75 times. Square halftone, 133 line, no line. Made from a retouched photograph. Fig. 1884. The wet end of a Fourdrinier paper machine. THE JORDAN ENGINE From the beater, the pulp may go to the Jordan engine, which is really another form of beater. This machine is a cone-shaped cylinder with a roll inside the same shape as the cylinder. The roll, covered with blunt knives, revolves BO 00. an, 900 8G Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1885. The finishing end of a Fourdrinier machine. 638 COMMERCIAL ENGRAVING AND PRINTING Courtesy JOSS. Flank S27 Co, Appleiom Wis. Outline-vignette halftone, 133 line. Made from an unretouched photograph on which the vignette was painted. Fig. 1886. A model showing construction of a dandy roll. in the cylinder which further separates the fibres and refines the pulp for the better grades of stock, before going to the stuff chest. THE SIUFF CHES? The pulp may go directly from the beater to the ‘“‘stuff chest,” which is a large circular vat, partly filled with water. In this vat, the pulp is continually turned about by a large dasher or agitator, mixing the fibres with water and keeping them suspended therein. In its present state, the material is designated as ‘“‘stuff.” From the stuff chest, the material flows to the wet end of the Fourdrinier or cylinder paper machine, directly into the regulating box which feeds the ‘‘stuff’’ with the greatest accuracy as to volume into a second box where about 50% water is added, thinning the mixture until it re- sembles skimmed milk in appearance, the water being added simply as a Carrying agent. Flowing from this box, the mixture passes in a continuous stream, regulated in size according to the weight of paper to be made, over sand-tables, which are little troughs with felt-covered cross pieces or baffle-plates and magnets to catch any sand or dirt that may remain in the solution. From the sand tables the flow is forced through the vi- brating screen, a horizontal piece of metal with very small slits, some- times only one one-hundredth of an inch in width and a quarter of an inch apart. Through these slits the fibres must find their way, leaving behind lumps and knotted fibres which would mar a perfect sheet of paper. From the strainer the solution flows out in a thin sheet on to a moving wire screen at the head of the paper machine. THE WIRE AND DECKEL STRAPS A gate regulated to insure perfect evenness and to fix the fibres on the web uniformly, permits the stream to flow upon an endless belt of wire cloth with nearly 5,000 meshes to the square inch and extending the full width of the paper machine. Deckel straps of India rubber about two inches square are fastened on either side of the screen and move at the same speed with it, thus holding the watery pulp in place and fixing the width of the sheet. Square halftones, 150 line, no line. The halftone negatives were made direct from the sheets containing the water- marks, the arc lights being so placed during the exposure as to show the transparency of the paper. Fig. 1887. Made with a dandy roll on Fig. 1888. Made with a dandy roll on which the design was in relief. which the design was sunken. Watermarks as they appear in the paper when held to the light. As the stream flows on the endless belt of wire cloth, the water filters through into a trough underneath. A shaking motion is im- parted to the wire from the frame and this aids in draining away the water, distributes the fibres evenly and mats or interlaces them together into a tougher web than would otherwise be possible. The more per- fectly the fibres are interlaced and matted, the better the grade of paper. Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1889. Another view of wet end of paper machine. A, belt of bronze wire; B, deckle straps; C, dandy roll; D, couch roll. 640 COMMERCIAL ENGRAVING AND PRINTING THE DANDY ROLL AND WATERMARKING Before the water entirely drains away, the moving screen with the . web of pulp passes under the dandy roll, which smooths down the surface of the paper while still in formation, and if the paper is to be watermarked the roll is made to carry a design on its surface, which as the roll turns, is pressed on to the surface of the sheet of pulp, with just sufficient force to leave an impression. The sheet is clarified and left more transparent, or thickened and made more opaque where it has come into contact with the dandy roll; thus the impression left is permanently fixed, and is known as the watermark. There are a number of methods of preparing the dandy roll for watermarking, or otherwise impressing a design on the paper while in course of manufacture. In many of the mills today, the dandy roll is made by soldering, or sewing, the design of the watermark—entirely in outline—in relief to the wire cloth covering of the roll. This is a somewhat expensive process, on account of duplicating the design to fill the roll, and one which somewhat limits the use of complicated and intricate designs. While the roll is as long as the machine is wide, its circumference, if it carries a watermark, is made to register the design in the proper place on the sheet. The Drury process differs from the method first mentioned, in that the watermark is produced by an intaglio, or sunken, design, attached to the dandy roll. The pulp in passing between the machine wire and the roll is squeezed into the depressions, causing a slight thickening of the pulp. This permits the production of either an outline or shaded effect, or a combination of both. In this process, it is not necessary to have a separate dandy roll for each individual watermark, as, in connection with a patent inter- changeable body, a change of design is quite simple and inexpensive, and it is practical to run different designs on the roll at the same time. The Nash process is a method of automatically stamping the design on the moist sheet of paper, with a die made from wood, hard rubber or metal, the device usually being operated by compressed air. In the Brown process, also, the watermarking is done after the sheet has taken definite form. The metallic design plate—under which is a resilient pad to equalize the pressure—is attached to a pressing roll or cylinder, which is forced against a backing roll, impressing the design on the moving paper. The Whitton process provides for the use of a pair of cylinders, located forward of one of the first of the drier drums, and the impres- sion is obtained by passing the web of paper between these cylinders on the face of one of which are the design forming surfaces. Watermarking is sometimes imitated by impressing a design on the paper, after it has left the mills, by means of line etchings, or by printing it in a very light tint. These imitations can be very readily detected by the impression that may be observed on the reverse side of the sheet, as well as by the sharpness of the imprint. Many of the mill watermarks are well known wherever paper is used and are regarded as a guarantee of quality and uniformity. Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1890. Heated drying drums over and around which the web of paper passes from the wet to the finishing end of the machine. Specially watermarked paper also possesses an element of safety, being used for many important financial papers, and by some foreign govern- ments for printing bank notes. Practically every jobber sells several papers, bearing his own special watermarks, thus giving a distinctive- ness to his lines for advertising purposes, as well as standard of quality. Many individuals and firms, who use stationery in sufficiently large amounts to enable them to have their orders shipped directly from the mills, have their paper watermarked with special designs. In buying privately watermarked paper, there is always an additional initial expense for the dandy roll; the cost depending upon the nature of the design, and the method to be used in watermarking. The mills will accept orders, through jobbers, varying in quantity from one thousand pounds up, depending upon the quality of the stock and the particular process of watermarking they use. One thousand pounds of stock, 17 x 22, No. 20, is equivalent to 100,000 letterheads, 8% x II. An extra charge is made for localizing the watermark, when it is to appear in a certain position in each sheet. THE PRESS ROLLS AND DRYING CYLINDERS As the traveling screen emerges from under the dandy roll, a strong suction is produced beneath the screen and the remaining water dis- appears, being drained down through the meshes and the mass of fibre is developed into a solid woven sheet which looks like a damp piece of blotting paper. This endless sheet travels from the screen on to a con- tinuous and seamless belt of moist felt, which is as wide as the machine. The paper is yet too fragile to travel alone and the wet felt carries it between two metal rolls. These squeeze out more of the water, give a greater degree of compactness to the fibres, smooth the upper surface, Pages 641 to 656, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 642 COMMERCIAL ENGRAVING AND PRINTING and finally deliver the web of paper to a second, and sometimes a third, felt apron which carries it along and to the back of the second press rolls. In this way, the under surface comes to the top and it in turn Is subjected to the smoothing process. From this point, the paper travels alone, having become firm enough to stand its own weight. Passing above the second press rolls, it resumes its onward journey to the second half of the machine, or the drying cylinders, passing over and under, and over and under, that both surfaces of the web may come in contact with the cylinders. There are twelve to a hundred of these drying cylinders, their number depending upon the character and weight of the paper being produced, very heavy sheets requiring more drying cylinders than sheets of lighter weights. These are hollow cylinders, heated by steam, measuring from three to four feet in diameter and in length according to the width of the machine. A canvas felt is used to assist in carrying the sheet around the dryers and to hold it firmly against their surfaces. The slower and more gradual the drying, the better. Large hoods over the dry end of the machine conduct the vaporized moisture out through the roof. The paper runs around the driers like a belt until it reaches the end of the machine, when it is perfectly dry, and may be regarded as finished for certain purposes. CALENDERING Upon leaving the dryers, the paper is carried through the calenders, consisting of a number of highly-polished, chilled-iron rolls, mounted one on top of the other. Usually five to ten rolls constitute a stack, and according to the finish required, one, two or three stacks of calen- ders are used in succession. The calenders may be either solid steel rolls run cold, or hollow steel rolls heated by steam, depending upon the character of the paper in manufacture. When the solid cold rolls become too warm from friction, they are cooled by cold air. The calenders are accurately ground, varying not more than a thousandth of an inch and their combined pressure often amounts to as much as two hundred tons. There are several types of calenders used in finishing the different kinds of paper, such as super-calenders, sheet calenders, friction calenders, etc. WINDING, SLITTING AND CUTTING After the calenders, the sheet is reeled up on a two, or more, drum reel. While the sheet is reeling up on one drum, the finished paper on the other drums is unreeled and, if to be used in the width as finished by the machine, is rewound into rolls of the required size. Or, if to be used in narrower widths than made by the machine, the web is passed over slitters as it is rewound and cut into strips of the required width. Slitting and rewinding operations are not confined entirely to paper mills, as they are used extensively in finishing roll paper for use on various machines printing from the roll, automatic wrapping machines, recording and adding machines, etc. Papers that reach the consumer in sheets, whether delivered as finished by the paper making machine or after other special finishing operations, are cut into sheets from the roll Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1891. The wet end of a cylinder paper machine. by passing under revolving knives. These revolving knives are some- times made to operate with the slitters and can be adjusted to cut sheets of different lengths from the different widths at the same operation. Paper machines are built for producing sheets of certain width, their width varying from about 30 inches to nearly 200 inches, depend- ing upon the quality, thickness and quantity of the finished product desired. The widest machines are used for making news and lower grades, the medium widths for the better grades and the narrower machines for the highest grades and specialties. The speed with which the paper passes through the paper-making machine and calenders is remarkable, it not being unusual for it to travel at a rate as high as four to six hundred feet per minute, the speed depending on the kind of paper being made. Gourley The Black-Clawson Co., Hamilton, Ohio Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1892. Six cylinder board machine complete. From left to right: Cutter and slitter, winder, calender stacks dryer section, squeeze and press parts and vats. 644 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 150 line, no line. Made from unretouched photographs. The halftone negatives from the three views were stripped together. Fig. 1893B. Coating, drying and re-winding coated paper. THE CYLINDER MACHINE The cylinder machine is practically the same in its operations as the Fourdrinier just described, except at the wet end. Here, a cylinder covered with wire cloth revolves with its lower part dipping into a vat of pulp, and by suction a partial vacuum is maintained in the cylinder, causing a film of pulp to cling to the wire from which it is conveyed to a felt which takes it up and carries the sheet on in a manner similar to the Fourdrinier machine. The cylinder machine is used in the making of cardboards, strawboard and other heavier cheap papers and frequently for tissue papers. PAPER MILLS SPECIALIZE IN THEIR PRODUCT Most every mill has been designed, built and equipped for pro- ducing a certain kind of paper, or a limited number of kinds, as for instance: news, book, writing, etc., thus specializing on a certain prod- uct. The equipment is also so located that the material, from the raw state to the finished product, moves mechanically, and much of the time continuously, from process to process. The amount of output depends on the nature of the product as well as the size and number of machines installed, and which are, of course, always supported with sufficient pulp producing equipment to adequately supply their capacity. ENAMEL COATING To secure the highest finish, the paper is enameled or coated on one or both sides with a mixture of clay and glue made of casein, which fills up the pores and gives a very high gloss to the surface. Casein is pre- pared from skimmed milk by treatment with dilute acid. The whey resulting is washed, dried and marketed in the form of a yellowish powder. The clay used i is pure kaolin or china clay which is ground to the fineness of wheat flour and mixed with the solution of glue to about PAPER 645 Views in the mill of The Champion Coated Paper Company, Hamilton, Ohio the consistency of milk. A roll of paper ready to be enameled is placed before the vat which contains the coating solution. The end of the paper web is passed under a wooden roller hung in the vat, the purpose of which is to insure an even tension and uniform immersion of the web. Upon leaving the vat, the paper passes between two rollers that regulate the distribution of the coating upon the paper. From these rollers, the web passes through two sets of brushes, one above and one below, both working back and forth transversely upon the top and bottom of the paper. Each set consists, first, of a coarse, then an intermediate, and then finally extremely delicate brushes made usually of camel’s hair, which work out all small lumpy particles and overcome any tendency to uneven coating. Upon leaving the brushes, the paper is carried along for about one hundred feet on blasts of hot air from ducts underneath to an automatic carrier, consisting of wooden slats fastened at intervals upon two endless chains that pass at either side of the machine. As the paper reaches the slats, it falls upon one, which, by an ingenious device, carries it forward and upward, permitting the coated web of damp paper to fall in long loops or folds. Succeeding slats follow upon the carrier at regular intervals and prevent any mar- ring of the damp surface by keeping it from direct contact. The carrier conveys the paper in this form through a drying room, after which it is re-rolled upon reels and then finished by being passed rapidly between steel, paper or cotton rolls as in the ordinary method of calendering. For the highest finish, the rolls are set closer together, giving greater pressure and if desired, the web can be put through this process a second or third time for double or triple coating. Dyes are added to the coat- ing mixture for tints or colored papers. After calendering the paper is cut into the size required. Coating is a special department of paper making. Many mills do not make the paper they coat but others both make the paper and coat it. In coating only one side of the sheet the coating solution is applied and regulated by a traveling felt in connection with a large cylinder and the process of drying and finishing are the same as in coating both sides. 646 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1894. Dry end of a paper machine, slitting, sizing and cutting the web into sheets. It may interest the reader to know that the sheet of paper on which this page is printed was coated on the machine shown in Fig. 1893. While this illustration is in three views, they all are parts of the same ma- chine, the view at left being of the coating room, that in the center of the drying room and that at the right of the mechanism for re-winding the paper after it is coated and dry. Courtesy the Cameron Machine Co., Brooklyn, N. Y. Outline-vignette halftone, 133 line. Made from a photograph of a retouched photograph. Fig. 1895. Cameron slitting and rewinding machine. PAPER 647 Courtesy General Electric Co. and Strathmore Paper Co. Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1896. Super-calendering machine. SIZING For higher grades of book and the lower grades of writing paper, vegetable or “‘engine sizing”’ is added to the stock in the beater. Sizing is a composition, resin dissolved by cooking with soda ash, to make the finished product more impervious to moisture. Without the sizing, the sheet would be porous and absorbent and ink would be readily absorbed as with blotting paper, and would not be suitable for printing or writing purposes. Clay is sometimes mixed with the sizing solution, giving the paper more body and enabling a higher finish to be given it. Square halftone, 133 line, no line. Made%from a slightly retouched photograph. Fig. 1897. Machines for cutting the webs into sheets. 648 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. Made from a slightly retouched photograph. Fig. 1899. Sheet platers. High grade writing: papers are treated with what is known as animal sizing, or ‘‘tub sizing,” where a solution of animal gelatin is added just before the paper goes to the cutter. The sizing is introduced by passing the moving sheet under a large roll partly immersed in the solution of gelatin or glue, which gives the paper a very durable, hard writing surface. SUPER-CALENDERING When paper with a particularly high or glossy surface is desired, it is subjected to an additional process known as super-calendering. This is effected by passing the paper through a stack of rolls similar to the machine calenders, composed of different sizes of metal cylinders, or alternating metal cylinders with rolls made of solidified cotton or paper. The paper passes and re-passes through these calenders at high speed until the desired smoothness and polish have been acquired. A number of finishes may be acquired by this method, depending on the kind of rolls used and the amount of pressure put on the paper. A few mills are equipped for making what is known as “ English Finish.” This requires special super-calenders with large steam-heated rolls, alternating with hard paper rolls and the pressure put on the paper is not so great as with other kinds. The particular advantage of this kind of stock is that the life of the fibre is not squeezed out and consequently it is not so brittle as other kinds and is especially adapted to folding. PLATING In the manufacture of some of the high grades, such as linens and bonds, where an especially smooth surface is required, the sheets, after being cut, are arranged in piles of from twelve to fifteen sheets, plates of zinc are inserted alternately and the pile i is then placed ona plating machine, which has much the same action as a huge wash wringer. As the pile of paper is run underneath this heavy revolving steel roll, the roll squeezes the pile together so tightly that the rough surface of the writing paper is pressed against the hard surface of the plating sheet, so that the writing paper itself becomes smooth and is reduced Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1900. A drying loft. in bulk. This operation may be varied somewhat by placing these sheets under a powerful hydraulic press. The resulting finish is known as smooth satin finish and is, of course, much more expensive than super-calendering. LINEN AND OTHER SPECIAL FINISHES To produce a fabric finish, linen or crash cloths are placed between the sheets, beneath and on top of the pile, and with a zinc plate above and one below the pile it is run through a press in the same manner as plating. Due to the pressure, the fabric of the cloth is transferred to the surface of the paper, giving it the fabric finish so desirable asa writing surface. Similar methods are employed to obtain the ripple and embossed effects. Surface colors are put on by running the web over a felt covered drum, part of which is immersed in a color vat. LOFT DRYING The better grades of writing, linen, bond and ledger papers are loft dried. The sheets after being sized are hung on poles or cords in a drying room, the air of which is sometimes warmed to hasten the evaporation of moisture, although a slower process is productive of better sizing. DECKEL EDGE A ragged or deckel edge, such as is used extensively for high class book and booklet work, is obtained by playing a stream of water, during the process of manufacture, on the edge of the sheet of pulp, crushing and thinning it and giving it a jagged, feathery edge. The sheet as it comes from the machine must be cut into required lengths, Pages 641 to 656, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 650 COMMERCIAL ENGRAVING AND PRINTING and which, of course, prevents deckel on more than two sides of the trimmed sheet. It is possible, of course, to obtain a deckel on all four sides of sheets made by hand. An imitation deckel edge is sometimes obtained by tearing the sheet instead of cutting, but results are not always pleasing, and it is not practical except for small quantities. NEWS News paper was formerly made almost entirely of rags, but after the introduction of the sulphite process, this product, as well as ground wood, was added to the rag pulp asa filler. It is now made for the most part from mechanical wood pulp with the addition of only enough sul- phite spruce fibre to permit it to be made up and printed. In the present day news papers, twenty-five per cent. or less of sulphite pulp supplies sufficient fibre to carry seventy-five per cent. or more ground wood filler or mechanical wood. This is done to effect economy in materials as the ground wood pulp costs less than any other material entering into the sheet. News is supplied in white and in colors, its use being chiefly for newspapers, posters, hand-bills, cheap booklets, etc. It can be secured in different grades in rolls or in flat sheets. The No. 1 grade is made of ground wood, is evenly formed and fairly clean in appearance, while the No. 2 grade, also made of ground wood, is dirty and has little strength. Colored news is usually the No. 2 grade colored. The standard sizes in sheets, usually carried by jobbers are 24x36, 27X41, 28x42, 30X44, 35X45, 35x48, 38x48, 42x56, and special sizes may be obtained on mill shipments. The minimum basis is 24x 36-33. Rolls (mill shipments) may be had in any width up to the capacity of the machine on which it is made. Line etchings from pen drawings, coarse wood engravings and halftones coarser than eighty-five lines are best for this class of paper. EGG SHELL, ANTIQUE AND LAID FINISH When a rough or antique finish is desired, the calendering is omitted. The paper retains its rough, bulky and unfinished surface, and has a soft, velvety feel. It is usually designated as egg shell, antique wove, or antique laid; these titles indicating the character of the surface. In the process of manufacture, wove paper is made on a dandy-roll, with surface of plain, fine wire screen and has no grain or figure except possibly a water-mark to indicate the brand. Laid paper is made on a dandy-roll of close parallel wires and the impression of these wires shows in the finished product. The materials used and the grades range from soda pulp and rags for the better bulking grades through the M. F. grades to No. 2 print. In printing on these papers, usually line engravings only are practical. There is such a wide range in the quality and character of egg shell, antique and laid finishes that it is impossible to lay down any fast rules as to what kind of halftones and engravings might be used successfully. The printing possibilities of any of these stocks depends on the stock itself, the kind of plate to be printed and on the facilities and ability of the printer. Many of the papers in these finishes may be used suc- cessfully for illustrations by lithography or offset, photo-gelatin, PAPER 651 photogravure, steel die, copper plate and other processes. These papers may be obtained in white and colors in regular book and special sizes. Eggshell is used extensively for novels and books of this class, where only line illustrations and type are printed on it, the halftone illustrations being printed on coated stock and inserted. M. F. (MACHINE FINISHED) This is sometimes called S. & C., which means sized and calendered. The best grades known as “‘Extra’”’ are made of sulphite and soda pulp and have a clean bright appearance; the No. 1 grade is made of sulphite and old papers and is fairly clean; No. 2 is made from ground wood and old papers and No. 3 is made from ground wood. A good machine finished paper will permit the printing of halftones up to 100 line screen and on certain subjects, under favorable condi- tions, will give very satisfactory results with plates as fine as 120 line. It gives the best results with line etchings and wood engravings and is well adapted for rotary photogravure work. Being the least expensive of book papers, it is used largely for booklets and catalogs of the less expensive sort, where large editions are printed, and in a great many trade journals and class publications. S. & S. C. (SIZED AND SUPER-CALENDERED) This is a paper that is sized and super-calendered—that is, it has a gloss finish but is uncoated. It is made of the same materials as M. F. book, and some of the better grades are made extra strong, finished in imitation of enamel coated, etc. It is used for medium grade booklets, magazines, trade and class journals, etc. Line engravings, wood en- gravings and halftones of 120 to 133 line screen are best adapted to this quality of stock. It is also often called “super.”’ BIBLE PAPER Bible paper is the name applied to a number of thin book papers that possess lasting qualities, strength and are opaque. It was for- merly made from Esparto grass pulp for the most part, but a substitute is now on the market made of rags, which, while it does not possess all of the qualities of the Esparto paper, reduces the cost of such stock and is very suitable for booklets, catalogs, etc. It is usually made in eggshell, antique, machine, or calendered finish and in different weights. Medium screen halftones, wood engravings and line etchings are best suited to this sort of paper. ENAMEL COATED BOOK—GLOSS The materials used in making the base sheet are the same as those used in making M. F., the ‘‘Extra’’ grades being used for those that are heavily and finely coated, the No. 1 for regular coating and No. 2 for light coating. A rag base and long fibres are used in making folding enamels. This is a sheet made especially for the highest grade of halftone work, black and white or process color. The average fineness of the screen for use on the best grade of enamel coated stock is 150 line, al- 652 COMMERCIAL ENGRAVING AND PRINTING though finer screens may be used on the very highest grades and coarser screens should be used on the lower grades. Line etchings and wood engravings may be printed also on this class of stock with very satis- factory results. It is not suitable for lithographing, offset or the intaglio processes. ENAMEL COATED BOOK—DULL This is similar in manufacture to the gloss enamel, except that in the finishing process, it is not given a hard or gloss finish. The logical objection that has been advanced to the use of gloss finish paper is that the reflected light is injurious to the eyes and makes the page hard to read, while this objection does not prevail with the dull finish. Dull coated enamel is satisfactorily used in the printing of deeply etched halftones of 120 to 133 lines, and 150 line screen may be used under best conditions. SIZES AND WEIGHTS OF UNCOATED AND COATED BOOK PAPERS The method of determining the sizes and weights of book papers has been greatly simplified by the introduction of standard sizes, stock base weights and the use of substance numbers. All weights are determined from the weight of a ream (500 sheets) in size 25 x 38 inches as a basis and in substances (thickness) weighing 30, 35, 40, 45, 50, 60, 70, 80, 90, 100 or 120 pounds per ream of 500 sheets. This plan makes it possible to easily and definitely determine comparative weights of one size with another. For instance, a paper is needed whose size should be 26x40 inches and it is wanted in the same weight as 25x38—50. In this case, 50 is the substance number and by refer- ring to the list of regular stock sizes and weights in Fig. 1901, the weight of the size wanted is readily determined, which is 55 pounds in this instance. BASE SIZE AND SUBSTANCE WEIGHTS 25 x38in. 30 35 40 45 50 60 70 80 90 100 120 en. ko ue 22 26 30 34 37 45 52:5 G0. yey 24 x36 “ 27 -382-— 8G 41 45 BB 64 7S ee 20° X88 * 30 35 40 45 50 60 “70° 80. 90 i030 26 \x 29 “ 24 28 32 36 40 48 56° 964) S7o somes 26 x40 “ 33 38 44 49 55 66 76 88 98 110 131 Doig X aon of 643. «80 56 «62. 74. 86 OORT Ite ioieras 28 x44 “ 39 45. 52 58 65 78 91 9104) 2iG = icGeel as 29 x.b2-—6 48 56 63 V1 . 79. 95 . 111) S124 geiesee Gere 303 x41 “ 40 46 53 59 66 79 -92 105.1103 ace o2 x44 « 44° 52 659° 67 74-89 104" 1195 ias eee od x46 “ 48 566 64 72 80 96 112 1298) 14a iGGo 34 x44 “ 47 55 63 71. 79 95 110° 126-1403 oye 35 x45 “ [0 58 66 75 838 100 116 132 149 16677199 36 x48 “ 59: 64% 73° 82 91 109 127 14605164 ise 38 x50 “ 60 70 80 - 90.100 120° 140° 160180 300-924) Ali xO lee 79 92 105 118: 132 158° 184°: 231-933 7eeee ee 42 x 56 -“ 74. 87 . 99 111 124 149. 173 198 )o230noseeoo? 44 x56 “ 78 91 104 117 130 156 182° 207) 233 5250mes 44 x 64 “ 88 104 118 1384 148 178 208 238 266 296 356 *Applies only to Coated Papers. Fig. 1901. Sizes and weights of book papers. PAPER 653 The substance number indicates one weight (thickness) running through all the regular sizes, the larger sheets weighing proportionately more per ream because of the larger area. For example, a sheet of 25x38-—60 is the same insubstance (thickness) as a sheet of the same paper in 38x50—120. While all of the listed sizes are regular, some jobbers do not carry all of the different ones in stock, but order the less used sizes from the mill when wanted. The regular substance weights for machine finished and super- calendered papers are 30, 35» 40, 45, 50, 60, 70, 80 and 100 pounds and for coated papers 60, 70, 80, 90, 100 and 120 pounds. However, a slight additional charge is made for machine finish paper lighter than 45 pounds basic weight, on super-calendered when less than 50 pounds and on coated when less than 70 pounds. COVER PAPERS Probably no other feature receives more attention than the cover, when a booklet or catalog is under consideration. The cover stock and its combination with the design and the manner in which it is handled bear the same relation to the reception of the printed message as do the salesman’s dress and appearance on his personal call. The points in the selection of a cover are color, kind of finish and the suitability of it to the text within, and the choice made is largely a matter of per- sonal taste, governed by the amount of the appropriation for the par- ticular job under consideration. 20 x 26 in. 25 35 40 50 65 80 90 Boao! 363 51 OSo= to in AN pasa) 26x40 “ 50 70 80 100 130 160 180 33 x 46 “ 73 102. 117 146 190 234 ~ 269 Fig. 1902. Sizes and weights of cover papers. Although the materials, the preparation of them, and the processes of manufacturing are the same for cover papers as for book, the list of items in cover stock is much more extensive. The number of sizes and weights of any particular kind of cover paper is more limited than in book papers, but there is a wider range of colors and kinds of finish. Many of the names given to the different kinds of finishes are trade names adopted by individual mills, while some of them are in general use. The ones most familiar are antique, ripple, laid, hand-made, crash, plate, wove and a number of special finishes. Some of these finishes are obtained by running the sheet between embossing rollers, after it is finished, to produce various patterns and novel designs. The variegated color effects are produced by special methods used in applying the color to the liquid pulp. By fusing with the body sheet a thin uneven web of fibre of a different shade of color from that of the body just as it is entering the paper-making machine, the mottled surface is obtained. Enamel coated cover papers are produced by the same methods as coated book stocks, except that they are made in a heavier weight and not subjected to so much pressure in the calendering processes, this being necessary, because too much pressure would make the paper 654 COMMERCIAL ENGRAVING AND PRINTING brittle and it would not fold well. Asin book papers, there are different erades of this kind of stock and the screen of halftones, where they can be used, depends on the finish. The usual sizes of cover paper, as supplied by the jobbers, are 20x26, 23x33 inches, or slightly less than these. While sizes 26x40 and 33x46 are considered standard, they are not always obtainable. Some are listed on a basis of pounds per ream of 500 sheets; others as light weight, medium, heavy, two-ply, etc. The light weight is sometimes used for inside pages or end sheets, while the heavier sheets are used for covers. Cover paper is often used for various other purposes than for covering booklets and catalogs, such as mailing cards, folders, booklets, making envelopes to match the covers of catalogs, etc. Very few cover papers can be printed satisfactorily with halftones; line engravings being most suitable. Line color plates, embossing, lithography and offset are used more extensively than any other of the processes for printing cover stock. The plate finish papers, however, if suitable for halftones, may be printed in one or more colors with as good results as the high grade book papers. WRITING PAPER Writing paper is the general term used in connection with the papers that are most suitable for writing purposes and includes flat writing, bond, linen, and ledger paper. As a general rule, it is impractical to attempt to print anything other than line plates on this kind of paper, although there are several kinds on which halftones of not too fine a screen print up very well. Some of the bond papers are made with a plate finish so as to permit the printing of halftones on letter heads, where they are desired, but a screen finer than 133 lines is seldom practical for such work. The processes of lithography, offset printing and steel die embossing are more suitable to such papers, except for blank books or for the ordinary class of work wherein letterpress print- ing from type is commonly used. The materials used in the manufacture of writing papers are sulphite, in the cheaper grades of the flat writing and bond papers, a mixture of sulphite and old rags, for the medium grades, and rags alone for the better grades, while the extra fine papers are made from clean, new rags, the linen papers being made from linen rags only. FLAT WRITING PAPER Flat writing paper is the name applied to a wide variety of papers whose use is found mostly in personal correspondence. These are all machine-made, engine-sized and calendered, and range from the cheapest grade, found in the tablets for school children to the exquisite quality of milady’s stationery. Its use in the business world includes ruled papers as used in the cheaper grades of blank books and a small number of the ‘‘copy papers” and similar grades used in railroad and other offices where the nature of the work demands a cheap paper for writing purposes. Such paper is subject to atmospheric conditions and becomes yellow, hard and so brittle that it breaks with very little hand- ling and for these reasons it is not suitable for permanent records. PAPER 655 BOND PAPERS Bond papers, as the name signifies, were originally made for engrav- ing and printing bonds, stocks and other financial certificates which necessitate a dignified, strong, firm-bodied paper. They are still used for this purpose, but the amount so consumed is small in comparison with that used for letterheads, folders, small booklets, etc. Bond papers are made from wood, rags or the combination of the two according to the quality of the paper desired. A number of finishes may be obtained, including plate, cloth, laid, wove, etc., in weights ranging from 13 pounds per ream of 500 sheets to 44. Some bond papers used for letterheads, folders and the like are made with a finish that is calculated to take a halftone, when necessary, but the majority are not suitable for other than line engravings, steel plate and die, litho- graphy and offset. LINEN PAPERS “Linen” is the name applied by the novice to all papers that have a cloth finish, whether they are made from linen rags or not. Among persons familiar with the paper trade, linen paper means the high- est grade of writing paper, made from linen rags only. The name is taken from the material used in the manufacture and not from the particular finish that it has. There is very little genuine linen paper made, the papers so called being imitations made from the same ma- terials as used in making bond papers, and they are used for letter- heads, envelopes, record forms, etc. The finishes and possibilities for printing are practically the same as that of the bonds. LEDGER PAPERS Ledger paper is the name applied to a high grade of writing paper, which has long wearing qualities, a smooth writing surface, and that permits erasures and re-writing without damaging the surface, as is not the case with ordinary writing paper. At first, ledger paper was used wholly for the record books, where the books were handled a great deal and the record had to be permanent. Now, however, they are also used in the lighter weights for correspondence, envelopes and other forms of office stationery. The line of demarcation between this kind and some of the others is difficult to distinguish, the same as with the other kinds of writing paper. Without knowing all of the details of manufacture, the materials used and the purpose in mind when it was manufactured, one is often unable to tell whether a paper is bond, linen or ledger. One of the chief characteristics of the writing papers is the fact that they are, as a general rule, all water-marked. IMPORTED PAPERS Special hand-made papers from Japan, China, Italy, France, England and other foreign countries are imported in considerable quan- tities and used largely for fine books, brochures, programs, menus, book plates, certificates, photogravure or process inserts, artistic advertising folders, envelopes, fine stationery, booklet and box covers, 656 COMMERCIAL ENGRAVING AND PRINTING fly leaves, protecting sheets, photograph mounts and mats and other decorative purposes. Most of these papers are not adapted to fine halftone printing and as they are made and largely sold with four deckeled edges, they are not suitable to close register color work without special handling. Many of the papers produced in China today are the same in quality, size, crudity and other details as the first manufacture, originated no one knows how many years aga. Japan, France, Italy and other coun- tries, while more progressive in the modern methods of manufacture, still produce many of the papers, the individuality of which was established many generations ago. The use of such papers for any of the many purposes for which they may be used in contrast with those commonly used, must obviously give a touch of distinctiveness and quality worth while. SIZES AND WEIGHTS OF WRITING PAPERS As with book papers, a system of substance numbers denoting weight are used in connection with writing papers, the only difference being that the sizes and weights of these papers are not the same as for book. The basic size is 17x22 inches and the basic weights are 13, 16, 20, 24, 28, 32, 36, 40 or 44 pounds to a ream of 500 sheets. The list of sizes and weights in Fig. 1903 applies to all flat writings, linens, bonds and ledger papers. BASE SIZE AND WEIGHTS Inches No. 13 No. 16°: No. 20 No. 24 No: 28° “No. 32> "No, co@ 1) Non Omens on 17 x22in. 13 1b. 16 1b. 201b. 241b. 28 lb. 32 1b. 36 1b. 401b, 42 1p. 14 x84 -16%. 290% | 254 802-1 3h) ed 51 56 [6A 21a 11 ee ee Dine OF Pact Ey ane 392 (603260) eA 29 iver eb 354 40 442 49 16x40, 293 29 36 43 50 57 65 re 79 164x21: 12 15 igi 22 26 201 Wea 37 403 Wt 247 16 20 25 30 35 40 45 50 55 194x285) 19 233 295 oo 41 47 53 583 645 20 x 28 195 24 30 06 42 48 54 60 66 20 x 56 39 48 60 72 84 96 108 120 132 21 x32 23 29 36 43 50 57 65 72 79 21) Xoo 24 293 37 44% o2 593 665 74 815 213 x 314.9. 234 29 36 43> 502 58 65 125 795 2205 25e we elOe 24 30 36 42 48 54 60 66 22 x 34 26 32 40 48 56 64 72 80 88 22 x 38 20 36 445 533 623 713 805 895 983 223x225 173 215 27 323 38 43> 483 54 593 223 x 283 223 273 343 4] 48 55 613 684 755 PAPER 657 BASE SIZE AND WEIGHTS—Continued 17 x22in. 13 1b. 16 1b. 20 Ib. 24 1b. 28 1b. 32 1b. 36 Ib. 40 lb. 44 Ib. 224 x 34 263 323 41 49 574 653 734 82 90 222 x 253 203 25 314 374 44 50 564 624 69 22? x 354 28 344 43 D2 604 69 774 863 95 23 x 244 193 24 30 36 42 48 54 603 663 yest Sb aaes 223 274 344 413 48 55 62 69 76 PR ast | 29 303 38 454 534 61 684 76 84 2a X 34 ja BBE 42 50 584 67 754 834 92 Bo aXoo 29 OD 44 De 62 a 80 89 97 23% x 284 23 284 354 423 494 564 64 ral 78 24. x 38 ape 39 49 59 68 78 88 98 107 24 x48 40 493 613 74 86 984 111 123 1353 30 x 38 40 49 61 73 85 98 110 122 134 ol x 53 57 103 88 1055 123 1405 158 1753 1932 04 x 44 52 64 80 96 112 128 144 160 176 Fig. 1903. Sizes and weights of writing, linen, bond and ledger papers. While there are shown in Fig. 1903, fifty-eight sizes of writing paper and each size is listed in nine different weights, this, however, does not mean that any kind of paper can be had in all of these sizes and substances. There are special sizes that are used with bond papers, others with ledgers, and so on, but the list is inclusive of all of the dif- ferent kinds of paper that come under the general head of writing. An extra charge is made for writing paper lighter than the basic weight of 16 pounds. Names are often used in connection with the different sizes of papers, having originated, in most cases, from the watermarks that were originally used in the making of the special sizes. The following list gives the most common ones, together with their sizes: ok do. 14x17 Double Medium........... 23x36 (60) «TOT CE a er 14x34 RG eee ee gear ee 19x24 Pere an my ok et. 17x28 DoublesRoyale ea eee 19x48 PounlesDble Caps ....2.....17x56 DoublesRovalna ae oe 24x38 Poumerobl Cap inc :.-... 28x34 SUDeTAL Oya are ee ey 20x28 OO) Se ee 15x19 Double Super Royal....... 20x56 PPO Me MI LOW MN hao. es ks 19x30 Double Super Royal....... 28x40 eT ania... ons 16x21 Iniperial ies ayo Sart oe 23x31 Oye SO" BO ae ar re 16x42 Elephant een ee aoe 23x28 Woublen Demy), 2.) sas 21x32 Columbier;uic. ee oe 23x34 (GNC. ook el a ra 17x22 Zolumbiers: swe eee 24x48 POU MOWG eh sa ee AS 22x34 UNA EERO Sg meg a Cay 26x33 VLCOIN Ms ech es lg, 18x23 Double Elephant .......... 27x40 658 COMMERCIAL ENGRAVING AND PRINTING CARDBOARD Cardboards are only thick papers and are made either by the combination of different webs of pulp as it is entering the paper-making machine, the pasting of different layers of paper together to make the required thickness, or by making a very heavy sheet on the cylinder machine. The cardboards, thus made, are usually one of two kinds, that is, bristols or coated and both are obtainable in colors as well as white. ; Special lining and pasting machines are built for combining two or more sheets, or for lining one or both sides of board. BRISTOL BOARDS Bogus bristols are made from old newspapers; mill bristols, ground wood and sulphite; index and folding bristols, sulphite and rags and the best wedding bristols from rags. Thick bristols are made by pasting different sheets of the same kind of stock together until the required thickness is obtained and are designated as one-ply, two-ply, etc., according to the number of sheets used in the making of one sheet. The quality of the stock depends entirely on that in the sheets that are pasted together and the range is from low to high grade or wedding bristol. The latter is used exten- sively for invitation and announcement cards, correspondence cards, etc. The finishes vary, but are known by the same names as those of book and cover papers. Colored bristols are made in the same manner as the white, the color running entirely through the sheet. COATED BOARDS The coated cardboards are usually made by combining the different kinds of pulp as it is entering the cylinder machine. This method of making allows the use of better sheets on the outside, with cheap filler inside, since the different webs that go to make up the sheet come from different vats. The filler may be any cheap material such as mechanical wood pulp, old paper stock, etc., although it is usually comparative to the outside in quality. The same methods are used in coating boards that are used in coating papers. ~The commoner coated cardboards are litho blanks, tough checks, china boards, railroad, etc. In some of these, the filler is made up of layers of webs of pulp and the outside sheets are then pasted on. In colored boards of this kind, the filler does not always conform to the color of the outside, as the filler is made from cheaper stock and is left in its natural shade. CARDBOARD SIZES Some cardboard sizes are 22x28, others 224%x28% inches. The weights of most kinds are listed at number of pounds to the ream, and the thickness is also indicated by the use of the term ply, or gauge. The ply of one kind of board may be thicker than the ply of another. The plies of any one kind, however, are uniform. Index bristols are furnished in sizes 201%4%x2434, 22%x28™% and 251%4x30% inches and some wedding bristols in size 21x33 and 22x34 inches. PAPER 659 OFFSET PAPER As the name would indicate, this is a paper made especially for offset printing. It isa rather soft, bulky paper, somewhat similar to an inexpensive eggshell book, made in white and can be furnished in the usual book paper sizes. The better grades are made from sulphite and rags, specials from soda, sulphite and old papers and regular grades from soda and sulphite, all being finished to free the sheet from lint and fuzz. BLOTTING PAPER Blotting paper is made without sizing, thus retaining all of the absorbent qualities which are natural to paper. It is made in many grades, finishes and colors, depending on the purpose for which the stock is to be used. Enamel blotting is simply a sheet of the absorbent stock, to one side of which a sheet of enamel coated book paper has been pasted. This enamel blotting possesses practically all of the quali- ties of enamel paper, taking fine screen halftones well on the one side and having the usual blotting qualities on the other. Litho-finished blot- ting paper is a trade name given to a blotting paper of good body and fibre, which has been finished with a plated, or calendered surface with- out the enamel coating, which may be lithographed, or on which medium fine screen halftones may be printed. Blotting paper with embossed pattern surface is made by running under pressure between rolls on which the figures to be embossed have been engraved or cast. The best grades of blotting are made from pure cotton, the next lower from cotton rags, the next from rags, sulphite and clay, and the cheapest from ground wood and clay with no sizing. The standard size of sheet is 19x24 inches and in substances weighing 100, 120 or 140 pounds to the ream. LITHOGRAPHIC PAPER This is prepared with a special quality and finish to secure the best results in lithographing from stone, or by the offset process, usually for label and wrapper work. Special treatment is also given it to counter- act the tendency of paper to stretch, which would likely destroy the register and affect the quality of the work. The best grades of litho- graphic paper are coated on one side in much the same manner as regular enamel coated stock. SAFETY PAPER This is so treated or coated with chemicals that no writing or print- ing upon its surface can be erased or removed without leaving indelible marks on the paper. It is used for safety in bank checks and other forms of commercial paper to protect against alteration. In making the safety paper which is used in our national currency, a special at- tachment is used on the machines in the government mills, which introduces the silk threads that are always seen in our paper money. Other forms of safety paper are made by watermarking or imprinting the entire surface with special designs. Pages 657 to 664, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 660 COMMERCIAL ENGRAVING AND PRINTING HAND MADE PAPER Comparatively speaking, there is but little hand made paper manu- factured in this country; most of that used being imported. That obtainable is usually of high quality and has a rough surface with deckel edge and is used for the highest class of brochures, books, etc., where the edition is limited and an especially distinctive or novel appearance is desired. The process of manufacture being slow, and only the best quality of materials being used, the cost is higher than for machine made papers. Usually it is impractical to attempt to print other than coarse line etchings or wood engravings on these papers. In making the paper by this process, the pulp is prepared in the usual way and the mould dipped into the vat of pulp by hand for each sheet. The mould consists of a light frame, over which has been stretched a wire cloth. The watermark is placed in relief on the cloth; “Vaid,” ‘cloth,’ or other design being made to appear on the paper the same as the watermark from the dandy-roll in machine made paper. A loose frame, called the deckel, of the size and thickness for the sheet that is being made, is laid on top of the wire and held in place while the whole is dipped into the vat of pulp. As the frame, or measure of pulp is lifted from the vat, it is held level and slightly shaken laterally, so that the fibres may mat properly as the water runs away through the wire. The loose frame is removed and the wet sheet of pulp is turned off on to a sheet of felt, this being known as couching. A stack of the sheets, alternating with felt, is subjected to pressure to eliminate the water, after which the felt is removed and the sheets of paper are further pressed and then dried. They are then sized, dried and plated if a smooth surface is wanted, and put through the final processes of finishing. GLAZED PAPER This is used largely for covering candy, glove and other boxes, also for fancy articles and is produced by the addition of wax to the coating and treating the paper by one of two processes; friction or flint glazing. In friction glazing, the paper passes between two rollers, one of cotton and the other of chilled iron, the latter revolving at much greater speed than the former. The friction thus generated, gives the paper the desired high polish. The other process consists of a special burnishing machine, through which the paper passes. A flint-stone, fitting closely in a groove below the paper, works back and forth against the sheet, producing a very high and lasting finish. TRANSPARENT PAPER Several methods are employed in making papers of this character. The usual one is the application of a thin coating of a solution of Canada balsam in turpentine, or a solution of castor or linseed oil in absolute alcohol. The alcohol, in the latter case is permitted to evaporate, thereby rendering the paper transparent. Such paper is largely used for tracing purposes. It may be restored to its original state of opacity, with the tracing left uninjured, by removing the oil PAPER- 661 eae Courtesy Mayer Coating Machine Co., Rochester, N.\. Outline halftone, 133 line. Made from a black on India print from a halftone. Fig. 1904. Mayer carbon paper coating machine. with a fresh bath of alcohol. With such paper the process of manufac- ture ceases with the drying, or crushing rollers. WAX, OIL AND CARBON PAPERS Tissue and onion skin Papers are used in making carbon papers. The coating is applied with a machine, one type of which is shown in Fig. 1904. The ink, or dope as it is called, used in coating is a mixture of waxes, pigments, colors, etc., and is heated in steam pans on the ma- chine and applied to the paper by coating rolls which raise the ink to one or both sides of the paper. The paper, which may be of any width up to 28 inches, as it unwinds from the roll Passes over the coating rolls, then to equalizers to make the coating uniform, then to the smoothing, chilling and hardening rolls and finally to the rewinding spindles on which it is wound in rolls. The process is varied slightly to produce different products such as hard finish, high gloss carbon, semi-annealed carbon, dead flat finish, dull finish, striped carbon for sales books, etc. Wax or paraffin is applied to paper in much the same manner as carbon coating. One type of machine will saturate any degree of wax clear through the paper, or partially. It will coat any amount of wax on one or both sides of the paper from rolls, as wide as 72 inches, at one operation, also it will wax on one side and prevent the wax from soak- ing through. Oil paper can also be produced on the same machine, the only difference in the processes bein g in the coating materials used. PARCHMENT PAPER This is prepared from unsized tag paper by submerging it for a few seconds in a solution of dilute sulphuric acid, or oil of vitriol. It is then washed in cold water and all traces of acid are removed by dipping it in a solution of ammonium hydroxide. It becomes tough, trans- parent, glossy and almost impervious to water and is extensively used 662 COMMERCIAL ENGRAVING AND PRINTING in wrapping lard, butter, meats, etc. It is known as vegetable parch- inent. Genuine parchment is made from the skins of goats, sheep and other animals, being cleaned and dressed for writing. It is used for engraved or lithographed certificates, diplomas, and important documents. SOFT PLATE PAPER Soft plate paper is a bulky, unsized paper especially adapted for fine engravings, printed from steel and copper plates. TESTING PAPERS There are numerous laboratory tests to determine the quality of papers, based upon the distinctive quality of the contents—ash test, bursting strength, tensile strength, stretch, etc.—for which the average paper buyer does not have the proper facilities, so that he must be content with practical tests, which can be made without elaborate equipment; or, at most, with the aid of a micrometer and paper tester. Generally speaking, any paper may be tested for the following: color, surface (finish), substance, texture, opacity, bulk, handle, cleanliness, strength, folding, wear and shrinkage. COLOR In testing paper for color, daylight only should be used. The light well diffused, should come from back of the observer. Single sheets only should be examined—not in piles, for the underlying sheets will give a depth of color that a single sheet does not possess. The white- ness of coated paper should be determined by comparing the sheet with some accepted standard. It will be found that some papers are bluish- white; others approach a cream color; and still others a reddish-white. To test the permanency of the color, place a sheet in the sunlight, partly covered, removing after a few hours. The difference in shades between the part that was covered and that left uncovered will give an idea of the permanency of the color. In ordering paper, where the color is to be exactly matched, it is essential that a sample be furnished with the order, or that reference be made to the jobber’s sample book. Merely to specify India tint, for instance, might be to obtain any color from a light cream to a deep buff, so greatly do the color standards of various mills differ. Also, it is important to remember that a mill run of India tint, or any other color, to-day may be one shade, while the same mill may make an entirely different shade from a similar run a month hence. SURFACE (FINISH) The finish of printing paper is, in the majority of cases, the point chiefly to be considered. Upon the finish depends, in a great measure, the printing possibilities, especially if illustrations are to be used. In order to determine the quantity of upstanding fibre on a sheet and the uniformity of the surface, it can be held level with the eye and the fibre-stand noted. This visual test also will give a good idea of the finish by showing the amount of light reflected from the surface. The PAPER 663 most practical test is to print or otherwise use a few sheets of the paper under consideration just as they are to be used in the contemplated work. Before paper can be blamed for imperfect results in printing, it must be proved that ink, plates and all working facilities are in proper condition, as they, and not the stock, may be at fault. To determine whether or not the coating lies properly on the sheet, tear the sheet both ways and note the amount of enamel which may be removed by rubbing the finger along the tear. If the enamel is not thoroughly ‘‘anchored”’ to the body of the sheet, a white dust will rub off of the torn edge; if the enamel is properly put on, only a small bit of dust will be visible on the fingers. The coating has a tendency to pull away from the body in printing, when the coating has not been put on properly, especially in the solid blacks. This is called “picking” or “lifting.” This may be caused, also, by a chilled paper or a cold pressroom. A slight difference may be noticed in the finish of the two sides of some bond papers. One side slightly shows the impression of the wire on which the paper was carried during its formation on the machine. The opposite side, known as the felt side, is best for printing. SUBSTANCE (WEIGHT AND THICKNESS) Most paper stock is sold on a basis of a certain weight per ream of five hundred sheets of a certain size. With the paper beam shown in Fig. 1905, the weight per ream may be determined by weighing a single sheet of the size under consideration. Thickness may be accurately determined by the use of a thickness gauge, in the jaws of which the paper is placed. With the closing of the jaws the thickness is indicated by the pointer or the dial to the thou- sandth part of an inch. The thickness of board is usually expressed Dyn eheets or “‘ply.”’ as 3-sheet, 4-sheet; 3-ply, 4-ply, 6-ply, etc., or by gauge. A “sheet,” or “‘ply,’’ does not always indicate the same thickness. In testing cardboards, it is customary to test them for “‘snap,”’ which is done by bending a corner or edge and releasing it quickly. The “life” or resiliency of the card is apparent in this way, by the manner in which the board resumes its original shape and condition. TEXTURE The texture of a sheet is best indicated by holding it to the light, noting the evenness of formation and the uniformity of markings. A “wildness,” or patchy, cloudy appearance is objectionable and indi- cates an uneven formation, which may go so far as to make the sheet uneven in thickness, thus making it difficult to print from plates. OPACITY ‘For printing, it is necessary to have a sheet that is Opaque to a certain degree, at least, or the type matter and illustrations on one side would be visible on the other to such a degree that the printing thereon could not be read easily. This is dependent upon the nature of the fibre, the treatment given it during the processes of manufacture, 664 COMMERCIAL ENGRAVING AND PRINTING sizing, loading, finishing, etc. To test the comparative opacity of dif- ferent sheets of paper, hold to the light, placing a lead pencil between the light and the sheet. The depth of the shadow visible on the oppo- site side will indicate the comparative opacity or density of the sheet. Too great a density suggests an excessive amount of mineral matter. Pure sulphite wood pulp usually makes a transparent paper. An opaque sulphite wood sheet is probably heavily loaded or contains mechanical pulp. BULK Bulk is the ratio of weight to thickness. A sheet of blotting paper, for illustration, is of considerable thickness, but weighs only a little, while a sheet of coated enamel of the same size and much thinner will weigh as much or more. In other words, the blotting paper is bulky and the enamel is not. It is possible to measure the bulk of paper by means of a pressure bulker. This instrument is also used to ascertain the number of pages of a stipulated stock that will be required to make a book of a desig- nated thickness or ‘‘bulk,’’ after the application of a certain amount of pressure. The sheets to be tested, or the dummy is placed between the contact faces of the machine and clamped down until the required amount of pressure is indicated on the dial, when the thickness will be shown on a vertical scale to the left. The pressure is indicated in pounds per square inch and the thickness in inches and fractions. HANDLE Handle is the impression created in the mind of the observer. It includes the ‘‘feel’’ and the ‘‘rattle,’’ which is the test that the average man uses in passing judgment on paper stock. This alone is not to be depended upon as a test for paper. CLEANLINESS In testing for cleanliness, or the freedom from impurities, examine the sheet for specks, grit, dirt, fibre lumps, pinholes, resin spots, raw pigment (color), etc. This, too, is purely a visual test and unless a number of sheets are examined it is not reliable. STRENGTH Strength of a greater or less degree, is desired in all papers. Blot- ting, or mimeograph paper has little strength. Wrapping paper must be very strong. Strength of paper stock can be determined by tearing, both with and against the grain. The sheet will tear more easily with the grain than across it. Tensile strength can be tested by cutting small strips and noting the force necessary to pull them apart. The Mullen paper tester, shown in Fig. 1908, automatically registers the strength of paper in pounds to the square inch. The paper is clamped over one end of a cylinder which is filled with liquid. The liquid in this cylinder is compressed by means of turning a handwheel and the fluid is thus forced up against the paper. There is a rubber diaphragm between to keep the fluid from wetting the paper. At the PAPER 665 Fig. 1905 is an outline halftone and Fig. 1906 is an outline-vignette. Both are 133 line and were made from photo- graphs of retouched photographs. *Fig. 1905. Paper beam. Fig. 1906. Thickness gauge. same time that the fluid is being pressed up against the paper, the same fluid is acting directly on a standard pressure gauge, so that the pressure is registered in pounds per square inch. This fluid pressure is increased until the paper is burst. At the breaking point, the gauge pointer remains stationary so the results can be read. A sheet should be tested at the sides, ends and as near the center as possible for proof of uniform strength. These testers are made in various sizes, the larger ones being used to test corrugated board for packing cases, leather, celluloid, textile goods, etc. Outline-vignette halftones, 133 line. Made from photographs of retouched photographs. Fig. 1907. Pressure bulker. Fig. 1908. Mullen tester. *The illustrations in Figs. 1905, 1906, 1907 and 1908 are shown through the courtesy of B. F. Perkins & Son, Inc., Holyoke, Massachusetts. 666 COMMERCIAL ENGRAVING AND PRINTING Line etching on zinc made from a pen drawing. Fig. 1909. Manner in which paper may be cut into sheets from the roll. FOLDING QUALITIES In mailing cards, broadsides, folders, etc., where severe handling is expected and where folding and re-folding will be necessary, it is essential that the sheet have good folding qualities. To test for folding, fold the sheet both with and against the grain, at right angles, so that the folds intersect at a point, thus “‘ +.’’ Then fold the sheet back on itself, that is, in the opposite direction and note the conditions at the point of intersection. Here it is that the greatest strain comes and a sheet that holds out well at this point is sure to fold well. GRAIN As the fibres are felting into the sheet while being carried over the wire on the paper machine, there is a tendency for a majority of them to remain parallel with the edge of the sheet that is being formed. Hence the grain thus formed runs the long way of the sheet in the roll, but when it is cut into smaller sheets it may run one way in some and the other in others, depending on the width of the original roll and the sizes into which it is cut. Almost any sheet folds best if folded “‘ with the grain,’ and while some will also fold well across the grain, others, especially the heavier covers and card boards, break or fold unevenly. The diagram in Fig. 1909 shows how a roll of paper may be cut. While the grain in all of the sheets would run in the same direction, as indicated by the arrows, it would run the long way of the sheet in part and the short way in others, hence the course of the grain can not be determined by the length or width of the sheet. The direction of the grain may be determined by moistening a small section of the edge of the sheet, and then pressing out between the finger and thumb. As the sheet dries, the edge will present a wavy or curled edge, if it is across the grain, or it will remain straight if with the grain. The direction of the grain in some papers can also be found by tearing, not only by the way they tear but by the appearance of the fibre on the torn edges. A tear with the grain is straighter and cleaner than if across it. PAPER 667 WEAR For testing the wearing qualities, crumple the sheet and rub as you would a rag. Good rag paper will not crack or tear with such usage. Book papers and covers can be tested out as in actual use. Have samples handled as you would expect your complete work to be handled. SHRINKAGE One very important requirement of a paper on which color, or other close register work is to be printed, is that it shall not expand or shrink with changes of humidity and atmosphere. Notwithstanding the fact that before going to the calenders, the sheet has passed over many steam heated rolls, there is still a certain amount of moisture in the finished sheet of new paper. On enamel coated paper, the clay and glue are highly susceptible to changes of humidity and temperature, hence the need of thorough seasoning and acclimatizing before working on the press. The glue is weakened by moisture and the clay when cold becomes brittle. Either condition will cause ‘ picking.” SEASONING To avoid difficulty on account of shrinkage when printing close register work on new paper, the paper should be seasoned before it is printed. The paper is unpacked, separated into small parcels and placed on drying racks where, after a few days, it is reasonably safe to assume that there will be neither shrinkage nor stretch. To hasten the seasoning process, stock is sometimes run through a cylinder press “over the flame,’’ but not printed. The flame is a long gas burner running the full width of the press, over which the sheet must pass in delivery. When paper is received on a rainy or damp day, it should not be unpacked, but left in the wrapper or case until dry weather. Square halftone, 133 line, no line. Made from an unretouched photograph. Fig. 1910. Calendering, cutting and inspecting. 668 COMMERCIAL ENGRAVING AND PRINTING Fig. 1922A. Halftone, 60 line screen. Fig. 1923A. Halftone, 85 line screen. Fig. 1924A. Halftone, 100 line screen. Fig. 1925A. Halftone, 120 line screen. Fig. 1926A. Halftone, 133 line screen. Fig. 1927A. Halftone, 150 line screen. Pages 665 to 672, inclusive, are printed on 25x38—60 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. PAPER 669 lll mh if Wy | I ast teu l SMS ay wy we . — wT lus! n : ies Fig. 1928A. Open or grey halftone, Fig. 1929A. Line etching on zinc 120 line screen. from a pen drawing. MANUFACTURERS GF Eoae Toots & Machinery Fig. 1932A. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 670 COMMERCIAL ENGRAVING AND PRINTING The stock should be seasoned with the atmosphere of the pressroom. To have the sheet too dry, as it sometimes becomes by running it over the flame, will not result in shrinkage, but in expansion or stretching, a condition just as disastrous to close register work as shrinkage. ELECTRICITY The friction resulting from the contact of the printing sheet with the cylinder and delivery often generates static electricity, especially in a dry, cold atmosphere. This condition may arise in any machine handling paper, such as the printing press, folder, bronzing machine, pebbling machine, etc. It is especially noticeable where paper or rubber rolls come in contact with the paper. This electricity frequently offers considerable difficulty in several ways. It causes the sheets to adhere together, resulting in difficulties for the feeder, and in case of thin stock, several sheets are likely to run through the press at one time, being held together by the electricity. The difficulty usually may be overcome by a ground wire. INSPECTION AND PACKING After the paper has been given the desired finish, the better grades are inspected. This work is usually done by experienced women, whose sight is so trained as to detect instantly the slightest defect or blemish in a sheet as it is held to the light. In this very careful manner, every sheet bearing a spot or other mark is separated from the others, and only the perfect sheets are passed. The slightly imperfect sheets are sold as seconds and the more defective are re-made into pulp for new paper. The sheets are then counted and wrapped and are ready for delivery to the jobber and in turn to the customer. News, in sheets, is usually packed ‘“‘soft fold’’ (doubled over) two reams (1,000 sheets) to the bundle; book papers in ream—(500 sheets) packages and about 500 pounds to the wooden case; the finer grades of book and cover papers, in packages of 100, 250 or 500 sheets and flat writing, linen and bonds in packages of 500 sheets. TRADE NAMES, BRANDS AND WATERMARKS While there are a great many papers sold nationally under one name or watermark, many mills make stock that is either not marked, or is marked with the jobber’s special watermark or label, the same grade being sold to different jobbers throughout the country and each selling under his own brand. Hence, there are many trade names that have no meaning except locally. COMPARATIVE WEIGHTS To find the comparative weight per ream of any size not included in the table shown herein is a simple matter by the following process: Multiply together the width and breadth of the sheet, whose weight is known, in order to find the total number of square inches in the sheet. In the same manner, find the square inches in the sheet whose weight is to be found. Multiply the square inches in the unknown sheet by PAPER 671 the weight of the known sheet and divide by the number of square inches in the known sheet, and the result will be the number of pounds to the ream, if the same paper is furnished in the new size. PAPETERIES Writing papers for private correspondence now reach the consumer largely in boxes called cabinets; sheets, envelopes, cards, etc., being put in packages to match. Goods put up in this way are known in the trade as papeteries. The large sheets as made at the mill are cut into small ones, which are folded, pressed, banded and boxed with the envelopes, which are made to match from similar large sheets. ORDERING PAPER The most commonly used numbers in enameled coated book papers are 70, 80 and 100; S$. & S. C., 50, 60, 70 and 80; M. F., 50, 60 and 70; News, 33, 40 and 50; and in Writing and Bonds, 16, 20 and 24. When ordering paper it is necessary to state explicitly the name of the stock wanted, the size of the sheet, weight, color or tint, finish, etc. If the stock is to be cut by the jobber, the size of the pieces to be cut should be given and the number of pieces that each of the large sheets will cut. It is also well to state, if a substitution may be made and, if a sample is to be matched, it should be sent to the jobber and he should be instructed accordingly. While the names of the different kinds of paper are usually indica- tive of the principal uses of each, many are not used exclusively for the purposes the name would indicate. For illustration, it is estimated that more than half of the cover paper made is used for purposes other than for covering booklets, catalogs and books: book papers are used for many purposes other than making books, etc. TRADE CUSTOMS An extra charge is made for cutting stock size sheets to special! sizes, the amount depending on the time required. Most stock size cards, tags, index cards, etc., are cut with dies, thereby obtaining cleaner edges and more uniformity in size and shape - than can be obtained when cut on the ordinary paper cutting machine. No claims are allowed after paper has been cut, ruled, printed or otherwise made commercially defective. Certain colors, red especially, are more expensive than others in the same grade of stock. Paper manufacturers find that it is impossible to make paper absolutely uniform. All kinds are subject to a slight variation in strength, color, thickness and finish, this difference being scarcely noticeable in some lines and more so in others. It is customary with jobbers to charge a higher price for less than reams or original packages of any kind of stock, but an order for more than a ream, or full package, is usually sold at the full ream or package price, even though it is not for even reams or packages. Case lots (550 to 750 pounds, varying according to size, quality 672 COMMERCIAL ENGRAVING AND PRINTING and nature of stock) are sold at a lower price than reams; ton lots at less than case and car load lots lower than ton lots. The sizes and weights, as listed, are not applicable to every quality of a kind and orders for other than stock sizes and weights are taken at a higher price. An‘additional charge is also made for packing, etc., when the order cails for packages other than the usual method of pack- ing. Orders for mill shipments of special stocks, size, color or quality, are always taken with the understanding that they are subject to over- runs and under-runs ranging from three to fifteen per cent. according to the amount ordered and usually the price for small quantities is higher than for the same quality from regular stock. Many mills also carry in stock quantities of all or part of their regu- lar product in rolls from which they can cut sheets of special sizes if called for. As the widths of rolls vary, and not all weights or colors are carried, it is usually necessary for a jobber to communicate with the mill before quoting on or agreeing to deliver a special size. A COMPARISON OF THE PRINTING QUALITIES To illustrate the results that may be expected in printing from halftones, made with different screens and in different styles of finish, and different kinds of line engravings, on different kinds of papers, the same illustrations shown on pages 668 and 669 have been dupli- cated on pages 676 and 677, 684 and 685, 692 and 693, 700 and 701, 708 and 709, 716 and 717, 724-and 725; 732 and.7 44.0 740eey 748 and 749, 756 and 757, 764 and 765, 772 and 773 and 780 and 781. While the illustrations have been duplicated, a set of new electro- types was used for each repetition, including those on pages 668 and 669, that plates of the same quality might be used on each of the different papers. While some of the plates do not print well on some of the papers this is not a reflection on either the paper or the plates, but an indication that one is not adapted to the other. In each demon- stration will be found one or more plates best adapted to the paper used in the demonstration, and the examples shown will aid in ordering suitable plates for practically any paper. All of the halftones of the building were made from the same slightly retouched photograph, on which the border and vignette were drawn. Also each halftone shows the results from five styles of finish; square with line on the upper left corner, gray border on a section at left, plain edge on upper right corner, a section of abrupt or hard vignette on right and a soft vignette on the lower right corner. *Fig. 1940. EW pieces of printed matter are complete with the press work, and whatever additional operations are necessary are commonly known as bindery work. This includes a great variety of work in addition to actual bookbinding, with perhaps only a few of the operations applying to any one job. Bookbinding proper is a separate trade, and few printing establish- ments maintain a complete bindery. Printers usually have only such an organization and equipment as needed to take care of their regular line of work, and when something outside of this is required to finish an order, they send the special work to a bindery doing work for the trade, because it is more economical to do this than to maintain a department that might be idle much of the time. JOGGING Jogging attachments are a part of most presses. They are put on in such a way as to receive the sheets as they are delivered and they stack them all up with edges perfectly even, ready for the cutter, or for whatever operation follows. If the jogging is not done on the press, or other machine through which the sheets have passed, as soon as they are dry it must be done by hand, by standing them on edge and gently jolting them into alignment a few at a time, or the work may be done on a jogging machine. PADDING OR TABLETING This is often made use of when blank forms, or other printed mat- ter, is wanted in pads for convenient use. After dividing the trimmed sheets into pads by inserting pulp board between the groups of the sheets, they are jogged and stacked in a press, or under a heavy weight, and while under pressure a thin coating of glue is applied to the edge. A pieceof muslin may be used to reinforce the glue and the whole given another coating. When the glue is dry the pads are cut apart, leaving the pulp board on the underside of each pad. PUNCHING AND TABBING Many forms of printing, such as tags, loose leaves, index cards, and other record blanks, require slots or holes punched or drilled in them so that they may be inserted and held in various styles of loose leaf binders, file drawers, etc. Also index cards and guides are often wanted *Combination double print flat tone halftone, 133 line, and line etching on copper. Made from two pen drawings. 674. COMMERCIAL ENGRAVING AND PRINTING Line etching on zinc. Made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 1941. Outlines of a few of the punching dies in general use. with tabs extending above the upper edge to facilitate classifying. Punching and tabbing is done on power-driven presses, the sheets being fed to the machines by hand from ten to fifty at a time, according to the thickness of the cards and the capacity of the dies and press. While certain shapes and sizes in dies for these purposes are more or less standard, a sample should be submitted when ordering, unless the printer's number or symbol for the die wanted is known. The same numbers and symbols are not used by all printers and binders, nor do they all have the same dies. Dies for holes or tabs of special sizes or shapes can, of course, be obtained. CRIMPING Loose leaf binders for holding ledger sheets and other comparatively large forms, are usually made with a post and clamp arrangement for holding the sheets which prevent the books being opened flat. To obviate the inconvenience of this, such sheets are often ‘‘crimped”’ near the binding edge, 7. e., a narrow strip is crushed, or it may be ironed thin, to make them bend easily. The ironing must of necessity be done on heavy presses. ROUND CORNERING Cards, loose leaves, booklets, and large books are often wanted with round corners. These requirements are met by the use of hand oper- ated machines or power-driven punching machine presses which have attachments or dies for such work. meas: Line etching on zinc. Made from a pen drawing. Fig. 1942. Outlines of tab cutting dies. BoOKBINDING 675 _ Square halftone, 133 line, no line. Separate halftone negatives were made from slightly retouched photographs and stripped together. The white lines between the views were cut in the plate. View A, illustrates manner of jogging on a cylinder press; B, round cornering; C, tableting or padding (courtesy Golding Mfg. Co., Franklin, Mass.); D, jogging with a machine (courtesy Southworth Machine Co., Portland, Maine); EH, perforating; F, metal edging or tinning. Fig. 1943. Some finishing operations. PERFORATING There are two styles of perforating commonly used—hyphen per- forating and round hole perforating. The former can be done on an ordinary job printing press by feeding the sheets against a perforating rule, the same as in ordinary platen press printing, except that the ink rollers are removed. Sometimes the perforating rule is locked into the type form, and the perforating is done at the same time the type impression is made, but this means that the perforating rule also inks the stock where it comes against it, which does not contribute to neatness; and as the perforating rule must be a fraction higher than the type form the tendency is for it to cut the ink rollers, for which reason printers usually advise against it. There is also a device made for hyphen-perforating while printing, 676 COMMERCIAL EN Fig. 1924B. Halftone, 100 line screen. Pages 673 to 680, inclusive, are printed on 25x38 Coated Paper Co., Hamilton, Ohio. GRAVING AND PRINTING Fig. 1923B. Halftone, 85 line screen. Fig. 1926B. Halftone, 133 line screen. Fig. 1927B. Halftone, 150 line screen. —80 lb. Aigrette Enamel Coated Book, made by The Champion ee eae BooKBINDING 677 f= SN N23 a" ig a yy m i Ry \ KN +f ts ee M ; ) lj >, 3 4 yi, . iT | Fig. 1928B. Open or grey halftone, Fig. 1929B. Line etching on zinc 120 line screen. from a pen drawing. e OO eae MOUSE TU pete = z ‘ HALA re hee stn repeat es ce ae NE Sem EAS AOS A Fig. 1930B. Line ee on zinc from a crayon drawing. MANUFACTURERS G&=__] 3 SS Eoace Toots & MacHiINERY FOR SOD On Eo om ——— Fig. 1932B. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 678 COMMERCIAL ENGRAVING AND PRINTING without inking the stock or cutting the rollers. The perforator is locked in with the type form, and is automatically opened and closed for perforating by the press. Hyphen perforating is also done on perforating machines, pro- vided with revolving notched discs which perforate the paper as it is fed through from one side of the machine to the other. There is a tendency, however, in the paper not to feed straight as it passes through a machine of this kind, resulting in perforating that is not straight. Printers are inclined to recommend round hole perforating, which is done a few sheets at a time on a special punching machine equipped with a row of closely set 1-16-inch punches, which punch a clean hole entirely through the paper. STRING LOOPS Pamphlets, hangers, tags, cards, etc., are often provided with string loops for hanging. Ordinarily the holes are punched ona punch- ing machine and the string cut, looped and tied by hand, but in plants producing large quantities of this class of work, it may be done on a looping machine as shown in Fig. 1945. This is a hand-fed machine and will make loops of any length from 114 inehes to 51% inches at a speed of from one to two thousand per hour. It punches the hole, in- serts the twine, draws it to the desired length, ties the loop, cuts it off and delivers the product to the receiving table all at one operation. Cards, pamphlets, etc., of any thickness up to 14 inch and round, oval, rectangular or irregular shapes from 7 inch in diameter to as large as 20x25 inches may be handled on it. Other self-feeding models of the machine are made which have greater speed but less range in the classes of work they will do. EYELETING Shipping tags, calendars, samples of cloth, etc., require an eyelet which is inserted and clinched in a previously punched hole, to strengthen the hole and prevent tearing out. Eyelets are made of brass, zinc, and aluminum and come in var- lous sizes and lengths to meet demands. METAL EDGING Hangers, calendars and other matter are often bound with tin or brass at the top and bottom to hold the sheet flat while hanging. This is done with a special machine and an operation of the machine is re- required for each fold of the metal, which comes in flat strips and can be purchased in a number of colors and various lengths. ROUGHING PRINTED SHEETS To relieve a printed sheet of enamel coated stock of its high luster and gloss effect, it may be run through a stippling machine before it is folded or bound. The process is known as roughing and stippling or pebbling. The process consists of running the sheet through a ma- chine equipped with rollers the surface of which are roughened with a small grained design. ances 1% fete So PUnine Uh aati 1$ ianapol h-Hecht Co., Ind J © Sm (Over) Fig. 1944B. An example of roughing or stippling The other side of this insert was printed in two colors from a set of line and halftone (150 line) com- bination plates and the sheet was roughed after printing. The plates were made from a photograph and pen drawing—the etching from the latter being “reversed.” (Over) Printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. BoOKBINDING 679 Square halftone, 133 line, no line. Subjects A, B, F, G and K were made from retouched photographs, all others from black on white halftone prints. The separate halftone negatives were stripped together and the white lines between sub- jects were cut in on the plate. Ais around hole perforator; B, round hole rotary perforator; F, rotary crimping machine; G, tab cutting machine, (A, B, F and G courtesy F. P. Rosback Co., Benton Harbor, Mich.); C, round corner cutter, (courtesy Seybold Machine Co., Dayton, Ohio); D, punching and eyeleting machine: ,, power punch, (D and E courtesy Southworth Machine Co., Portland, Maine); H, tape reinforcing machine (courtesy George R. Swart & Co., New York City); K, looping machine (courtesy Ward & McLean, Lockport, New York). Fig. 1945. Some of the machines used in finishing. Rollers are made in a number of different designs. The work is sometimes done less successfully on small surfaces or on a limited quantity of sheets by using a piece of emery or sandpaper or a coarse screen halftone as the male die, building a female die on tympan as in letterpress embossing and feeding the sheets between. This method must be used when only a certain space on a sheet is to be stippled, for a stippling machine can be applied only to the entire sheet. VARNISHING Printed sheets are often finished by varnishing before folding or trimming. Labels on which have been printed directions for use; wall maps, covers for booklets, catalogs, magazines, etc., that are to 680 COMMERCIAL ENGRAVING AND PRINTING Courtesy American Type Founders Co. Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1946. Roughing or stippling printed sheets. receive usage that will make them especially liable to soiling, may have their usefulness increased and their attractiveness preserved by varnishing. Printed colors are also brightened and preserved, and the process is sometimes used for finishing prints from halftones in imita- tion of photographic prints. Best results are obtained on a good grade of coated paper. The machine on which the varnishing is done somewhat resembles a cylinder printing press. The sheets are set to guide in the same manner as for printing, but instead of being carried over a type form they are carried over a pliable composition roller, which distributes the varnish over one side of the sheet. The liquid varnish is supplied to the rollers from a fountain which can be regulated in much the same manner as the ink fountain on a printing press. After the sheet has passed under the roller, it is carried forward on a canvas web into a Courtesy Chembers Bros. Co., Philadelphia, Pa. rast halftone, 133 line, no line. The halftone negatives, made from separate retouched photographs, were stripped together. Fig. 1947. Sheet varnishing machine and a method of mounting for direct delivery of sheets into a steam heated drying box. f cS ee ay “4 . Zap 1 yp Fig. 1948 (on opposite side) is an example of a printed sheet varnished. Square halftone, 150 line, no line. Made from a photograph. Printed from a wax mould electrotype from a part of the plate used in printing the other side of this sheet. ts 1949. A part of the same subject as on the other side of this sheet, and as it appeared before varnishing. Printed on 25x88—80 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. BooKBINDING 681 drying oven, which is kept at a high temperature, thus thoroughly drying the sheet while passing through. In varnishing sheets by the above process, of course, the entire surface of one side of a sheet is covered. In case only the printed il- lustration or a certain part of a sheet is to be varnished, the work may be done by using a flat tint block and running the sheet through the printing press in the same way as in printing the job but with varnish on the rollers instead of ink. GUMMING The gumming of sheets is done in a manner similar to varnishing them, in fact, in a great many establishments the same machine is used for both purposes. RULING The principle employed in ruling, is not at all like that employed in ordinary printing. The construction of the machines is such that the sheet of paper which is to be ruled is carried along on cloths which bring it in contact with special pens so spaced on a cross bar imme- diately above the sheet as to produce ruling. These pens are contin- uously fed with fluid ink (very similar to that used for writing pur- poses) by means of loosely twisted woolen cords called zephyrs, one end of which is looped around the pen, the other end of which dips into the ink well or comes into contact with a strip of woolen cloth saturated with ink which takes the place of the ink well. The letters and arrows in Fig. 1950 refer to parts of the machine as follows: A, automatic feeder; B, guide for the sheets from the feeder to the machine; C, the pens; D, ink saturated flannels; E, striker beams; F, upper cloth; G, ruled sheets; H and K, upper and lower cords for holding the sheets to the upper and lower cloths; L, lower cloth; M, lay-boy for stacking and jogging the ruled sheets. These woolen strips are laid on the cross bar just above the pens, aid by placing strips of metal or oiled paper between them so as to Hoh Square halftone 150 line, no line. Made from a slightly retouched photograph on which the letters and arrows were awn Fig. 1950. Hickok two-beam ruling machine with automatic feeder. 682 COMMERCIAL ENGRAVING AND PRINTING prevent the ink from mixing, several may be laid one on top of the others, as shown in the illustration, thus enabling the ruler to rule two or more colors at the same time. Zephyrs from the faint blue flannel run down to the pens which are to do the faint blue ruling; zephyrs from the red flannel to the pens that are to do the red ruling, etc. HOW SHORT OR BROKEN LINES ARE RULED Vertical lines, or ‘‘down lines’”’ as they are called by the operator, are made in the same way that the cross lines are made, except that they must usually begin or stop at a certain point instead of being al- lowed to run off the edge of the sheet. This is to allow for a printed heading above the ruling on such forms as statements and other similar sheets. Obviously the pens must be lifted from the paper at these points and this is accomplished by means of a cam which lifts the bar holding the pens. This lifting of the pens from the paper and letting them down again at certain points is technically called “striking” and it is remarkable how accurately the pens may be made to strike the paper and be lifted from it at exactly the right place. THE MANIFOLD UNDERLIFT It is obvious again that some of the down lines or even some of the cross lines should be shorter than others for complicated records, and this need has resulted in the perfecting of what is called the manifold underlift, which is essentially an arrangement of thin pieces of metal’ called spoons, so spaced just back of the slanting pens as to lift certain of the pens at certain points without disturbing the others. bc ” L TYPE RULING MACHINE In many establishments there is in operation the “L” type of ruling machine, designed to do both the cross ruling and the down ruling in one operation. They are called ‘‘L’’ type machines because the sheets must be turned after the cross ruling is done, or the direc- tion of the sheets through the machine must be changed. Asa matter of fact, the ‘‘L’’ type machines are nothing more in principle than two straight feed machines set at right angles to each other so that as the sheets are delivered from one machine they are received on tapes and fed into the second machine in such a way that the two rulings are at right angles with each other. Some of the biggest concerns special- izing in ruled goods have what are called quadruple “L”’ ruling ma- chines which not only do the cross ruling and the down ruling in one operation but rule both sides of the paper at one time through the machine. DISC RULING MACHINES Some kinds of cross or plain ruling can best be done on disc ruling machines, which transfer the ink from the fountains to the paper by means of thin revolving discs. One advantage claimed for these ma- chines is that they are less delicate and require less attention than the pen ruling machines. However, it is not possible to do as accurate striking and lifting with them as with the pen rulers. aoe val i oa a Feint cross line. Foot line. Fig. 1951. Down lin comme Golhoad kee Fig. 1953. as ae | ; : : : = Fig. 1955. Graph or quadrilateral. Some of the common ruled forms. 8—54 Ib. (Substance No. 36) White Linen Record, made by Byron Weston Co., Dalton, — : a : - ee - rr BOOKBINDING 683 Square halftone, 150 line, no line. Made from a slightly retouched photograph. Fig. 1956. Striking-bars with pens and ink saturated cloths on ruling machine. AUTOMATIC RULING MACHINES The introduction of vertical filing systems and the demand for ruled cards has become so great in recent years as to justify the manu- facture of automatic card ruling machines capable of a large output. Tablet and other special work is also produced in large quantities. This demand for quantity production has brought about the adap- tation of automatic feeders to ruling machine requirements. These automatic feeders work on the same principle as the feeders for print- ing presses described elsewhere and practically double the output of the machines. PREPARATION OF COPY FOR RULING From the description of the manner of ruling it should be clear that the number of times a sheet must be run through the machine, the in- tricacy of the copy and the number of strikes and lifts made necessary are all elements entering into the cost. Business men, and account- ants can hardly be expected to possess a sufficient knowledge of ruling to prepare copy which will meet their requirements and which at the same time can be produced at a minimum cost. Men who know should be consulted as to the correct copy. Often a slight change in the form which involves no great difference in the manner of keeping the records will mean a big saving in the cost of the ruling. It is well to bear in mind in this connection that ruled lines should be spaced according to pica measurements, since often the printer is required to print numbers, questions, etc., between the lines, and un- less the lines are properly spaced the printer cannot depend upon his regular equipment of leads, quads, etc., but must resort to the use of thin strips of paper or cardboard to space out his lines. The pens are also spaced on the millimeter system. 684 COMMERCIAL ENGRAVING AND PRINTING Fig. 1922C. Halftone, 60 line screen. Fig. 1923C. Halftone, 85 line screen. Fig. 1924C. Halftone, 100 line screen. Fig. 1926C. Halftone, 133 line screen. Fig. 1927C. Halftone, 150 line screen. Pages 681 to 688, inclusive are printed on 25x38—100 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. BOOKBINDING 685 a xX \" a i I iN \ Fig. 1928C. Open or grey haiftone, Fig. 1929C. Line etching on zinc 120 line screen. from a pen drawing. —— y ~ : . hb) vi . 3 5 ‘Ee 1 } jake : ™ ayer el beat Tahoe OT ae SOU AE rUrsrenmeseesr oe SURPRISED ee es AS ET PEE AD OS Ma > - Matera Fig. 1930C. Tine sae on zinc from a crayon drawing. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 686 COMMERCIAL ENGRAVING AND PRINTING PAPER CUTTING Paper, as it comes from the paper making machine, is in the form of a long continuous web in a roll. To convert the web into sheets, it is unwound and passed through a slitter to cut it into narrower widths if desired, then usually on the same machine, these narrower webs pass under one or more revolving knives which can be so adjusted as to cut the paper, a sheet at a time, into the desired lengths. These sheets are then trimmed to regular stock or special sizes, on a paper cutting ma- chine and wrapped and cased for shipment to the jobber. When the printer obtains the paper for the job of printing in hand, it is often found that the stock size sheet must be cut into smaller sheets, or a part of the sheet trimmed off to obtain the size suitable for the work in hand, or if the job is to be printed in more than one color and these colors are to register closely, the sheets must be trimmed on one or more sides, or squared, that the forms may properly register when printing. As the mill trim is not always perfect, there are but few jobs that do not require trimming before or after being printed. Even the sheet that is not to be folded should usually be trimmed to provide proper margins and to freshen up the edges that may have been soiled in handling. If the work is a sheet to form a folder, the trimming is usually done before folding. Many jobs are also printed “‘two or more up,”’ to use the printer’s language; which means that when a large number of labels or other small forms are to be printed, several of them will be printed at one time on a large sheet and afterwards cut apart. The sheet may also ‘‘work and turn”’ which will necessitate cutting after printing. All pamphlets and books with flush covers that are bound by stitching or sewing are trimmed on the fore edge, head and tail after binding, and those with extended covers before the covers are put on, that the leaves may be separated and the margins properly proportioned. And here it might be mentioned that mistakes are often made in failing to provide sufficient stock for properly trimming margins. To provide proper trim at least one-eighth of an inch should be added to the fore edge, head and bottom of the trimmed size of each of the pages for a job that is to be folded, and that much all around when it is to be trimmed all around. Paper cutting is a very important step in the production of printed matter, and one that is not fully appreciated by most users of printed matter and by many of the producers of it. No matter how good the paper, or how well the designing, engraving, makeup and printing of the job may have been done, it can all be very easily ruined through a defective cutting machine or carelessness on the part of the operator. In fact, there is no machine in the press room, bindery or finishing department on which greater dependency is placed for efficiency and accuracy than the cutting machine. There are of course, several types and makes of machines and these range from the small card cutter and trimmer to the large power auto- matic clamp cutting machines as used in the larger printing and pub- lishing houses and paper mills. The types also include hand clamp and hand lever, and hand clamp and power machines, some with vertical BOOKBINDING 687 Outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 1957B. The Seybold automatic clamp paper cutting machine. and some with shear stroke and they are made in sizes to meet all requirements. The sheets are trimmed or cut in piles, the height or thickness of the pile depending on the capacity of the machine and the kind of paper or stock being cut. The pile to be cut is placed on the bed of the machine under the knife and is brought into proper position by the aid of a movable back gauge and a side gauge. If an automatic clamp machine is used as shown in Fig. 1957B, the paper is automatically clamped by a horizontal clamp bar just behind the knife and is held in position while the knife by a lateral movement makes the cut. The operation of only one lever is necessary for each cut. The pressure on the clamp must be variable as hard papers require less pressure to hold than soft papers. The knife in the machine is also an important factor in successful cutting as it must be straight, of proper shape, thickness and bevel and must be kept sharp by proper grinding and honing. Also the entire machine must have the same care and attention in keeping it clean and oiled, that is given to any other machine from which efficient service is expected. The cutting sticks, usually of hard maple and three-fourths inch square, into which the knife passes after going through the paper, must be turned or replaced as often as necessary to obtain a clean edge on the lower sheets of the pile, and the clamp pressure must be so regulated that the stock being cut is not crushed or indented. On some machines, the back gauge is in two or more sections, each of which can be set at different distances from the knife, thus making it possible to cut piles of stock of different lengths at one stroke. Only straight cuts, entirely across the sheet, can be made on paper cutting machines—curved and irregular outlines being usually cut with dies on a die press. 688 COMMERCIAL ENGRAVING AND PRINTING Line etchings on zinc. Made from pen drawings. Fig. 1958. Parallel folds. Fig. 1959. Right angle folds. ROTARY CUTTERS Large publishing houses and printing establishments which do considerable book and catalog binding are usually equipped with ro- tary cutters for cutting heavy boards, etc. The knives on these ma- chines are in the form of revolving discs, one or more of which may be movable and adjustable on a shaft; and the sheets are fed into the machine and cut into two or more strips as they pass through. These strips are then turned, and after the discs are re-set are fed through laterally, which cuts them into rectangular pieces. The same principle is often employed in cutting printed sheets as they come from a cylinder press, one or more of the discs being attached to the press in such a way as to split the printed sheets as they pass to the delivery table. FOLDING Perfect folding of the printed sheets is as essential, to quality in the finished work, as perfect register in printing color plates, or forms, on the sheets; for irregular or crooked margins will ruin the appearance of any work, regardless of excellency in typography and press work. Most of the folding was formerly done by hand and some classes of work such as extremely light or very heavy stock, stock with deckled edges, etc., are still best folded by hand, but the greater part of the folding is now done on folding machines, if the quantity to be folded justifies adjusting the machine. There are small folders for circular letter work, handling a sheet as small as 814 x 5% inches, and various machines for handling job and book work which are made for sheets of larger size, ranging from 12x 18 to 38x50 inches. These machines will make from one to five folds, and with adjustments, will handle book and pamphlet, parallel and oblong work. There are two basic folds, known as the parallel and the right angle folds, and all combinations are built up from these. A majority of jobs that reach the binder require only one or two folds to the sheet, but some require three or four or more. The number of folds that a sheet may receive and still lie flat depends upon the weight of the stock and the size of the folded page. When it is impossible or imprac- BooKBINDING 689 tical to fold at one operation all of the pages that may be printed on one sheet, the form is sometimes so made up that the sheet upon which it is printed may be cut into sections and each section folded separately and then assembled. HAND FOLDING As a practical example of how hand folding is done to fold a 16- page sheet, the pages of which are numbered consecutively from one to sixteen, with eight pages printed on each side of the sheet, the sheet is taken by the left hand at the top right hand corner and bent over until pages 6 and 3 are exactly over pages 7 and 2 and when it is seen that the headlines and figures exactly register, the paper while being held in that position is creased down the center at the right with the folder. Pages 4, 13, 5, and 12 will now be uppermost. Pages 12 and 5 are now folded over to register exactly with pages 4 and 13 and this fold is creased. Pages 8 and 9 will now be uppermost, and will merely require folding together. When the sheets thus folded are trimmed top, bottom and at right side, the result is a 16-page signature, the pages running consecutively one to sixteen. - It is essential that the method of folding a piece of printed matter always be determined before the layout is made, so as to avoid print- ing the text or illustrations across a fold; also because different makes of folding machines will fold the sheets in different ways to produce the same results. MACHINE FOLDING Many of the folding machines operate on the following principle: The printed sheets are fed into the machine either directly from the press, or by hand, or by an automatic feeder. These sheets are carried RRS Square halftone, 133 line, no line. Made from a slightly retouched photograph on which the background was dimmed with an air brush. 3 : ; Fig. 1960. The Cleveland folding machine. 690 COMMERCIAL ENGRAVING AND PRINTING on tapes which bring them under the creasing arm, which dips down at the proper moment, strikes the paper from above and forces the middle of the sheet down until it is caught by two rollers. These draw the two halves of the sheet down and produce the first fold as the sheet passes between the rollers on to a second set of moving tapes. These tapes then carry the folded sheet to another position where another creasing arm comes down and forces the sheet through another set of | rollers which produce the second fold. It can easily be seen that as many folds are possible as there are sets of rollers in the machine. Some of these rollers are set so as to crease the paper one way, while others are set to crease it another way, thus both the parallel and right angle folds are obtained in the proper order as the sheet passes through the machine. Many special machines have been designed for different classes of work, and most of them adaptable to several uses, such as number and kind of folds, number of pages, size of sheet handled, inserting, pasting, etc. In folding a thick sheet of paper several times there is a tendency in the thickening folds to cause the paper to wrinkle. In hand folding it is customary to slit the sheets along these folds with a paper knife before making the last two or three folds, and most of the modern fold- ing machines accomplish this automatically. : The machine shown in Fig. 1960 was designed especially for folding direct by mail advertising literature such as circulars, broadsides, booklets, catalogs, etc., and will fold nearly 200 different forms in a wide range of sizes. It will also cut the sheets, score and perforate them with the folding operation 1f desired. The machine shown in Fig. 1961B will handle sheet sizes 12 x 16 inches up to 35 x 48 inches. It is composed of five sets of folding rollers, four of which are placed at right angles to each other, providing 4-, 8-, oie Outline-vignette halftone, 133 line. Made from a photograph of a retouched photograph. Fig. 1961B. Dexter book and job folder with cross continuous feeder. BooKBINDING 691 Line etchings on zinc. Made from pen drawings. Fig. 1962. Cleveland. Fig. 1963. Dexter. Manner in which sixteen pages are folded on Cleveland and Dexter folding machines 16-, 24-, and 32-page signatures, and a set of rollers placed parallel to the third right angle fold, making 24 and 32 pages two or more up and the regular double letter fold. Circular, booklet and catalog work in large editions, two or more up in gangs are readily folded on it. SIGNATURES AND BOOK SIZES A printed sheet after folding is ready to be assembled with other folded sheets, if to be a part of a catalog or book, and is called a signa- ture. A signature usually consists of 16 pages, but it may comprise 4, 8, 32 or even 64 pages. In former years before books were made up in such a great variety of sizes as at present, it was customary to describe the size of a book by referring to it as being quarto (4 to), octavo (8 vo) or duodecimo (12 mo). These terms are not now commonly used but a quarto refers to a book that is nearly square and ranges in size from 7 x 814 to 10 x 13 inches, an octavo is about 6 x 9% inches, while a duodecimo is about 414 x 714 inches. These designations also for- merly referred to the manner of folding the signatures, a quarto being folded twice, to produce four leaves each of which would be one fourth the size of the original sheet. An octavo was folded to make eight leaves each one eighth the size of the original sheet and a duodecimo was folded for twelve leaves; although at present sixteen leaves are more often printed than twelve. SMASHING The binding of signatures into booklets, catalogs, étc., is usually facilitated by smashing them, by which is meant putting a bundle of them into a smashing press and compressing them to flatten the folds 692 CoMMERCIAL ENGRAVING AND PRINTING Fig. 1922D. Halftone, 60 line screen. Fig. 1923D. Halftone, 85 line screen. Fig. 1924D. Halftone, 100 line screen. Fig. 1925D. Halftone, 120 line screen. Fig. 1926D. Halftone, 133 line screen. Fig. 1927D. Halftone, 150 line screen. Pages 689 to 696, inclusive, are printed on 25x38—70 Ib. Super Book, white, made by The Champion Coated Paper Co., Hamilton, Ohio. 4 7 * ee note ne A Pare ee Pe 693 BOOKBINDING se MW TN ‘ MN iN Hy \ N “i, N ‘i ‘| Fig. 1929D. Line etching on zinc from a pen drawing. i l] Wally Mi Fig. 1928D. Open or grey halftone, 120 line screen. =~ —— ate oe Fig. 1930D. Line eee on zinc from a crayon drawing. say I it h 4" ij part of a ‘series demonstrating the suitability of See explanation on page 672. Ss. Fig. 1932D. Line etching on zinc of lettering with machine shaded ground The illustrations on this and the opposite page are a different kinds of engravings to different kinds of paper 694, COMMERCIAL ENGRAVING AND PRINTING and force the air from between the leaves. Smashing, however, is principally employed only in the binding of books when it is necessary to compress the assembled signatures before putting on the cover. BUNDLING The operation of smashing is usually combined with the operation of bundling, both being done at the same time on a bundling machine. The bundling machine is a horizontal press, with adjustable slid- ing ‘‘heads’’ between which the bundles of folded sheets or signatures are placed between wooden boards in readiness for being compressed. These heads are provided with large holes, in which the hands may be inserted to tie the bundle while it is still under compression. After the bundles are tied they are stacked away until such time as the various signatures are to be gathered and bound. Bundling also pre- vents the loss of sheets, and keeps them clean. GATHERING In the publication of booklets, catalogs, books, etc., which are made up of a number of printed sheets bound together, it is necessary to assemble the folded sheets in the proper order preparatory to bind- ing them together. This is called gathering. Except in large estab- lishments, gathering is usually done by hand. Stacks of separate sig- natures are placed before the operator in numerical order on tables; then starting in at one end of the table, the operator takes a signature from each stack in rotation and places it with the others thus gathered until upon reaching the other end of the table, she has assembled a complete book. Of course there is a variation in the way hand gath- ering isdoneinvariousshops. Some have revolving tables which bring the stacks of signatures consecutively in front of the operator while the operator remains seated. MACHINE GATHERING AND BINDING The publishers of practically all of the large magazines have auto- matic machines for folding, gathering, insetting, covering and binding. Otherwise it would be impossible to turn out the monster editions in the time required. Similar automatic machines are used in other large printing establishments for binding large editions of catalogs, books, directories, etc. There is also a machine that will automatically bind and cover a magazine or pamphlet in one operation, entirely dispensing with wire or thread and at the same time producing a flat opening book. COLLATING After the signatures for a book or other piece of bound printing have been gathered they are collated, which means that they are ex- amined to see whether they are arranged in the proper order. Collat- ing is often simplified and facilitated by printing a bit of rule on the sheet right where the outside fold will show, shifting this with each signature, so that when all of the signatures for one book are gathered BooOKBINDING 695 Square halftone, 133 line, no line. The halftone negatives, from separate slightly retouched photographs, were stripped together. The white lines between views were cut on the plate. View A illustrates the method of bundling and smashing folded signatures; B, handgathering signatures; C, flat or side stitching; D, saddle stitching; E, wire stitcher feeder; F', book sewing by hand. Fig. 1964. Some operations in pamphlet and bookbinding. together a glance at the back of the assembled signatures show these black marks running regularly in stair-step fashion diagonally across the back of the book. INSERTING It is while the signatures of a book are being gathered that extra pages which may have been printed separately such as colored illus- trations, photogravures, or other separately printed sheets are in- serted. These are usually inserted by hand and may be stitched, sewed or pasted in, the method depending upon the nature of the in- sert and the location in which it is to be placed. In magazine binding 696 COMMERCIAL ENGRAVING AND PRINTING _ Square halftone, 133 line, no line. The halftone negatives, from separate slightly retouched photographs, were stripped together. The white lines between the views were cut on the plate. View A shows method of sewing books by machine; B, making cases by machine; C, rounding backs, and D, books drying in standing presses. Fig. 1965. Additional bookbinding operations. this inserting is sometimes done by machinery. Examples of these methods will be found in the manner in which the inserts have been made a part of this book. TIPPING OR MOUNTING When a smaller sheet is attached to a larger one by pasting the edge of the smaller, or the entire under surface, to the face of the larger, the process is known as tipping on. This plan is often followed when it is desired to use a halftone and the paper to be used is not suitable for it. In such a case the halftone is printed separately on suitable stock, trimmed and then tipped on to the main sheet. The plan is also used for obtaining decorative effects on covers and other subjects and quite frequently a border or panel is provided on the main sheet by printing or embossing, or both, in which to tip the smaller subject. This plan adds considerably to cost on account of extra paper, presswork, trim- ming and the hand work in mounting the tips. The tips may also be attached to the main sheet by a machine, built especially for such work. ed USP WIRE STITCHING ee Pamphlets, booklets, catalogs and all of the less expensive forms of bound books, folders, etc., are wire stitched, that is, fastened together with light wire staples which are automatically cut BooKBINDING 697 Square-outline halftones, 133 line, no line. Made direct from the originals. Fig. 1966. A tip-on on a card with a deckel edge (left) and a plated or ironed-out panel for printing a halftone on rough stock (right). from a spool of wire and driven through the paper and clinched by a machine. There are two general kinds of wire stitching—the saddle stitch and the side stitch. The former is so called because the booklet is opened in the middle when being placed in the stitching machine and saddles the feed bar while being stapled. In other words, the staples are driven through the back fold of the leaves and clinched in the middle of the book. On paper covered books, when the covers are trimmed flush with the inside pages, it is customary to saddle-stitch the cover on at the same time the inside leaves are stitched. Plants in which any considerable quantity of pamphlets or maga- zines are saddle back stitched are now equipped with one or more stitcher feeding machines, one type of which is shown in Fig. 1973. This machine has a long traveling saddle, alongside of which girls sit and place inserts, signatures and covers astride the saddle, the ma- chine heading them up as the conveyor moves forward, delivering the assembled book to the feeding mechanism, which handles it while being stitched, after which it is delivered ready for trimming. SIDE STITCHING When the number of pages in a booklet or catalog is such as to make saddle stitching impractical, side stitching is used; i. e., the wire staples are driven through the entire thickness of the book. When this method is used, the work is usually folded into two or more sig- 698 CoMMERCIAL ENGRAVING AND PRINTING natures and these are assembled as if for sewing, and then stitched. Some of the stitching machines made will punch and staple a book as thick as two inches. Many magazines are side-stitched with covers glued on, and most catalogs and booklets of more than 64 pages are similarly bound. The greatest objection to the side-stitched book or catalog is the fact that it will not open flat like a saddle stitched book; but in other respects side stitching affords a very practical and a substantial method of binding for books, magazines, etc., with flexible covers. BOOKLETS TIED WITH CORD A favorite method of making a booklet more attractive is to tie the cover on with a silk cord. But it is customary even when tying with a cord first to saddle stitch the cover on with at least a single staple. Holes are then punched through the book fold and the cord is threaded .through these holes and tied. Sometimes when the booklets are not too thick the cord is threaded through by hand with needles, without the books being first punched. Occasionally the holes are punched through from the side and the booklets are tied in this way. There are machines on the market for doing work of this kind, but the demand for booklets tied with cord is not sufficient to justify many printers having them. FLUSH AND EXTENDED COVERS It usually adds to the appearance of the booklet if the cover be made to extend slightly beyond the edge of the body or inside pages. When an extended cover is to be put on, both the inside pages and the cover must first be trimmed before the cover is put on and stapled. Also in stitching the cover must be carefully placed on the body so as to get an even margin all around; and in order that the inside leaves may not slip when being stitched into the cover, it is necessary first to stitch the body separately with a single staple. These extra oper- ations of course take extra labor and this will explain why it costs more to put on an extended cover than one that is trimmed flush with the inside pages. SECONDARY COVERS These are also known as end sheets, and are extra sheets of cover paper, usually of same stock but of lighter weight than that used for the cover proper, and they are placed between the cover and the body of the book for the purpose of embellishment. They are used either plain, or printed with a decorative design, and are usually trimmed to the size of body pages. One-half of the sheet is sometimes used as a pasted down end sheet on the inside of the cover, this part serving as a lining while the remaining half is used as a flyleaf. While this method is usually used to give a more finished appearance to the work, it is also often used to cover up the inside side of the cover when it has been embossed. HAND SEWING Books that are intended to have a permanent use, and books that are to be used a great deal, should in most cases be sewed. A sewed book will open flat at any point, and the leaves do not easily pull out. BooKBINDING 699 Formerly all books were sewed by hand, but machine sewing is now taking the place of hand sewing on all but the more expensively bound books. Sewing by hand is a slow operation. A frame is provided upon which are strung vertically a number of cords or tapes, which are to serve as the hinges of the book. It is the task of the operator to sew the signatures of the book together upon these hinges. This is done in various ways. If it is desired to conceal the cords, so that they will not appear as ridges on the back after the cover is put on, the signatures are sawed or notched along the back fold to correspond with the position of the cords. The operator then takes the first signature, lays it on the base of the frame, with the notches in the fold fitted against the vertical cords. The needle is then pushed through the fold of the signature about one and one-half inches from the ‘‘far”’ end, the signature mean- while being opened in the middle with the other hand so that the needle comes through the fold exactly at the middle of the signature. The thread is then drawn almost through and the needle is pushed out through the fold at or near the first notch and the thread is looped around the cord before being drawn back through the fold. The thread is then looped in the same way around each of the cords in turn and brought out finally near the other or ‘“‘near” end of the signature. The next signature is then placed in position and the same opera- tion is repeated, except that the operator works from the ‘‘near”’ toward the ‘‘far’’ end of the signature, bringing the needle out just above the point where the thread first entered the first signature. THE KETTLE STITCH The next signature is then placed in position and the sewing pro- ceeds as before, except that before passing the needle into the fold of each new signature, the thread is looped around the thread of the pre- ceding signature, thus forming what is called the “kettle stitch.”’ SEWING ON BANDS OR TAPE One of the best ways of sewing a book is to sew it on or through tapes. In either case the tapes are simply substituted for the hinge- cords, and sewing on the tapes is done in exactly the same way as sew- ing on cords, except that the signatures are not first sawed or notched. When tapes are used the needle and thread are passed through the tapes instead of over them. Needless to say this makes a very sub- stantial book. INSERTING TAPES BETWEEN SIGNATURES One of the most troublesome problems in commercial printing is that of binding medium sized catalogs so that the covers will not come loose with constant handling. Most catalogs in this class have only heavy paper covers, which are glued on to the body of the book, and this throws most of the strain on the two outside leaves to which the cover is glued. If these tear out, as often happens, there is nothing to hold the cover except the thin layer of glue along the back edge. A good way to overcome this weakness is to insert between the first and 700 COMMERCIAL ENGRAVING AND PRINTING Fig. 1922E. Halftone, 60 line screen. Fig. 1923E. Halftone, 85 line screen. Fig. 1924E. Halftone, 100 line screen. Fig. 1925E. Halftone, 120 line screen, Fig. 1926E. Halftone, 133 line screen. Fig. 1927E. Halftone, 150 line screen. Pages 697 to 704, inclusive, are printed on 25x38—70 Ib. Machine Finish Book, white, made by The Champion Coated Paper Co., Hamilton, Ohio. BOOKBINDING 701 \ { Na s \\ ae Ny ay Ie WA \ S \ . Ne Nn he) Wi | | \Y AM \Ns IY russ oh) \\ | AA My IN ‘\\\ WO Fig. 1928E. Open or grey halftone, Fig. 1929E. Line etching on zinc 120 line screen. from a pen drawing. eS a > pee ta ey ZN ce ST et CARE ARE SERIO -- Fig. 1930E. Line etching on zinc from a crayon drawing. anes br + MANUFACTURERS GE = : Epace Toots & MAcHINERY FOR WOODWORKERS ~~ = Ih —— The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 702 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. Made from a black on white print from a halftone. Fig. 1967. Some styles of sewing. second signatures, a narrow strip of cloth or tape which is brought over the fold of the outside signatures and glued to the cover. Often these strips of cloth are pasted over the folds of these signatures be- fore they are gathered, and the signatures are then sewed into the book — just as if the strip were not there. It can readily be seen that the use of a re-inforcing strip over the folds of the two outside signatures, a strip sewed right into the book, relieves the strain on the outside leaves and lessens very much the chance of the covers pulling off. MACHINE SEWING While hand sewing is still generally conceded to be superior to machine sewing, the improvements recently made in book sewing ma- chines make machine sewing preferable for many classes of work, especially when the cost is taken into consideration. Plain sewing, sewing on cords, tape, crash, raised or sunken bands—in fact, every kind of sewing known to book binders—can now be accomplished on machines. The principles employed are the same as in hand sewing, and the several makes of machines on the market are all adjustable to books of various sizes and shapes. These machines will take the place of from four to ten hand-sewers, depending upon the nature of the work. ; 3 SEWING AS IT AFFECTS THE COST Some printers and binders are emphatic in the statement that ma- chine sewing is invariably inferior to hand sewing. The usual differ- ence is probably not so much due to the use of the machines, as to in- definite specifications regarding the manner of sewing. The subject of binding is of such a technical nature, and involves the use of so many . ‘y BooOKBINDING 703 technical phrases, such as the “‘all-along’’ and the “two-along”’ style of stitch, sewing ‘‘on”’ or “through” tapes, “raised” or ‘sunken”’ cords, etc., that the only way to make sure of getting the style of bind- ing best suited to one’s purpose is to first have a dummy bound before deciding definitely on the specifications. In Fig. 1967 is shown several different methods of sewing. At the left is a book showing plain sewing and braiding over tapes and reading towards the right in the order mentioned is plain sewing; plain sewing and sewing on sunken cords; plain sewing and sewing and braiding through tape and at extreme right plain sewing and sewing through tape. FORWARDING The various operations that are performed in binding a book, from the time the sewing is done until it reaches the finisher, are collectively referred to as forwarding. Under this heading are included such oper- ations as smashing, trimming, rounding, inserting, gluing on end sheets, crash, paper lining, head-bands, etc., and casing in. Even though the signatures may have been smashed before being bound, it is customary to compress the books again after they have been sewed, to reduce the sewing swell at the back. TRIMMING The next step is the trimming, which is done on a power cutter. Some of these cutters trim only one side at a time, others two sides, and others three sides at one time. The trimming cuts off the surplus margins and the fold of the signatures, permitting the leaves to open. When the books come from the trimming machine they are uniform in size and the edges are all straight and even. It is necessary to have the knives very sharp, especially if the edges are to be gilded or tinted, as any nicks in the knife show up very plainly on the trimmed edge. Outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 1968. Seybold three-knife book trimmer. 704. COMMERCIAL ENGRAVING AND PRINTING In trimming books or pamphlets on modern automatic cutters on which the back gauges are in three sections, the back gauge may be offset for the three distances from the knife required for trimming the book on the three edges. Thus three piles may be placed for trimming at one time. Each stroke of the knife, therefore, trims the fore edge of one pile, the top edge of another pile and the bottom edge of the third. One of the special book trimming machines, the Seybold “Dayton” three-knife book trimmer, is shown in Fig. 1968. This machine has a range in adjustment whereby it will accurately trim pamphlets or books from 5 inches to 24 inches in length and from 2% inches to 12 inches in width, it being possible to adjust for any size within these dimensions within a few minutes. The front knife makes the first cut and the two end knives, which trim the head and tail, cut from the back toward the front of the book simultaneously and as the front knife returns to its highest point. An automatic compensating clamp provides for the extra thickness at the back or folded section of the books. ROUNDING THE BACK Books with stiff covers are usually made with rounded backs, as this not only enhances their appearance but also tends to prevent the middle signatures from drawing to the fore edge. A flat book will be- come concave when opened and closed many times. The first step in rounding is to apply a coating of glue to the back with a stubby brush, the object being to rub a sufficient amount of the glue between the sig- natures to hold them together. Then while the glue is still plastic the book is laid, first one side down, then the other, on the table while the book is gently hammered into the rounded form with a mallet. Books rounded by machine are treated in much the same manner, except that rollers do the work of the hammer. BACKING Then follows the operation of backing, by which is meant spread- ing out the back folds of the signatures fan-shape. Backing permits a freer opening of the book, absorbs the sewing swell, and enhances the appearance by making the back flush with the covers. This operation was formerly accomplished entirely by hand, but is now largely done by machines which do both the rounding and backing at one operation. ' LINING AND HEAD-BANDING After the books are rounded and backed, they are usually stacked up in alternate order, while ‘‘super,”’ 2. e., very loosely woven cotton cloth or paper strips are applied to the back. It is at this point, too, that the head-bands on the better grade of books are put on. These serve little purpose except to add to the appearance of the book, and they usually are made up in long strips from which short lengths are cut and pasted on the backs, top and bottom, before the covers are put on.- The head band is simply a narrow strip of cloth, silk, or calico folded over a cord. BooKBINDING 705 COVERS There are two general classes of covers, flexible and stiff. Stiff covers are usually referred to by the binder as boards. Catalogs and booklets are usually covered with heavy paper, referred to by printers as cover stock; although many of the more important catalogs are bound with cloth. INTEGRAL COVERS Some booklets, when economy is necessary, are bound without special covers. The entire booklet, or a signature of it, is printed on one sheet, the cover pages being so placed in the form that when the sheet is properly folded these pages serve as the front and back cover. In order to make these pages resemble covers they may be printed with special designs with the usual margins, or printed from plates larger than the page, so that the printed design will run off the edges— or “bleed off’—when the booklet is trimmed. This is also some- times called a self-contained cover. PAPER COVERS PRACTICAL FOR MANY USES For many classes of catalogs and books, paper covers are just as satisfactory as any other kind. Indeed they are especially suitable for books that are to be referred to constantly, such as catalogs, directories, price lists, etc., because, being flexible, they permit “thumbing the pages” to find what is wanted. For practicability a catalog with covers — trimmed flush is better than one with extended covers. The variety of cover papers on the market is so wide as to offer very little restric- tion to the production of artistic effects in cover designs. Some papers are especially strong, some especially suited for embossing, some for folding, etc. DIFFERENT WEIGHTS OF COVER PAPERS Nearly all of the most popular cover papers come in two or more thicknesses. The light and medium weights are used for the smaller booklet covers, and the light weight is often used for end sheets in connection with the heavy weight for catalog covers. The heavy weight is principally used for catalog covers and quite often without end sheets. Sometimes when a cover of extra stiffness is wanted the covers are doubled back inside so as to give two thicknesses. When paper covers are glued on only, they should be scored, 7. e., creased near the binding edge, so they will bend without breaking. BOARD COVERS For certain classes of books, such as school books, board covers are extensively used. Thin paper, blank or printed, is pasted over the board or other material used to give the stiffness to the back. The cover paper in this method is used for the covering instead of cloth, as with the cloth-bound books. 706 COMMERCIAL ENGRAVING AND PRINTING CLOTH, THE BEST COVER MATERIAL Cloth is the best all-round cover material because it is adapted to practically all kinds of books, from the cheapest to the most expensive. It is more durable than either paper or leather, and comes in such a wide variety of grades and patterns as to furnish almost an unlimited range of styles and colors. There are several mills that make cloth for book covers exclusively and they will gladly send samples to meet special requirements, if these requirements are made known to them. Book cloth, however, is sold to the printer through the jobber and by the printer to the consumer in the finished work. Most printers have sample books of these cloths or can easily get them. Thus, it is almost as easy to obtain samples of a line of cover cloths from which to make a selection as it is to obtain samples of paper cover stock. When desired, practically any of the grades, patterns or colors of cover cloth may also be obtained embossed in imitation of any one of a number of leather grains. Cloth is furnished in rolls, usually 38 inches wide, about 40 yards to the roll and is sold by the yard. BUCKRAM, DUCK AND CANVAS Most law books and other heavy books that are frequently referred to are now bound in buckram, which is a coarse, open-wove cotton or linen fabric, usually dyed a light brown in imitation of leather, which it has largely replaced. Duck or canvas, which is a strong, heavy, cotton cloth, firmly woven, is used principally for covering ledgers, cash books, post binders, etc. LEATHER BINDING In earlier times when it was customary to bind books entirely by hand, leather was thought to be the only suitable covering for a book that aspired to permanency. Even today the finest editions are bound in leather, not only because of the strength, flexibility, surface, and durability of leather, which adapt it to book covering, but also be- cause leather bindings have become associated with books of quality in the public-mind. Fewer and fewer books are being bound in leather each year because competition has lowered the quality of leather to be obtained for this purpose, while at the same time the price has ad- vanced, and because leather is not adapted to machine methods of binding. Leather is sold to the binder by the hide at so much per square foot; the price varies and depends: on the thickness, quality and size of the hide. Most of the commonly used leathers are obtainable in a large number of colors. KINDS OF LEATHER USED FOR BINDING The leather most used for binding is made of the skins of goats, sheep, cattle, horses, pigs and seals. More goat skin and cow hide in various forms is used than any other. Most of the best leather for binding books originally came from Morocco, in northern Africa, whence the name Morocco. Morocco is made of the skins of goats and is re- BooKBINDING 707 garded as the most attractive of all leathers for book binding. It re- tains its flexibility and color to a remarkable degree, yet offers a hard surface that is not easily damaged by friction. The most popular colors of Morocco are red, green and black. SEVERAL KINDS OF MOROCCO In addition to the regular Morocco, which can be distinguished by its firm texture and natural grain, there is also Levant Morocco and Crushed Levant, which has a delicate grain of cobweb pattern; Oasis Morocco, which is made from African antelope specially tanned and dyed in serviceable shades; and Persian Morocco which, while much less expensive than genuine Morocco, has a smooth, tough surface well suited to hard wear, but not for permanency. ‘Persian calf” is a misnomer, as the leather is made from the skins of hardy Persian mountain sheep, and merely resembles calf. “‘RUSSIA,”’ AND COWHIDE “Russia” is a trade name referring to leather that was originally made in Russia from the hides of young cattle and always dyed red. It is now made in different countries from horsehides (called cordo- van), calf, goat, and sheep skins, and comes in various colors. Much of the leather now sold as ‘‘ Russia”’ is not durable. __ American cowhide is now regarded as better than Russia and is widely used on blank and account books, where durability is the first requirement. Cowhide buffings are sometimes substituted for cowhide. Buffing is the thin grain portion split from the cowhide and is quite inferior to the full grain leather. SHEEPSKIN Sheepskin is a very pliable leather as well as a durable one and is practical for many classes of books. There is, however, a great differ- ence between the skins of the hardy mountain sheep and those of the plains. A favorite method of using sheepskin is to turn the flesh side with its soft velvety surface out and use it for flexible bindings. It is then called ooze sheep and, while the edges are sometimes turned in, more often they are smooth cut and allowed to extend one fourth of - an inch or more. When finished in gray, ooze sheep is called limp suede. ““FLESHERS”’ AND ‘‘SKIVERS”’ Sheepskin, as well as cowhide, is often split, the underside being then called flesher, and the upper or grain side, skiver. These fleshers and skivers are then often embossed and finished in imitation of the various leather grains, and are used where a heavy leather is not required, or to lessen expense. PIGSKIN, SEAL, ETC. ~ Pigskin is very durable because of its coarse, tough fibers and is used for binding heavy volumes and blank books. Seal is similar to the best Morocco, but of course not so easy to obtain. 708 COMMERCIAL ENGRAVING AND PRINTING Fig. 1922F. Halftone, 60 line screen. Fig. 1923F. Halftone, 85 line screen. Fig. 1924F. Halftone, 100 line screen. Fig. 1925F. Halftone, 120 line screen. Fig. 1926F. Halftone, 133 line screen. Fig. 1927F. Halftone, 150 line screen. Pages 705 to 712, inclusive. are printed on 25x38—30 lb. Seaman Opacity Bible Paper, made by Seaman Paper Company, Chicago, Illinois. BooKBINDING | 709 Nx, \\ Ns I NY | My \ Ni ) i oy i WN \ li u Vs ) | y i) Ky SS | \ a Fig. 1928F. Open or grey halftone, Fig. 1929F. Line etching on zinc 120 line screen. from a pen drawing. > 43 Cur on Fig. 1930F. Line etching on zinc Fig. 1931F. Wood engraving. from a crayon drawing. Eoace Toots S Machinery FoR WooDworKERS SS Fig. 1932F. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 710 COMMERCIAL ENGRAVING AND PRINTING IMITATION LEATHER There are now on the market many textile fabrics in imitation of leather. These fabrics are made under different names, such as Fab- rikoid, Pantasote, Texoderm, Pluviusin, Keratol and Rexine. Many of these materials are not only cheaper but superior to the cheaper grades of leather and they are used very extensively. COVER MATERIALS In Fig. 1970 is shown reproductions of a number of the most used book coverings. In making this, samples in colors that would photo- graph well were taken from a jobber’s sample book and these photo- graphed. The photographic prints were trimmed and mounted in a group as shown. Proof from type of the lettering was arranged for double printing. The illustrations show the materials in actual size. STYLES OF BINDING The manner of binding books and booklets may be grouped into four classes, and. by those in the trade the classes are commonly referred to as soft binding, which includes pamphlets and catalogs on which paper covers have been wire stitched, tied or glued; edition work in hard binding wherein the books are sewed and the boards are covered with paper, cloth, leather or other material, and which are usually produced in large quantities; law book binding and blank. book binding which includes loose leaf, ledger and other record forms. In Fig. 1969 styles A, B, C and P are types of soft binding; D, E, F, G, H, K, L and M are types of edition work and N, O, R, S, T and U types of blank book work. Law book binding is illustrated in detail in Fig. 1971. In Fig. 1969 is shown in A a saddle wire stitched booklet with cover trimmed flush with the inside pages; B, aside stitched book- let with extended cover glued on; C, a cover trimmed flush with inside pages, tied with cord and saddle wire stitched; D, board sides covered with printed paper; E, full cloth; F, printed paper over board sides, cloth back and die-cut oval print tipped on side; G, half leather (edition); H, three quarter leather (edition); K, full leather; L, flexible leather; M, limp leather or Oxford; N, flexible leather ring binder; O, three quarter corduroy loose-leaf binder; P, check or strip binding; R, half bound (ledger); S, three quarter bound (ledger, note raised bands and spring back); T, end and band ledger binding and U, full extra ledger binding. While the styles illustrated are more or less standard, they are subject to considerable variation in treat- ment, in materials used, shape and other details. LEATHER BINDING Edition books bound with leather, either wholly or in part, are referred to as being full bound, half leather or three quarter leather. A full bound book is one which has a cover made of a single piece of leather extending entirely over both covers and the back. A half leather bound book is one that has a leather back with the leather extending over about one third of the cover, the rest of the cover being BoOoOKBINDING 711 Double print square halftone, 133 line, with line. Made from slightly retouched photographs. The books were photographed in groups and the prints trimmed to obtain a separate print of each book. These were mounted as shown on a white card. Proofs from type of the lettering were arranged for double printing. Fig. 1969. Styles of binding. 712 COMMERCIAL ENGRAVING AND PRINTING cloth. A three quarter leather binding is the same as the half leather binding except that the corners of the book are covered with leather the same as the back. A full bound book may of course be in either stiff boards or limp. A full bound book is the most pleasing to the eye, but a half leather or three quarter binding is practically as durable and when on the shelf, where only the backs are in sight, look as well as the full,bound. The limp or flexible binding should not be used on books that are to stand on shelves, but only on such books as will prob- ably lie on tables or upon shelves specially provided for them. PUTTING THE COVER ON THE BOOK There are two principal ways of putting covers on books. One is to build the cover on the book by hand by first fastening the boards, as they are called, to the ends of the cords in the back of the book which have been left with an extension of about one and one-half inches for this purpose. The boards are cut the right size and laid upon the body of the book; holes are punched near the binding edge with an awl, and the ends of the cords are laced through these holes by hand. Usually a piece of paper is pasted over the back so as to extend about one inch onto the board. After a number of books have been forwarded up to this point the binder then applies a coat of glue to the cloth or leather which has been cut for the binding and stretches it over the boards, smoothing down all the wrinkles and turning the edges over. The next step is to paste one side of the end sheet, which has previously been tipped on to the front and the back signature of the book, and fit it to the inside of the cover. This covers up the cloth or leather that has been folded over the edges and helps to attach the cover to the body of the book. Of course, there are variations in the manner of putting on covers by hand but the above description gives one a general idea of the process. In Fig. 1971 this method is fully illustrated. In A the book is shown after it was sewed; B, after trimming; C, after rounding the back; D, after the boards were attached to the tapes; E, after adding the bands and lining; F, after the outside covering material has been stretched over the boards; G, after the edges of the covering material have been turned in; and H, the complete book after it has a" titled, pressed and dried. READY MADE COVERS OR CASES The other method of putting on covers is first to make the covers separately and fit them on the books later. Covers made in this way are referred to as cases. In many shops these cases are made by hand in quantities and laid away until they are needed for the books. Many of the larger publishing houses have case making machines, which will make cloth cases at the rate of a thousand or more per hour. Pub- lishers that do not have case making machines often have cases made for them on machines or buy standard stock cases. There are establish- ments that make a business of furnishing cases to binders. Of course, only the cheaper books are bound in ready-made cases of this kind. * This method is illustrated in detail in Fig. 1972. In A is shown the BooOKBINDING fre ae $e Pog or Medico PEM nine tron ae beeen es Ma teat odie ? Prete re Par BP Bs . Pap Po jolt AN Rice Re IP Mg Bee Fong I a ek Pic an: tal eae oo UNDRESSED SHEEP * 2 ae de PP ee tod ay ¢.<.'¢ (PERSIAN reyy, eer eS, i i ae Vs ee ey ee a NES aaa, Ue ‘i Ot : Ne Ba. monoceo Ty NON LEM N le A angen it ALLIGATOR Double print square halftone, 175 line, no line. Made from unretouched photographs grouped. The white lines between the views were cut on the plate. Fig. 1970. Cover materials. 714 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. Separate photographic prints of the different views were cut out and mounted on a white card on which the background and reference letters were drawn. Fig. 1971. Steps in law book binding. loose signatures which have been gathered ready for sewing (note the printed marks running in stair-step fashion on back of folds for de- tecting incorrect position of signatures) ; B, after sewing and trimming; C, after rounding and backing; D, after lining and headbanding; E and F, inside and outside views of made up and stamped case; and G, the cased-in or finished book after pressing and drying. CASING-IN Putting the case on the body of the book either by hand or machine is called casing-in. In either method the operation is principally one of pasting and fitting the fly-leaf to the inside of the cover. There are machines that will casei-n books at the rate of from 500 to 750 per hour. MACHINES EXTENSIVELY USED The tendency in bookbinding as in other industries is to do as much of the work by machine as possible. Wherever the quantity of work will justify it we find rotary board cutters for cutting the boards, bevelers for beveling the edges, cloth slitters for cutting rolls of cloth into strips, gluing machines for automatically gluing the cloth as it is applied to the boards, case smoothers or rollers for smoothing the cases, die stamping machines for stamping the title, etc., etc. CREASING THE JOINT After the ‘‘cases’’ or covers have been put on the books, they are stacked- up in a standing press, with backs out, and boards are laid between the layers. These boards are bound with brass bands slightly wider than the thickness of the boards, so that when they are properly placed between the layers of books the edges of the bands will indent the books at the joint, and hold them thus until the books are dry. BooKBINDING Milo Square halftone, 133 line, no line. Separate photographic prints of the different views were cut out and mounted on a white card, on which the background and reference letters were drawn. Fig. 1972. Steps in edition binding. . HOLLOW BACK, SPRING BACK, AND TIGHT BACK BOOKS Books that are bound with flexible covers, and large books such as law books, are usually bound with tight backs, 7. e., the cover material is glued to the back of the book and bends inwardly when the book is opened. The cover on a hollow backed book is attached at the joint only so that when the book is opened the cover will bulge outwardly away from the back. A spring back is one having ‘‘hubs”’ or bands so built into the back covering as to hold and protect the covering material when the book is opened. Spring backs are used on account books. INDEXING To facilitate quick reference, price books, blank books, dictionaries, and many other kinds of books, have cut-in indexes on the fore edge. When the edition is small this index cutting is sometimes done by hand, using an index shear, which is provided with a gauge for uniform cut- ting; but most of this work is done on an index cutting machine. FINISHING After a book is covered, it goes to the finisher to be finished. Fin- ishing includes not only the final inspection but also putting on the titles and decorative features, if this has not already been done on the case. Formerly nearly all of the decorating and lettering was done with 716 COMMERCIAL ENGRAVING AND PRINTING Fig. 1922G. Halftone, 60 line screen. Fig. 1923G. Halftone, 85 line screen. Fig. 1924G. Fig. 1926G. Halftone, 133 line screen. Fig. 1927G. Halftone, 150 line screen. Pages 713 to 720, inclusive, are printed on 25x38—70 lb. White English Finish, made by The Champion Coated Paper Company, Hamilton, Ohio. BoOOKBINDING rele SSS a f \ \ “AN a ay : ANY ) \ ‘ ‘i Fig. 1928G. Open or grey halftone, Fig. 1929G. Line etching on zinc 120 line screen. from a pen drawing. ha ae re a 5 ‘s « iS et <é SATU ALC SE eae: we wee ek a AORTA PUTS AMR ; ae a = Fig. 1930G. Line etching on zinc Fig. 1931G. Wood engraving. from a crayon drawing. x MANUFACTURERS G&== . |) a FOR WOODWORKERS = Eoae Toots & Macuin RY Fig. 1932G. Line etching on zinc of lettering with machin . shaded ground. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 718 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 133 line, no line. A separate halftone negative was made of the view of each machine and these negatives were stripped together. C and H were made from retouched photographs, all others from black on white prints from halftones. The reference letters were drawn on the copies and the white lines between the views were cut on the plate. In view A is shown a machine for gathering, stitching and covering books; K, press for stamping and embossing; L, machine for beveling boards for covers; N, cloth gluing machine; O, rotary board shear (A, K, L, N and O courtesy T. W. & C. B. Sheridan Co., New York City); B, stitcher feeder (courtesy Christensen Machine Co., Racine, Wisconsin); C, wire stitcher; H, index cutter, (C and H courtesy F. P. Rosback Co., Benton Harbor, Michigan); D, book sewing machine; F, case making machine; G, casing-in machine (D, F and G, courtesy Smyth Mfg. Co., Hartford, Connecticut); M, pallet for holding type for titling books (courtesy W. O. Hickok Mfg. Co., Harrisburg, Pennsylvania). Fig. 1973. Some of the machines used in pamphlet and book binding. BooKBINDING 719 hand tools, called hand creasers, fillet rolls, hand stamps, etc., and the finishing on blank books is still largely done in this way; but all other books are now stamped with special machines, either before the cases are put on or afterwards. The ornamentation and lettering are put on with ink, foil, imitation gold, silver, aluminum or white leaf, gold leaf or blank impressions. By the last named method the die stamps out the pattern, or finish, on the cover material, giving the design a mee glossy appearance and of a deeper shade than the surrounding surface. , GOLD LETTERING Nothing has yet been found which will take the place of gold leaf for permanence and brightness for gold lettering and decorative work on books. Stamping with gold leaf is, however, an expensive process and not all binding establishments are equipped to do it. Moreover the rich effect that is associated with gold stamping can often be just as effectively obtained by a proper combination of rich colors, espe- cially on cloth bound books. The variety of beautiful cloths made expressly for book covering is so wide that extremely handsome com- binations are easily possible. Buyers of printing who wish gold leaf stamping will better appreci- ate the quotations made them if they will investigate the method of applying gold leaf. First the surface to be stamped must be properly sized with a special sizing, or adhesive mixture adapted to the particu- lar covering material. It is usually applied with a tuft of cotton saturated with the mixture. The cotton is passed lightly over the surface to be stamped, and when properly applied the sizing is in- visible on the surface. The best sizing for all kinds of leather is white of egg, with certain other ingredients added, as it does not injure the leather in any way. Commercial preparations should be selected by printers with great care, and those rejected which show evidence of containing even a small part of sulphuric acid, which is very injurious to leather. After the sizing has been applied the gold leaf is very carefully laid on the surface to be stamped, and a properly heated brass stamp or roll applied with considerable pressure. The heat and pressure causes the leaf to adhere to the surface that has been sized and form the design or lettering. The superfluous leaf is then brushed off with a stubby brush into a box where it is carefully saved and disposed of to a refiner. As gold leaf is actual gold, therefore as valuable as gold, every effort is made not to waste it. Gold leaf comes in sheets about 33% inches square, so that to insure minimum expense for gold stamping the design selected should be such in size and detail as will permit the use of the full leaf without unnecessary waste. It is of course possible to use only a part of the sheet of the leaf and on the other hand, in the case of large designs it may take one or more full sheets to cover the surface to be stamped. The binders’ charge for gold stamping is based on the size of the surface to be covered as well as the other operations neces- sary in the application of the leaf. 720 COMMERCIAL ENGRAVING AND PRINTING Square halftone, 150 line, no line. Made from samples lithographed in colors and mounted on a gray card. Fig. 1974. Two styles of marbling. GOLD EDGING Gold edges are put on books in a manner similar to that in which the lettering and decorative designs are put on the cover. After the books are trimmed and before they are put in the cases or rounded, they are placed under heavy pressure, and after the edges are made smooth by scraping and sandpapering the size is applied and the leaf added with heat and then burnished. MARBLED, COLORED AND SPRINKLED EDGES The edges of books are marbled by dipping. A vat or tub three or four inches deep is provided in which is placed a mixture or sizing com- posed of gum arabic, gum tragacanth and water. Water colors in bowls are placed beside the vat and with a brush dipped in these colors they are dropped or thrown on the surface of the liquid in the vat, which is of such a nature as to cause the drops of color to remain sepa- rate and float on top, widening out on the surface of their own weight. After the desired colors have been applied, the workman with a comb- like stick, called a shaper, creates the design by combing through the surface of the mixture, the effects obtained depending on the skill of the workman. The drops of color simply lengthen and broaden but do not mix. After the design on the surface has been completed, it is divided, by cutting with a knife, into sections, each section of proper size for the edge of a book. Then the book to be marbled is clamped at the edges and dipped into one of the sections of the design which adheres and is allowed to dry. The front of the book is usually marbled first and after drying the ends are trimmed, the book is rounded, and then the ends are dipped. As the design is lifted from the vat with each application, as soon as all of the sections have been dipped a new design must be prepared and the process repeated until all of the books have been treated. Marbled papers as used for end sheets in books are usually an imita- tion of hand marbling and are printed in colors by lithography. ee BookBINDING 721 Courtesy United Printing Machy. Co., Boston, Mass. Outline-vignette halftone, 133 line. Made from a retouched photograph. Fig. 1975. The U. P. M. vacuum bronzer. Colored or tinted edges are obtained by applying the color, with a brush or sponge while the book is under pressure. Edges are sprinkled by rubbing a brush carrying the color over a screen in front of the book. BRONZING. In the printing of metallic colors such as gold, silver, copper, etc., the metals used for the colors cannot be mixed and distributed by the methods used for printing ordinary colors and the pulverized metal or fine powder is used. An adhesive tint called ‘‘size”’ is first printed in the usual way after which the bronzing powder is dusted on to the sized sheet, the powder adhering where the size is applied and the excess powder is wiped off. On a small quantity of sheets this is a simple matter but on large orders such as labels, placards, hangers, etc., the hand process would be impractical and such jobs are handled by the aid of a bronzing or dusting machine which applies the powdered bronze _and wipes the sheet free of all surplus. The use of such machines not only saves bronze and labor, but it also does away with the incon- venience and discomfort caused by the dust when the hand method is used and also insures more uniform results. Some of the bronzing machines are attached to the printing press on which the sizing is applied and by continuing the sheet through the bronzing machine the entire process is accomplished in one operation. Machines may be obtained for dusting one or both sides of the sheet at the same opera- tion. “It is impracticable to use bronze on some surfaces, particularly _those that are rough or unfinished, because of the fact that the bronze powder cannot. be dusted off; also when bronze is used in connection with printed colors it is sometimes advisable to put it on first to avoid possible difficulty in dusting off if applied after the colors are printed. 722 CoMMERCIAL ENGRAVING AND PRINTING SPECIAL BINDING ‘The possibilities in producing novel or practical ideas 1 in binding are limited only by the creative ability of the craftsman, since the mate- rials that can be used are almost unlimited in quality and variety and © permit of the production of almost anything: conceivable in paper, — boards, cloth, leather or other material in flexible or stiff form. It is usually possible to bind a part of any edition of a catalog, booklet, or book differently from the rest of the edition. ‘This is often done to supply preferred customers, salesmen, officers and others with ~ special copies bound in leather, cloth, boards, etc. The name of the individuals are also often stamped on the covers. LOOSE LEAF STYEES While this popular style of binding is most used for accounting forms, it is also extensively used for catalogs, price books, etc. Its advantage over permanently wire-stitched or sewed books is that it permits of the easy removal of obsolete leaves, or the addition of new ones as occasion may require. It also provides a practical.scheme for building special books for special purposes as for salesmen, special — customers, etc. Many large catalogs are bound in the more substantial form of covers, as boards, cloth, leather, etc. —using the ring or post — binder. Several suggestions for less expensive forms will be found — illustrated in Fig. 979 on page 405. * To properly withstand usage, loose leaf catalogs should be printed ~ on a paper having more strength than that ordinarily used for catalog work. Flat writing or bond papers are the most suitable if no illus- _ trations, or if the text is illustrated with line engravings. If the text is — illustrated with halftones a folding enamel coated paper should be used. Also to make it more practical to discard or add leaves, the subject matter should be so arranged that it may be printed on only one side of each sheet, and not more than one subject should be included on a sheet. (QATENTS,GRAIDEMARES and ag | o"6 *Fig. 1980. PA¥FENT partakes of the nature of a contract, entered into be- tween the inventor and the government, whereby the govern- ment grants to the inventor, during a certain term of years, the exclusive right to the manufacture, the use and sale of the thing which he has discovered or invented, in consideration of his disclosure of his invention, so that at the expiration of such period the free and unre- stricted use of his invention may be allowed and made available to the public. | It is very essential to the progress of art and the sciences that this particular class of personal property should be protected from infringe- ment and interference, and the inventor allowed to reap some benefit from the results achieved through his inventive genius. Should such protection not be given, a considerable portion of the incentive would be removed. THE PATENT OFFICE The patent office is under the control of the Department of the Interior, with a Commissioner of Patents at its head, and has fifty distinct divisions. All patents are signed by the Commissioner of Patents. They are issued in the name of the United States of America, under the seal of the patent office. APPLYING FOR A PATENT It is not a requirement of the patent law that a man who desires to make application for patent should have an attorney, but it is advisable. The Commissioner of Patents stated in one of his reports, » As the value of patents depends largely upon the careful preparation of the specifications and claims, the assistance of competent counsel will be of advantage to the applicant; but the value of their services will be proportioned to their skill and honesty.” If the matter is handled through an attorney, the application must be accompanied by power of attorney. The inventor—or his attorney—must address a written petition to the Commissioner of Patents, stating just what his invention is and to what he considers he is entitled. With the application should gO full and concise specifications, setting forth explicitly of what the invention consists. Attached to these specifications should be his affidavit, sworn to before some person qualified to administer oaths, stating of what country he is a citizen; that he believes himself to be the originator and first inventor of the article or product; that he -*Line etching on zinc. Made from a pen drawing. ~, line screen. Se, Fig. 1925H. Halftone, 120 line screen. . ES Fig. 1926H. Halftone, 133 line screen. Fig. 1927H. Halftone, 160 line screen. ‘ re Pages 721 to 728, inclusive, are printed on 25x38—35 Standard Newsprint, made by The Northwest PaperCo,, — Cloquet, Minnesota. ; . ber arae'y PATENTS, TRADEMARKS AND CopyrRIGHTS TED | SS ; \Y\ SY Fe \) Mijn if \\\ \\ o {| \ \\ { cr : TTY HW : NT Fig. 1998H. Open or grey halftone, Fig. 1929H. Line etching on zinc 120 line screen. from a pen drawing. eae nae oor es | 3 Fig. 1930H. Line etching on zinc from a crayon drawing. Eoce Toots & Machinery FOR WOODWORKERS SS Fig. 1932H. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. * ¥ 726 COMMERCIAL ENGRAVING- AND PRINTING believes it has never before been known or used; or previously patented or publicly described, or in public use or on sale in the United States. prior to his invention, or more than two years prior to his application for letters patent. The receipt of a patent from a foreign government will not prevent the patent of the invention in the United States, pro- vided application is filed within twelve months of the date of applica- tion for the foreign patent. A drawing of the details of the invention must accompany the application. The drawing should be prepared on smooth white card (Bristol board), fifteen inches deep by ten inches wide, with one inch marginal lines; one of the shorter sides to be the top; all of the views to lie in the same way oneach sheet. The drawing may be signed by the inventor, or his name may be signed by his attorney in fact. The drawing must show every feature of the inventionand figures should run consecutively, if possible. A model is not required by the govern- ment, but is of value in connection with preparation of the specifica- tions. When the invention or discovery consists of a composition of matter, a sufficient quantity of each of the ingredients to allow of experiment must be furnished, if required. The government fees are $40.00 and the first installment of $20.00 | must accompany the application. ISSUANCE OF PATENT If, after proper investigation, it is found. that the statements made are true and that the invention is new and patentable, a patent will be issued to the inventor, to his assignees, if his interest has been assigned; ~ or, if he be dead, to his executor, administrator or heirs. If the imven- tion is a joint one, the patent issues in the name of both inventors. The period for which patent protection may be obtained is seventeen years. | If the inventor’s claim to priority of invention, or as to the novelty of the thing to which he claims patent, be disproved, the claim is : rejected and he is so notified, with a brief statement of the reasons — for rejection. | NOTICE OF LETTERS PATENT Notice to the public, when any article is made or offered for sale under letters patent, must be given by placing thereon the word “Patented,” together with the day and the year the patent was granted, otherwise no damages shall be recovered in the event of infringement, except on proof of other notice. When the nature of the article is such that this is not possible, then the required inscription must be placed upon the package in which the articles are vended. There is a penalty for affixing the word ‘‘Patented” to any article upon which a patent has not been obtained, but as soon as the inventor has filed his application in the patent office, he is entitled to attach the words, ‘Patent applied for’’ to his product. THE RIGHT TO A PATENT An idea is not patentable. An idea as to a possible method for the — accomplishing of some particular purpose may occur to several per- sons, but he who first develops his ideas into concrete form, and con- - Micha - PATENTS, TRADEMARKS AND CopyRIGHTS tat structs a machine, or other thing, which can be adapted to practical use, is the one entitled to patent protection. In order to obtain a patent, new principles must be discovered, or such a combination of known principles as will produce a novel result. It is not sufficient that the principles upon which the patent is sought to be obtained be new to the inventor himself, or that he produce a result startling to himself, but it must be proved that his invention or discovery is new, and not before known or used. How- - ever, he may use old processes in connection with new ones, provided that he achieve a result through the combination that js novel and can not otherwise be attained. He who is able to discover the means by which a definite, useful result may be obtained in any art is entitled to a patent, provided that the specifications he furnishes are so clear and specific that any person familiar with similar processes will be able to produce exactly the same result, without in any way deviating from such specifications. DEFINITIONS UNDER THE PATENT LAWS Any person, whether an American or a citizen of some other country, may obtain patent protection for 4 term of seventeen years, who has discovered or invented any new or useful “‘art,’’ “‘machine,”’ “manufacture,”’ “composition of matter,’ or any new or ‘useful “improvement” thereon. An art is defined as a process wherein the application of a principle is the essential feature, and in which the methods used in applying the principles to achieve the stipulated result are merely incidental. A machine is-any mechanical device capable, either alone or in combination with mechanical power, of producing a result; when the result so achieved is specific and final, it is regarded as a complete machine. A combination of a number of parts—each of which might be considered as a machine—when intended for the production of some definite article or thing, may be covered in a single patent. A new combination of machinery is patentable, whether the parts of which it is composed are new or old. A manufacture is specifically defined as an instrument created by the exercise of mechanical force and designed for the reproduction of mechanical effects, but not capable when set in motion of attaining by its own operation any premeditated result. An improvement is held to be anything which adds to or alters an original in such a way as to increase the quality or quantity of the product, lessen the cost of production, or otherwise better the inven- ‘tion which forms the basis of the improvement. DESIGN PATENTS The patent law also provides for the allowance of patents for new and ornamental designs. A design is defined as the definite form into which a physical substance is molded or shaped, and which gives it its distinguishing and characteristic appearance. There must be an actual change, not in the composition of the substance, but in the effect pro- duced upon the eye. These patents cover any kind of ornamental oa i 7 de coe 1 omlatge De 728 CommErcIAL ENGRAVING AND PRINTING design or pattern to-be imprinted upon a textile fabric or other sub- - stance, the shape or configuration of any article of furniture, etc. INTERFERENCES AND INFRINGEMENTS Y Tae An interference is a conflict between two patent applications, wherein two inventors claim prior right to the same invention, or between an existing patent and an application. An examination to ~ determine who really has the right of priority is ordered by the Com- missioner, when the claims made are such as to require it. The patent will be awarded to the one. who can prove that he was the first to = perfect the invention. The first inventor is the person who.can prove by substantial evidence and witnesses (a) that he was the first to reduce ~ that time until he reduces it to practice was constantly diligent and COPYRIGHTS The copyright laws are for the protection of authors, composers — and artists in the printing, re-printing, publishing, copying and vend- — ing of their intellectual output. It is held that they possess the same inherent right to the product of their intellectual and artistic ability, a and are as much entitled to protection, as the inventor of some more material thing. pas Through the medium of the International Copyright Union, the following are among the countries which extend the same protection __ to citizens of the United States as to their own citizens: Great Britain, France, Italy, Spain, Portugal, Belgium, Denmark, Switzer- — land, Chile, Costa Rica, Holland and possessions. A copyright obtained in any one of these countries is-effective in all the others. = % eh oe OBTAINING A COPYRIGHT ne The work should be published bearing the copyright notice, as — “Copyright 19— (date of publication) by —————.” Immediately after publication, an application for copyright, together with a sepa- rately printed or typewritten copy of the title of the book, or other publication—or a description of the drawing or work of art—issentto the Register of Copyrights, Library of Congress, Washington, D. C. Application blanks are quite simple in form and will be furnished by the Register of Copyrights upon request. There should also be for- ~ warded two complete copies of the book, picture or writing, or, in the ~ case of a drawing or art design, a cabinet-sized photograph of it. These ~ will be transmitted without postage if directly delivered to the post- master for that purpose. However, the postal authorities have ruled ~ that this does not apply to the application and the money order to pay the fee, so that they must be forwarded under separate cover. PATENTS, TRADEMARKS AND CopyrRIGHTS 729 The fee for the registration of any work subject to copyright is one dollar, with the exception of photographs, on which the fee is fifty cents — if certificate is not demanded. The fee for extension or renewal of copyright is fifty cents and for every additional certificate of registration fifty cents. Copyrights extend over a period of twenty-eight years, and if the author, or his widow, children, or other heirs be living at the expiration of that time, then for a further period of twenty-eight years. Appli- Cation for the renewal of copyright must be filed six months before the expiration of the first term, and, as in the first instance, must be accompanied by a printed title, two copies of the work and the fee. Copies of books submitted for copyright must be printed from type set in the United States, and all editions of works copyrighted in the United States must be entirely manufactured within her boundaries, and an affidavit to that effect must accompany the application. An exception to this rule is made in the case of a book of foreign origin printed in a foreign language, or of a printed play in any language. The title of the book or other article copyrighted is recorded in the office of the Register of Copyrights, together with the fact that the applicant claims copyright in it. NOTICE OF COPYRIGHT The form of notice prescribed by law is “Copyright —-———— by -—___———,’ or the abbreviation ‘‘Copr.”” accompanied by year of publication and the name of the copyright proprietor. A similar inscription must appear in all copyrighted publications, but in the case of maps, models or designs for works of art, drawings, photo- graphs and prints, the notice may consist of a C within a circle, accom- panied by the initials, monogram, mark or symbol of the copyright proprietor, provided that his name appear somewhere on the article. The date shown in the copyright notice should be the same as the date of publication imprinted in the original or first edition. WHAT MAY BE COPYRIGHTED The things subject to copyright include books, periodicals, lectures, sermons, statuary, maps, charts, dramatic composition, musical com- positions, engravings, cuts, prints, photographs, or negatives thereof, paintings, drawings of a scientific or technical character, calendars, Gif they contain copyrightable reading matter or pictures), models and designs intended to be perfected as works of the fine arts. As defined under the copyright laws, a “‘book’’ may consist of but a single sheet—as a sheet of music. Among the articles which it has been held are not subject to copy- right are advertisements or catalogs, which merely set forth the mame, prices and place where articles are on sale, advertising devices, Blank cards, blank forms (legal forms may be copyrighted), business Names, emblems, engravings of manufactured articles, flags, letter- heads, names or phrases, names of products, patterns, tablets, titles, trademarks, wrappers for articles to be sold, or any drawing, design, model or print not intended for the fine arts. Damages may be recovered against any person who prints, pub- 730 COMMERCIAL ENGRAVING AND PRINTING lishes, translates, imports or sells any book, or other article, which has been protected by copyright, and he will be required to forfeit to the owner of the copyright all copies so unlawfully produced or im- ported. An injunction may be obtained from the United States courts to prevent the infringement of a copyright. WHAT CONSTITUTES INFRINGEMENT A copyright is not infringed when the whole or any part of a book is read or recited, but it is infringed when such a portion of the copy- righted work is ‘published as to form a substitute therefor, or to diminish the market value of the original appreciably. The essence of infringement is the publication. However, any person may select matter from a book, or other publication, and so add to and modify the wording and alter the arrangement of the text matter as to produce an original work, in the. meaning of the copyright law. There is nothing in the law to interfere with the publication of similar matter obtained from a common source by several different persons. If there is a difference in the arrange- ment of the material and in the manner of expressing the thought, each may copyright his work as an original production. Authors, composers, lecturers and artists are also entitled to protection under the common law. Private letters may not be pub- lished by the recipient without the consent of the writer: unless such publication be for the furtherance of justice, or in defense of his own character. A photographer has no right to sell or exhibit copies of a photograph without the consent of the original thereof. Because a person purchases a ticket to a public lecture, it does not give him the right to reproduce such lecture in print, without the consent of the lecturer, although he may take the most copious notes for his own benefit. Even though a dramatic work may never have been copy- righted, a spectator has no right to reproduce it from memory, if such reproduction be made public. PRINTS AND LABELS For registration with the Register of Copyrights at the Library of Congress, the words in the copyright law, ‘‘engraving, cut, print, etc.,’’ apply only to illustrations, designs or prints connected with the fine arts. For this reason, prints and labels which are intended to be imprinted upon articles of manufacture, or upon a slip of paper or other material to be pasted or otherwise attached to such article, are not subject to copyright registration with the Register of Copyrights. They must be registered in the patent office. Before the print or label is actually used, the application for registration must be filed, signed by the proprietor or his agent, and accompanied by ten copies of the print or label. The certificate of registration continues in force for twenty-eight years, and may be renewed for fourteen more. TRADEMARKS AND TRADE NAMES A name or device, a particular arrangement of words, lines or figures, a symbol, etc., affixed to an article, in order to indicate its origin, or who the owner may be, is known as a trademark. Trade PATENTS, TRADEMARKS AND CopyRIGHTS 731 names, such as the name of a firm, a corporate name, or the name of an individual specimen of property, though not strictly a trademark, will be protected in the same manner. The trade name identifies a firm in such a way that it secures to it the benefit of such good will as it may have acquired, while the trademark applies more particularly to the product to which it is affixed. A trade name protects the repu- tation of the firm; the trademark gives the public assurance as to the quality of the article upon which it appears. REGISTRATION OF TRADEMARKS Trademarks are protected by registration in the United States Patent Office and the fee for registration is $10.00. A firm may adopt a word, or words, symbol, or design as a trademark and acquire title thereto by actual use. In case of any dispute between two applicants, or an applicant and a former registrant, the Commissioner of Patents is authorized to decide the matter in accordance with the practice in the United States Courts of equity. In order to obtain registration, there must be filed in the patent office a declaration, verified by some member of the firm or officer of the corporation, that it has at the time a right to the use of the trade- mark sought to be registered, and that no other firm has a right to the use of the identical words, signs, designs, or symbols that may be included in the trademark, nor the right to the use of such close resem- blances that they would be likely to deceive; that the trademark is used in lawful trade between the states or with foreign nations or the Indian tribes; that the description and facsimile furnished are true and correct representations of the trademark. There must also be a statement giving the name, location and citizenship of the applicant; the class of merchandise handled, and a description of the particular goods within such classification to which the trademark has been applied; a statement of the manner in which it is attached or applied to the goods, and for what period of time the trademark has been in actual use. Accompanying the application must be a description of the trademark, five facsimiles thereof and a drawing drawn in black drawing ink on paper of a certain special size, and a fee of $10.00. On receipt of the application and statement, they are noted on the record, and, after investigation, if it is found that the provisions of the law have been complied with, and there are no previously registered trademarks similar thereto, the trademark will be registered and certificate of registration issued. All registered trademarks are first published in the Official Gazette, issued from the United States Patent Office, together with a descrip- tion of the articles to which applied. Any person who deems himself injured by the registration of any particular trademark may make application for the cancellation thereof. The registration is good for a period of twenty years, except when it is applied to an article manufactured in the United States for which protection is reserved under the laws of a foreign country for a shorter period, in which case it ceases to have force at the expiration of such shorter period. Any number of extensions for a like period of time may be obtained. ioe COMMERCIAL ENGRAVING AND PRINTING Fig. 1922K. Hialftone, 60 line screen. Fig. 1923K. Halftone, 85 line screen. Fig. 1924K. q : Fig. 1926K. Halftone, 188 line screen. Fig. 1927K. Halftone, 160 line screen. ee cee Pages 729 to 736, inclusive, are printed on 25x38—70 lb. Allied Dependable Offset, made by Allied Paper Mills, Kalamazoo, Michigan. PATENTS, TRADEMARKS AND CopyYRIGHTS 733 a i \( \ AN can | Wes " ‘YY sy a A } \, AN Xin \ i Fig. 1928K. Open or grey halftone, Fig. 1929K. Line etching on zinc 120 line screen. from a pen drawing. ~ >) a ie es b wee a RS EES OS AE ns A a eben A : on Bs i Fig. 1930K. Line etching on zinc from a crayon drawing. SS Fig. 1932K. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 734 COMMERCIAL ENGRAVING AND PRINTING LEGITIMATE TRADEMARKS It is necessary that a trademark be arbitrary in its nature and not descriptive of the article to which it is affixed. The manner in which it is attached is immaterial, but it must appear on the article or its containers in a distinct and legible way. No trademarks will be registered that contain immoral or scurrilous matter; that include or comprise the flag or other insignia of the United States. The name or portrait of a living person will not be registered as a trademark, except upon the written consent of the individual. | A trademark may consist of a fictitious name or coined word, or of some character or thing in fiction. Numerals, if not used to indicate grade or quality, will be valid trademarks. A geographical name—such as the name of a district, county or state—can not be protected as a trademark. They should be used in an arbitrary and fanciful sense. Words and phrases in common use, when in no way descriptive of the article to which they are affixed, form legitimate trademarks. Devices and symbols are the most generally used trademarks. However, if they are of such character as necessarily to describe the goods to which they are applied, or contain any description of the goods, or facts with reference to them, they can not be registered as trademarks. The registration of geographical or descriptive terms, or the name of an individual, or form, or corporation are permitted, provided the mark was in active and exclusive use as a trademark for ten years preceding February 20, 1905. Also, under an amendment passed in 1920, a special register was established for the entry of marks which have been in actual and exclusive use as a trademark for one year, and which would not be registerable under the provisions of the main act. Registration under this amendment does not impart to the mark prima facie evidence of ownership as obtains with respect to marks registered under the main act. This special register is to enable American owners of trademarks not registerable under the main act to obtain registration here for the purpose of securing registration in those foreign countries which require registration in the home country as a condition precedent. INFRINGEMENTS Relief may be obtained through the proper courts when a trade- mark belonging to any firm or corporation is used by another firm or © corporation on articles of the same class. If the trademark has been registered, the Federal courts have exclusive jurisdiction. If there is no registration, the Federal courts have jurisdiction only where the parties are residents of different states, otherwise the state courts have jurisdiction. ERpao RS Sr 208 a i En ERROR ROR COO RP one poeng * that sell to special classes of prospects have found from ex- perience that mailing lists, to which advertising matter is mailed from time to time, form a most important part of their selling plans. These mailing lists may be limited to the names and ad- dresses of jobbing houses or of retail dealers, or they may be very extensive lists of retail customers and prospects, according to the general sales policy of the company which owns and uses them. The names comprising these mailing lists may be obtained in various ways. They may be purchased from companies who make a business of compiling special lists for sale. They may be compiled from city, telephone, trade and professional directories, from the reference books of commercial agencies, from the sales ledgers of the owners of the lists, etc. If the company advertises extensively in newspapers, trade journals, periodicals, magazines, etc., a mailing list may be built up from the inquiries received as a result of such advertising, and this kind of list is more valuable because the names are those of people who have manifested a direct interest in the goods advertised. Manufacturers generally confine their lists to jobbers who handle their lines, although retail dealers often furnish to job- bers and manufacturers, for the distribution of co-operative advertis- ing matter, the names and addresses of customers whom they think it might be possible to interest in some particular product by direct mail solicitation. Mailing lists may be classified in various ways and the value of the list is, of course, increased by proper classifica- tion. Some establishments have spent years and large sums of money in compiling and classifying their mailing lists, and continue to spend considerable sums for revision and keeping them up todate. Naturally such firms place a very high value upon their lists. | Mailing lists may be used for the mailing of special announce- ments, price lists, circulars, circular letters, post cards, booklets, catalogs, or for any other kind of advertising matter which may be sent direct to jobber, dealer, consumer or prospect. [Y{ ‘that ext! to specal jobbers, retailers and other institutions COMPILING A MAILING LIST In compiling a mailing list a very careful survey should first be made of the field to be covered, so that a plan may be developed which will not only provide for a continual growth in the size of the list, but for the practical and efficient handling of it as well. | A card index system is, of course, best adapted to the purpose *Line etching on zinc. Made'from a pen drawing: An 85 line screen halftone negative was stripped over the line negative to obtain the screen effect. 736 COMMERCIAL ENGRAVING AND PRINTING as it provides for growth, classification and other requirements. The cards may be arranged alphabetically by states, towns in the states and individual names, or geographically, alphabetically, or by any other plan best adapted to the needs of the business. They also provide a means for keeping an individual record of advertising matter mailed to each and other data that are often desirable to have at hand. Sub-classifications may be made through the use of tabs located in different positions on the top edge of the cards, or by the use of cards of different colors, to permit the use readily of a certain classi- fication for a special purpose, when the line to be specially adver- tised might not appeal to the entire list. For any mailing list the quality of the names, 1. e. their buying possibilities, is of far greater importance than the number of names in the list. Although the same effort may be required for the prep- aration of printed matter to be mailed, whether the list be large or small, the expense for printing, paper, postage and labor for mail- ing are items that increase in proportion with the size of the list, a part of which, corresponding to the unfertile addresses, represents a total loss when an improperly compiled list is used. Thus, if waste circulation is to be avoided, the greatest of care must be exercised in selecting the names of only those who will be actually interested in the line being exploited; names must be correctly spelled, correct addresses obtained, duplication avoided and this must be followed by legible and correct addressing in preparing the matter for the mails. The effect the advertising matter will have on the prospect, and his confidence in what is offered, are greatly increased if he notes that the matter has been properly addressed, while the effect may be the opposite through incorrect or illegible addressing, duplication, in- correct spelling, etc. The expense to which one would be warranted to go in obtaining names for a mailing list, is, of course, governed by the nature of the business for which the list is being compiled. Naturally the average cost a name for compiling may justifiably be much greater if the article to be sold represents a large value, or is one for which repeat orders can be expected, than for one for which the selling price is nominal and for which there would be no subsequent call. A mailing list should not only be compiled originally with scrupulous care but constant vigilance should be exercised in keeping it correct. The full local address should be used in all cities, giving street and number in preference to building and number, and every piece of matter sent to those on the list should carry a guarantee of payment of postage for the return of the piece, if undeliverable, that the address may be eliminated from the list or corrected upon its return. By keying the names obtained from different sources, as they are added to the regular list, and by comparing returns, definite information may be obtained which will indicate just what sources should be followed for increasing the size of the list. METHODS OF ADDRESSING When the mailing list contains several hundred, or thousands of names, the addressing of mail matter not only requires considerable time but it involves also considerable expense. Many companies Matnine Lists AND PostaL INFORMATION 737 using circular letters upon which the names and addresses are type- written avoid the expense of addressing envelopes by using the window envelope, the enclosure being folded in such a manner that the address thereon may be read through the window in the front of the envelope. When the window envelope is not used, the piece must, of course, be addressed either by pen, typewriter or addressing machine. In most large cities there are typists and others who devote their entire time to addressing, and mailing advertising matter for those who wish to be relieved from doing this work in their own offices, receiving a certain price a thousand for the pieces addressed, depend- ing upon the method and manner of placing the addresses on the matter, the folding, enclosures, etc. Where mailing lists are used at frequent intervals, whether the list is large or small, some form of addressing machine is usually used for printing the name from a plate or stencil on the piece of mail matter. These plates or stencils are arranged in drawers similar to a card index system and by placing them on the machine, a drawer at a time, the work may be quickly done and the plates returned to the drawers for use again and again. Classification is obtained by signal tabs on the plates which automatically select the plates to be printed. Either hand or power machines are obtainable and their use insures accuracy and legibility as well as speed and a saving in the cost of addressing. ESTIMATING POSTAGE One of the points to be considered in the preparation of adver- tising matter for transmission through the mails is the amount of postage that will be required on each individual piece. Sometimes the use of a paper a little lighter in weight than that first considered or a slight reduction in the size of the mailing piece may mean a sub- stantial saving in postage when mailing large quantities of circulars, booklets or catalogs. Frequently it is possible to include an addi- tional piece of advertising matter, without increasing the postage, by keeping the principal piece under a particular weight limit. In order to make an accurate estimate as to the postage that will be required, it is advisable to make up a dummy of the proposed book- let or catalog from the paper, cover-stock, etc., that is actually to be used, weighing it with the envelope, enclosures, etc., with which it is to be mailed. Since the ink to be used in printing adds slightly to the weight of the completed catalog, weight should not be figured too closely from an unprinted dummy. It sometimes happens that on account of a variation in weight of the paper used, or from some other unforeseen cause, a piece of printed matter goes just a little over the weight limit which had been figured. This may sometimes be remedied by trimming the margins a little closer, but the appear- ance and effectiveness of a booklet should not be sacrificed by trim- ming in an effort to save on postage. Booklets having extension covers cannot be trimmed after the covers are attached without sacrificing the extension feature, and usually without seriously marring the general effect. When printed matter requires folding for mailing, the layout 738 COMMERCIAL ENGRAVING AND PRINTING should be so planned that the folding creases will not cross illustra- tions in such a manner as to injure their appearance. Enamel coated papers on which halftones are generally printed are likely to break or crack, more or less, when folded, but this may be overcome to some extent by using a special folding enamel paper which many of the mills are now making, and which will not easily break upon a fold. When embossed letterheads are used, an envelop should be selected that will not require the sheet to be folded through the embossing. SEALED VS. UNSEALED MAIL MATTER The superior attention-gaining power of sealed or first class mail matter over third class matter varies in accordance with conditions. To the man who receives little mail, even an unsealed circular is im- portant. If the first glance at the printed matter on the envelope leads a man to believe that he may be specially interested in the goods or the service offered, the contents will be investigated whether the envelope is sealed or unsealed. It is also true that an ordinary cir- cular under third class postage mailed by a widely and favorably known establishment will get much better attention than one from a concern that is unknown. The question to be decided in each case is whether the increased returns which might be obtained through the use of first class postage would more than offset the increased cost. Many firms, when in doubt as to which class to use to mail their advertising matter, try out an equal number of pieces each way in a test campaign before adopting either plan for the entire mailing list. Some method is, of course, devised for checking up on the replies received, as, for instance, sending 500 unsealed pieces to firms whose names begin with ‘‘A’’ and 500 sealed pieces to firms whose names begin with “B.”’ As the replies come in, it is easy to tabulate the results from each mailing. POSTAL INFORMATION. As it is practical to include herein only a synopsis of the classifi- cation of mail matter and the rates of postage, and other postal in- formation, and owing to the fact that new rulings and changes are likely to be made at any time by the Post Office Department, it is always advisable to consult the latest Official Postal Guide and supple- ments, the local postmaster, or the Post Office Department at Wash- ington, D. C., when in doubt as to rates, classifications, or the com- plete requirements governing the transmission of special matter through the mails. THE OFFICIAL POSTAL GUIDE This is published annually, in July, and contains postal information of interest to the public, instructions to postal employees, rulings of the Department; three lists of all post offices, first, arranged alpha- betically by separate states; second, an alphabetical list of all post offices, and third a list alphabetically by counties in each state. It also contains a list of post offices classified as to salaries of postmasters and a list of offices discontinued during the previous three years. The state lists show the unit numbers for use of shippers in ascertaining Martine Lists Anp PostaL INFORMATION 739 zone locations in parcel post service, and so arranged that the zone numbers may be easily inserted. It is cloth bound and the price is 75 cents per copy. A zone key is furnished to each purchaser. Supple- ments to the Guide are issued monthly, except in July, and contain changes regarding the postal service and otherwise keep the annual edition up to date. Price for the eleven pamphlets 25 cents. The Guide and Supplements may be consulted at any post office. All orders for the Postal Guide and Monthly Supplements, together with remittances covering subscriptions, should be made payable and addressed to Superintendent of Documents, Government Printing Office, Washington, D. C. The prices named include postage. POSTAL LAWS AND REGULATIONS This volume contains the postal laws and regulations in effect at time of publication, governing postal service and employees. A copy may be consulted at any post office. Price 75 cents per copy including postage. Sold with amendments issued periodically by the Superintendent of Documents, Government Printing Office, Washington, D. C. RURAL DELIVERY MAPS Maps of many counties in the United States, made on a scale of one inch to the mile, have been published. These maps show all public roads, rural delivery routes, the location of post offices, houses, school houses, churches and streams. A list will be furnished on request. Negative Prints of these maps will be furnished at 35 cents each and a blue print showing rural routes emanating from a post office in a county, for which no county map is published, will be furnished for 10 cents by the Disbursing Clerk, Post Office Department, Washington, Bay All remittances to the Government should be made by postal money order, currency being sent at sender’s risk. Postage stamps, foreign money, defaced or smooth coin will not be accepted. CLASSIFICATION OF DOMESTIC MAIL MATTER Domestic mail matter includes matter deposited in the mails for local delivery, or for transmission from one place to another within the United States, or to or from or between the possessions of the United States and is divided into four classes. First class. Written and sealed matter, postal cards and private mailing cards. Second class. Periodical publications, such as newspapers, trade journals, magazines, etc., bearing notice of entry as second class matter. Third class. Miscellaneous printed matter (on paper) weighing four pounds or less. Fourth class. (Domestic Parcel Post) All mailable matter not included in previous classes. Domestic rates and conditions apply to mail matter addressed to the Island possessions and territories of the United States, and, with a few exceptions, to mail addressed to Canada, Cuba, Mexico and the 740 COMMERCIAL ENGRAVING AND PRINTING Fig. 19221. Halftone, 60 line screen. Fig. 1923L. Halftone, 85 line screen. Fig. 1926L. Halftone, 133 line screen. Fig. 1927L. Halftone, 160 line screen. Pages 737 to 744, inclusive, are printed on 19x26—substance 24, Congress Laid Linen, white, made by the Valley Paper Company, Holyoke, Mass. Mattine Lists anp PostaL INFORMATION TAl1 <\ \\ v7 oh ; i . in . Via ee aR, \ Wy Nat \ WN \ Fig. 1928L. | Open or grey halftone, Fig. 1929L. Line etching on zinc 120 line screen. orratenldrawing: “a yes ae eas Fig. 1930L. Line etching on zinc from a crayon drawing. MANUFACTURERS Gt ji Eoace Toots & Machinery FOR Woopwor — KERS Fig. 1932L. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers, See explanation on page 672. 742 COMMERCIAL ENGRAVING AND PRINTING Republic of Panama. The latest Official Postal Guide and Supple- ments or the local postmaster, should be consulted for current informa- tion relative to classification and rates when they are not known. FIRST CLASS MAIL First class matter includes written matter, i. e. letters, postal cards, post cards (private mailing cards) and all matter wholly or partly in writing whether sealed or unsealed, (with the exception of manuscript copy accompanying proof sheets or corrected proof sheets of the same, and the writing authorized by law on matter of other classes), also matter sealed or otherwise closed against inspection. Among the articles included in first class matter are: assessment notices (printed) with amount due written therein; blank books with written entries; bank checks filled out in writing, either cancelled or uncancelled; certificates, diplomas, etc., filled out in writing; legal and other blank printed forms, signed officially; stenographic or short- hand notes; manuscript unaccompanied by proof sheets thereof; folders made of stiff paper which cannot be easily examined and those having many folds or pages requiring the use of an instrument of any kind in order to examine thoroughly the inner surfaces; hand or type- written matter and letterpress or manifold copies thereof; imitations of hand or typewritten matter, or reproductions thereof, not mailed at the post office or other depository designated by the postmaster in a minimum number of twenty identical copies; letters (old or remailed) sent singly or in bulk; printed price lists, containing written figures changing individual items; receipts (printed) with written signatures; sealed matter of any class; or matter so wrapped as not to be easily examined, except original packages of proprietary articles of merchan- dise put up under certain restrictions; unsealed written communica- tions, etc. . Sketches, layouts, pen or wash drawings and retouched photo- graphs, are rated as first class matter if they bear written information other than an identification name or number, otherwise they are fourth class matter. The rate of postage on first class matter is two cents for each ounce or fraction thereof. Drop letters are mailed at the rate of two cents an ounce or fraction thereof, including delivery at letter-carrier offices, and one cent for each ounce or fraction thereof where free delivery by carrier is not established. Postage on letters deposited in rural or star route boxes, or mailed to persons who are served by rural or star route carriers is charged at the rate of two cents for each ounce or fraction thereof. A ‘“‘drop”’ letter is one addressed for delivery from the office at which it is posted. There is no drop rate on any matter except letters. | The rate on post cards and postal cards is one cent each. First class mail may be forwarded without additional postage until it reaches the addressee or is returned to the sender as undeliverable. When such matter is remailed by the sender a new prepayment of postage is required and it should be enclosed in a new envelope. The weight limit for first class mail matter is the same as for parcel Marine Lists anp PostaL INFORMATION 743 post or fourth class matter, namely, seventy pounds when mailed for delivery within the first, second or third zones, and fifty pounds when mailed for delivery within any of the other zones. SECOND CLASS MATTER Newspapers, magazines and periodicals which bear notice of entry as second class matter are transmitted as second class matter. Applica- tion for admission of any publication as second class matter must be made through the postmaster at the place of publication and when granted, postage is paid in advance by the publisher at a fixed rate a pound in bulk based on distance to points to which it is addressed and the per cent of advertising matter the publication contains. When complete copies of publications entered as second class matter are mailed unsealed by other than the publishers or news agents they. take a rate of one cent for each four ounces or fraction thereof, on each separately addressed copy or package of unaddressed copies. Incomplete copies are subject to postage at the third or fourth class rate, according to their physical character. THIRD CLASS MATTER Third class matter embraces circulars, newspapers and periodicals not admitted to the second class, nor embraced in the term ““book,”’ miscellaneous printed matter on paper not having the nature of actual personal correspondence, printed proof sheets, corrected proof sheets and manuscript copy accompanying them. Manuscript of one article can not be included with proof or corrected proof sheets of another except at the first class rate. Corrections made on the margins or attached to proof sheets may include the alteration of the text and the insertion of new matter, a part of the article may be re-written if necessary for the proper correction. Marginal instructions to the printer as to the correction of the matter, or as to its proper appearance in print are also permissible. Books, including catalogs, are included in fourth class or parcel post mail, as also is miscellaneous printed matter weighing more than four pounds. Matter printed on material other than paper is fourth class. A circular is a printed letter sent in identical terms to several persons. It may bear a written, typewritten, or hand-stamped date, name and address of person addressed and of the sender, and correc- tion of mere typographical errors. When a name (except of the addressee or sender), date (other than that of the circular) or anything else is handwritten or typewritten in the body of a circular for any other reason than correcting a genuine typographical error, it is sub- ject to postage at the first class (letter) rate, whether sealed or unsealed. Reproductions, or imitations of hand writing and typewriting obtained by means of the printing press, neostyle, multigraph, or similar mechanical process, will be treated as third class matter, pro- vided they are mailed at the post office or other depository designated by the postmaster in a minimum number of twenty identical unsealed 744, COMMERCIAL ENGRAVING AND PRINTING copies. If mailed elsewhere or in less number they will be subject to the first class rate. The following are some of the additional articles included in third class matter: Proofs or prints made from halftones, line etchings, wood engravings or by any other process of engraving or printing, photographs printed on paper, address tags and labels, and blank forms mainly in print, advertisements printed on blotting paper, blue prints, calendar pads mainly in print, calendars printed on paper, printed calling and business cards, maps printed on paper with neces- sary mountings, price lists wholly in print, printed matter having samples of merchandise attached covering less than twenty per cent of the space, sheet music, etc. The rate of postage on unsealed third class matter is one cent for each two ounces or fraction thereof on each individually addressed piece or package and the weight limit is four pounds. Parcels of printed matter weighing more than four pounds but conforming to the regulations for fourth class or parcel post matter as to weight and size are mailable under that classification. Postage on third class matter may be prepaid by affixing ordinary postage stamps, by the use of pre-cancelled stamps, by using Govern- ment stamped envelopes or wrappers, or by mailing under a special permit if there are 300 or more identical pieces. FOURTH CLASS MATTER Fourth class matter embraces domestic parcel post mail, and includes merchandise, farm and factory products, seeds, cuttings, bulbs, roots, plants, books (including catalogs) miscellaneous printed matter weighing more than four pounds, and all other mailable matter not included in first, second or third classes. Included in fourth class matter are pen and pencil sketches and layouts, pen drawings, wash drawings, water color and oil paintings, framed or unframed, photographic negatives, kodak films, halftones, line etchings, wood engravings, electrotypes, stereotypes and other printing plates; printed matter on other material than paper, printed or blank stationery, printed or blank cardboard, writing, book or wrapping paper, etc. Rates of postage on parcel post matter, which must be unsealed and fully prepaid, are as follows:— Parcels weighing four ounces or less, with the exception of books, seeds, cuttings, plants, etc., one cent for each ounce or fraction thereof regardless of distance. Parcels weighing eight ounces or less, containing books, seeds, cuttings, bulbs, roots, scions and plants, one cent for each two ounces or fraction thereof, regardless of distance. Parcels weighing more than eight ounces, containing books, seeds, plants, etc., parcels of miscellaneous printed matter weighing more than four pounds; and all other parcels of fourth class matter weighing more than four ounces are chargeable, according to distance or zone at the pound rates shown in the table in Fig. 1987. A fraction of a pound is computed as a full pound. MartimnGc Lists anp Postat INFORMATION 745 PARCEL POST ZONE RATES The local rate applies to parcels mailed at any post office for local delivery at such office, also at any city letter-carrier office, or at any point within its delivery limits, for delivery by carriers from that office; and at any post office from which a rural route starts, for de- livery on such route, or when mailed at any point on a rural route for delivery at any other point thereon, or at the office from which the route starts, or for delivery on any other rural route starting from the same office. DETERMINING THE ZONE For parcel post purposes the United States is divided into units of area thirty minutes square, which form the basis of eight postal zones. The number of the unit in which each office is located (a branch office or station being in the same unit as the main office) is shown after the name of the office in the state list in the Postal Guide. To ascertain in which zone a post office is located from the office of mailing, it is necessary to obtain first the unit number of the office of address from the Guide, then find the line containing this number in the zone key for the unit of the mailing office, and the figure in the column opposite will be the number of the zone. The Guide is appli- cable to all offices, but a separate zone key is required for each unit. The zone keys, which make the use of parcel post maps unnecessary, are furnished to purchasers of the Postal Guide or upon application to the postal service. The foregoing is the only plan by which the number of the zone may be definitely determined but the map as shown on page 747 may be used for convenience in ascertaining the approximate parcel post zone from any locality, and in a majority of cases its use will be found correct and dependable. Select any point, or city, on the map as a center and with a compass draw circles around this point to represent the different parcel post zones adjacent to that point. The compass should be adjusted to the scale of zone distances indicated at the bottom of the map. The eighth zone rate of 12 cents for each pound or fraction thereof, on all parcels weighing more than four ounces (except books, seeds, cuttings, bulbs, roots, vines and plants, weighing 8 ounces or less) applies between the United States and Hawaiian Islands, between any two points in Alaska, and between any point in Alaska and any other point in the United States, between the United States and the Canal Zone, between the United States and the Philippine Islands, between the United States and the Samoan group of Islands belonging to the United States, and between the United States and its naval vessels stationed in foreign waters. The rate of 12 cents for each pound or fraction thereof, also applies to fourth class matter including, seeds, cuttings, bulbs, roots, vines and plants (but excepting books and other printed matter on which the rate is 1 cent for each two ounces or fraction thereof in all cases) weighing more than four ounces and not exceeding four pounds six ounces when mailed to Canada, Cuba, Mexico and the Republic of Panama. | 746 COMMERCIAL ENGRAVING AND PRINTING ZONES Lita Jee a, 3d] uh] 5th | ch) Tih Pounds U Sz 1000 miles | suiles | mules | malles | _snlles $0.40 ae 391 “4.01 We ae 73 4AL_ 450 ar date 4781 aot (d) Parcels subject to the | und rates, mailed for de- ivery within tho first or | | | regular mail route from the | “| office of origin to the office of delivery is 300 miles or more, chargeable with post- age at the rate of 6 cents for 12 | the first pound and 2 cents for each additional pound, a fraction of a pound being —,-| computed es a full pound. Line etching on zinc. Made from a black on white print from type. Fig. 1987. Parcel Post rates. WEIGHT AND SIZE LIMITS The weight limit for parcels mailed for delivery within the first, and second and third zones is 70 pounds, and for all other zones is 50 pounds. Parcels addressed to the Philippine Islands must not exceed 20 pounds (other than Manila to which the weight limit is 50 pounds) and Ioilo, Cebu and Zamboanga to which the weight limit is 44 pounds. Parcel post packages must not exceed 84 inches in length and girth combined. In measuring a parcel, the greatest distance in a straight line between the ends (but not around the parcel) is taken as its length; while the distance around the parcel at its thickest part is taken as its girth. For example, a parcel 10 inches wide, 5 inches high, and 35 inches long, measures 30 inches in girth and 35 inches in length, giving a total of 65 inches. BOOKLETS AND CATALOGS If a catalog or booklet contains less than 24 pages, it will take the third class rating. A greater number of pages makes it a ‘‘book’’ under postal regulations, and books take parcel post rates. If the book weighs 8 ounces or less, it takes a special rate of 1 cent for each 2 ounces, regardless of distance. If it weighs more than 8 ounces, it takes the regular parcel post rate. WRAPPING, PREPARATION, ADDRESSING AND EXAMINATION OF MAIL MATTER The Postmaster General may prescribe, by regulation, the manner of wrapping and receiving for the mails all packages of matter not charged with first class postage, so that the contents of such packages TAT Martine Lists AND Postat INFORMATION WWI Ke) Hovae Wid ©) yaino1s O; VaWVL arsnis © SsTMANosHove gosonrnyr® Ny © © Oy, v5. awn? porats Jo yr10380" WIN! No. © Nays NO. % SMO © [o) ANVaTTV wibuosad wisnony sat uv © 2 aTUAsing ANBWODLNOW ywwvaviv WVHONIWYIS ALND asusAvel OF 4 Up eer. AOLLNAYd WP © dv "S86T “S17 “poysed waeq psy But10439] 3q} Jo odAy Jo syooad yoy uo SuLMBIp Uad & IOI epeyY “OUTZ UO ZuTYo4o our] 15 ATUASNMCYSa oost oovt ooot 009 O0E ost os S31IW O08T YZAO * 3NOZ HLHDIS 6} "OSLIZTWIS LNIOd SHL WONS SANOZ SSW CORT * * *3NOZ HANSASS casa AN3Y3I5IG 3HL 3O S3INVONNOS 3HL AT S31IW COVE °° * * 3NOZ HDUS “BLWWIXOUddY LN3S3Ud3ay HOIHM Y3LN39 S31IW OCOL °° ° * aNOZ Hila 3HL ONNOYY NMVHG 3a AW S370uID S31IW 009° * * * aNOZz Hiunod SSvd 319v3a4 ‘MO13G 3IVOS 3H O1 GausNray ssvd S31IW OOE* 4 * * > SNOZ OMIHL 4 on “WOD ONIMVYEGC VY HLIM ONY ‘Y3.1N39 V SV S3TIW OSI* * * * BNOZ GNOD3S @) NOLS3A1vD oe dVW 3HL NO ALID YO LNIOd ANV LOZTaS Sate hue r=) aNOZ Laas SNOILOSYIO SANOZ W1LSOd uo M3N ‘© Niusny 6, SNA @. 3DNOY NOLVE Oy ees © vYONOS olaisaad oor ooe 002 oot ¢s : © 4 euNownvsa © es ———— a S —— a VNVISINO soo34 SSaTIW JO A1VOS © OovM © Ovisanvxaww\aTanosyove © SVX34 338S)a © ® HLMOM 14 fo) bid 2 Svnva®@ © axosnyis NO+NVIS NMaaW ws} 104343 AS Po) 2 naawv> 1@ © vi.aiyun3sH a ©) NYWUSHS © 2 © SS3NQTIHO yoo aU invuna © © OSIX3W MIN ® 13 eiecasie Ne omusvny | 3NDUsNdNarw, funaiaH HLIWS YWOHV1NO © © @©3390yNsSnw {O) Oo) any SYSNYWYV © @ WOsesHivaM fe (0) is S 4 VINV' (0) LUvHIva © Ss, ppt HVNOSIHVL = BINHIND © Es a1BIsDNIuds | T3MHOVIE ® Wwuzen 3TMANayD sare ALID 35004 eyauaSh oe 4 2 © sino} ‘4S NO ALD © o1sand@ NOSINNaD STUASNVAS © SYSNVH G bere ld 11037 avuo7 g 1MNOSSIW wNNvs @ sontsas SIO IO D y GTBIAONTEES AG) WAINNVH — @Nosinouv agio0> © _ © Hdasor ‘1s - §3AN3q UaIWaay © ynavoaa NIOONIT —.. Senoerwne: oO 3 ONIN ro) Siiwd (6) =) ro) © ss4anta TIONNOD HINON yinosd NOLONNang © O® viwwo © Sica S3NIOW S3d VUSVYSSN “a8 © ¥22Nvy5 “Vanonana Aus xnois) © ro) 443830 a3y © VMO1 yoaiahs AID @Nosvw © (0) NOLYNVA AASIOM 3YN3Id ® ® NISNOOSIM sMOdvaNNIW @ na3qussy ONVIHSV VN3SQVM NOLSHOOYD © SNLLNATWA 2ONYITIW SONINdS LON © siounis sledge VLOWVG HLNOS t40NDHSY © VLOMVG HLYON W LSOd TdOodvVd © 748 COMMERCIAL ENGRAVING AND PRINTING Fig. 1922M. Halftone, 60 line screen. Fig. 1923M. Halftone, 85 line screen. Fig. 1926M. Halftone, 133 line screen. Fig. 1927M. Halftone, 150 line screen. Pages 745 to 752, inclusive, are printed on 19x26—311% lb. “Lancaster Bond, The Aristocrat of Bonds,” white, cockle finish, made by the Gilbert Paper Company, Menasha, Wisconsin. MartineG Lists AND Postat INFORMATION 749 120 line screen. “= e Sh bans“ e ESS ce Fig. 1930M. Line etching on zinc from a crayon drawing. + MANUFACTURERS ¢ Fig. 1928M. Open or grey halftone, SEE aietite mete A VANS Pa \ i\ N\A Milk NR Perec!) 8 Fig. 1929M. Line etching on zinc from a pen drawing. \ Waseda \ % 4 : Fig. 1931M. Wood engraving. Eoae Tooits-& Machinery FOR WOODWORKERS —— Fig. 1932M. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 750 COMMERCIAL ENGRAVING AND PRINTING may be easily examined; and no package the contents of which can not be easily examined may pass in the mails, or be delivered at a less rate than for matter for the first class. Newspapers and periodicals mailed as second class matter must be wrapped in such manner that the wrappers can be removed and re- placed without destroying them or injuring their enclosures. When envelopes are used they should bear in addition to the name of the publication a notice of its entry as second class matter. Third class matter should be enclosed in an unsealed envelope or wrapped in such manner that the contents of the package can be easily examined. Unfolded cards and folded advertising cards, entirely in print, with a detachable part for use asa post card for reply may be mailed without cover. Parcels of fourth class matter must be prepared in such a manner that the contents may be easily examined. Matter may be enclosed in boxes to which the lids are nailed or screwed, if with reasonable effort the lids can be removed with chisel or screw-driver for purpose of examination. Matter of a higher class enclosed with matter of a lower class sub- jects the whole to the higher rate. Persons knowingly concealing matter of a higher class in that of a lower class for the purpose of evad- ae payment of the proper postage are liable to a fine of not more than 100.00. When stamps are so affixed to mail that one overlies another con- cealing parts of its surface, the stamp thus covered is not taken into account in prepayment. Excepting second class matter each piece of all classes of mail to be distributed for local delivery or transmission in the mails, must be prepaid at the regular rate for that class of matter. The rules of the Post Office Department as set forth in the Official Postal Guide must be observed when mailing harmful, fragile and perishable articles as well as liquids. Window envelopes must bear the name and full address of sender, in the upper left corner of the addressed side. No printing around the window is permissible, nor on any part of the envelope where it will interfere with a distinct postmark, rating, endorsement, for- warding address, etc. Change in address must not be made on the window but on the opaque part of the envelope. The window, or transparent panel through which the address on the inclosure is dis- closed, shall be parallel with the length of the envelope and shall not occupy any space within 13 inches from the top nor within 3% of an inch from the bottom or ends of the envelope. The stationery used in window envelopes must be white, or if colored, of a very light tint or shade. Nothing but the name and address of the addressee should appear on that part of the inclosure visible through the “‘window.”’ The inclosure must be so folded that they will not shift around in the envelopes, obscuring the address in whole or in part. Window envelopes not conforming to the above are unmailable. The name of the person addressed, street and number, or number or letter of rural route, post office and state, should be written in full, in addressing all mail matter. When the name of the state is abbrevi- MaiLinGc Lists aND Postat INFORMATION 751 ated, unless legibly written confusion often results due to the similarity in abbreviation for many of the states such as Virginia and Penn- sylvania (Va. and Pa.) Maryland and Indiana (Md. and Ind.) Colo- rado and California (Col. and Cal.) Mississippi and Minnesota (Miss. and Minn.) etc. Not less than 3 % inches of clear space should be left for the address, postage stamps, postmarking, rating, and any other words necessary for forwarding or return at the right end of the addressed side of all envelopes and folders, or wrappers of mail matter. If any mail matter, on which by law the postage required is to be paid at the mailing office, should by inadvertence reach its destina- tion without any prepayment, double the prepaid rate is charged and collected on delivery, and on all partly, but not fully prepaid matter, the deficient postage at the single rate will be charged and collected on delivery. Packages weighing four pounds or less containing matter of both the third and fourth classes are subject to postage at the third or fourth class rate, whichever is higher. Parcels exceeding four pounds in weight containing miscellaneous printed matter and fourth class matter are uniformly chargeable at the fourth class rates. Those having large quantities of circulars to mail should separate ste matter by States and post offices before sending to their post office. RETURN OF UNDELIVERABLE MATTER The sender’s name and address must be placed on all fourth class or parcel post mail, on all window envelopes, and on all registered mail and should be placed on all other mail in the upper left corner of envelope or wrapper. This will insure the return of first class matter when undelivered, and of mail of other classes under certain conditions. The Department requests a discontinuance of the practice of printing the return card on the back of the envelope. The writer’s card request for the holding of a letter for a period shorter than 3 days, or longer than 30 days will be disregarded, except that a special delivery letter bearing the specific request that it be returned to the writer if immediate delivery can not be effected will be so returned. City carriers’ returns of first class ordinary mail bearing the sender’s return request, which are not deliverable at the street addresses placed thereon by the senders, will be given directory service and, if addresses, the correctness of which is reasonably certain, are not found, such mail will be returned at once to the senders without regard to the number of days specified or implied by the return cards thereon. Such mail will not be placed in the general delivery nor held to await call. Undeliverable ordinary mail of the first class (except single postal cards and post cards) bearing the name and address of the sender without a request specifying a number of days will not be advertised, but will be returned to the sender at the expiration of five days if in- tended for delivery by village or rural carrier; ten days if intended for general delivery service at an office having city carrier service or fifteen days from offices not having city carrier service, unless intended for delivery by village or rural carrier. 752 COMMERCIAL ENGRAVING AND PRINTING A definite return address is required. A request to return to office of mailing as indicated by the post-mark is insufficient. If the sender of a letter mailed in the envelope of a hotel desires to have the letter returned to him if not delivered, he should add to the hotel card a request to that effect, as unclaimed letters bearing the card of a hotel, club, school, college, or other public institution, which has evidently been printed on the envelope to serve as an advertisement, will not be returned unless the sender so requests. PERMISSIBLE ADDITIONS TO THE DIFFERENT CLASSES OF MATTER Directions for transmission, delivery, forwarding or return are deemed part of the address. To second class matter it is permitted to add the name and address of addressee, words or figures indicating the expiration of subscriptions, correction of typographical errors, marks only calling attention to cer- tain passages, the words ‘‘sample copy’’ when the matter is sent as such, the words “‘marked copy”’ when it contains a marked item. Periodical publications not desired may be refused and not removed from the post office, or they may be returned to the postmaster indorsed “Refused.” The Post Office Department does not determine questions regarding the liability of a subscriber for the subscription price of a publication. A subscriber to a publication should promptly notify the publisher of any change in his address. A pledge to furnish return postage on receipt of notice that the publication is undeliverable may be printed on the wrapper and the number of copies in the package may also be indicated. On the wrapper, envelope,*tag or label attached to third class matter, or on the matter itself, in addition to the name and address of the addressee there may be written or printed the name, occupation and residence or business address of the sender, preceded by the word “from.’’ There may also be placed on the wrapper, envelope, tag or label either written or otherwise the inscription ‘‘Do not open until Christmas,’’ or words to that effect. The words “please send out’’ or “‘post up”’ or similar directions, or requests not a part of the address or necessary to effect delivery, may not be placed upon the wrapper of third class matter or on the matter itself without subjecting it to postage at the letter rate. On the matter itself the sender may place all that is permitted on the wrapper and may make marks other than by written or printed words to call attention to any word or passage in the text and may correct any typographical errors. There may also be written or printed upon any photograph, or other matter of the third class, a simple manuscript dedication or inscription not in the nature of personal correspondence. Such words as ‘Dear Sir,’’ ‘My Dear Friend,’”’ ‘Sincerely Yours,” ‘Merry Christmas,” ‘‘with best wishes” written upon third class matter are permissible inscriptions. A serial number written or impressed on third class matter does not affect its classification. Written designation of contents such as “‘printed matter,” ‘‘photo- graph,” etc., is permissible on the wrapper of third class matter. 99 66 Maiuine Lists anp Postat INFORMATION 154 A card bearing the written or printed name of the sender and a single order form with the greater part of the space blank, or a single combination coin card and order blank, with an envelope or post card for reply, may be enclosed with third class matter without changing its classification. On fourth class matter, marks, numbers, names, or letters for the purpose of description may appear or they may be placed on the wrapper, cover, tag or label. Simple manuscript dedications or inscriptions not in the nature of personal correspondence may be written on the blank leaves or cover of a book. It is permissible to enclose in the package a written or printed invoice showing the name and address of the sender and the addressee, names and quantities of the articles enclosed, together with inscriptions indicating “for purpose of description,” the price, style, stock number, size and quality of the articles, the order or file number, date of order, date and manner of shipment, and the initials or name of the salesman or of the person by whom the articles were packed or checked. Inscriptions such as “Merry Christmas,’’ ‘‘with best wishes,’’ ‘‘Do not open until Christ- mas”’ or words to that effect may be written on fourth class mail or on a card inclosed therewith. Sealed parcels of fourth-class matter may be mailed at the fourth- class rates of postage provided the parcels are labeled in printing to show the nature of contents as, for example, “MERCHANDISE- FOURTH-CLASS MAIL” together with the name and address of the manufacturer, producer, or shipper, and the inscription ‘‘Postmaster: This parcel may be opened for postal inspection if necessary.”’ LETTERS ATTACHED TO PARCELS A letter may be attached to a parcel post package when both are to go to the same address, so that both may be delivered together, but postage must be fully prepaid on each in accordance with its individual classification. The stamps to cover the postage on the letter must be attached to the letter and those to cover the postage on the parcel must be attached to the parcel. The envelope con- taining the letter must bear the same address as the parcel and must be securely attached to the parcel by tying or pasting under the string on the package so that it may not become separated while in transit and so as not to interfere with the address on the parcel. The complete parcel is treated as fourth class matter. When such parcels are sent as special delivery matter, only one special delivery fee is required and the stamp for special delivery must be affixed to the parcel. Letters may be attached to packages of third class mail in the same manner, in which case the combined package will be treated as third class mail. When two classes of matter are mailed together under this regula- tion in combination containers having two inseparable portions or compartments, it is desirable that the senders and addressee’s names and addresses appear on both portions, but if the sender so desires, the matter will be accepted with such name and addresses appearing on one portion only. 754 COMMERCIAL ENGRAVING AND PRINTING Persons authorized to use precancelled stamps may afhx such stamps to the envelope when such stamps are used on the parcel. FAC-SIMILE REPRODUCTIONS Typewriting, and carbon and letter press copies thereof, are first class matter. Fac-simile copies of hand or typewriting produced by a mechanical process such as the printing press, mimeograph, multi- graph, etc., are treated as third class matter, provided they are mailed in a minimum of 20 identical unsealed copies at the post office or other depository designated by the postmaster. Elsewhere or in smaller quantity, they are subject to first class rate. SENDER’S RECEIPT FOR PARCEL When desired a receipt is furnished the sender of an ordinary fourth class parcel by the mailing office upon payment of one cent. This does not insure the parcel against loss, and no receipt is obtained from the addressee on delivery. INSURED MAIL Domestic parcel post mail, may be insured against loss, rifling or damage in an amount equivalent to its actual value up to $5, for a fee of three cents; $25 for five cents; $50 for ten cents or $100 for twenty- five cents, in addition to the postage. Both postage and fee must be paid by postage stamps affixed to the parcel. Such mail may be in- sured at any post office or station thereof, or by rural carrier, but must not be deposited in street mail boxes or mail drops at post office. | Parcels that are to be insured, or transmitted C. O. D. must be legibly and correctly addressed and bear the name and address of the sender, the necessary stamps to pay postage and fee and if a return receipt is demanded the words ‘Receipt Desired” should be conspic- uously written on the insured package directly above the name of the addressee. Matter indefinitely addressed or addressed to fictitious names, to initials, or to box numbers simply, will not be accepted. This applies to the names and addresses of senders as well as addressees. The value of insured parcels should not be placed on the wrappers or on labels affixed to the parcels. Parcels may also be insured when addressed to the Island posses- sions and territories of the United States. In case of the loss of insured mail addressed to the Philippine | Islands, indemnity is payable only when the loss (or damage) occurred | in the postal service of the United States, and not that of the Philip- pines. Cc. O. D. MAIL Fourth class or domestic parcel post mail, may be sent C. O. D. i.e. the price of the article and the charges thereon (including if desired, the postage and fee prepaid) will be collected from the addressee on pay- ment of a fee of ten cents in stamps affixed to the parcel in addition to the regular postage, provided the amount to be remitted does not Martine Lists anp PostaL INFORMATION 155 exceed $50. For a fee of twenty-five cents in addition to regular postage, C. O. D. shipments are accepted within a remittance limit of $100. The amount to be collected and remitted must not in any case exceed $100. In addition to domestic destinations, parcels may be sent C. O. D. when mailed at and addressed to money order offices in the Island - possessions and territories of the United States. i Parcels for foreign countries are not accepted for insurance or MANUFACTURERS 4} ; Eoce Too.s-& Macninery FOR WOODWORKERS = be = ‘ Fig. 1932R. Line etching on zinc of lettering with machine shaded ground. The illustrations on this and the opposite page are a part of a series demonstrating the suitability of different kinds of engravings to different kinds of papers. See explanation on page 672. 7174 COMMERCIAL ENGRAVING AND PRINTING MAILING RECORDS Manifold firm mailing records in loose leaf or in books are supplied by postmasters to patrons who frequently, or at intervals, present an average of three or more articles for registration, insurance or C.O.D. Special authorization is unnecessary to use these books. FOREIGN MAIL MATTER Articles for foreign countries, except Canada, Cuba, Mexico and the Republic of Panama are not designated first class matter, second class matter, etc., but are classified as letters, post cards, printed matter, commercial papers, and samples of merchandise and are sub- ject to the following rates of postage: Letters 2 cents per ounce or fraction of an ounce, for Argentina, Bahamas, Bermuda, Bolivia, Brazil, British Guiana, British Honduras, Caicos Island, Canada, Cayman Islands, Colombia, Costa Rica, Cuba, Dominican Republic, Dutch West Indies, Ecuador, England, Guate- mala, Haiti, Honduras, Ireland, Jamaica, Leeward Islands, Mexico, Newfoundland, Netherlands West Indies, New Zealand, Nicaragua, Panama, Paraguay, Peru, Salvador El, Samoa Western (British), Scotland, Spain and Colonies, Turks Islands, Uruguay, Wales, and Windward Islands. Letters for all other foreign countries, 5 cents for the first ounce or fraction of an ounce, and 3 cents for each additional ounce or frac- tion of an ounce. Printed matter of all kinds one cent for each two ounces or fraction of two ounces. Commercial papers, five cents for the first ten ounces or less and one cent for each additional two ounces or fraction of two ounces. Samples of merchandise, two cents for the first four ounces or less, and one cent for each additional two ounces or fraction of two ounces. Registration fee in addition to postage ten cents. In order to insure prompt and safe transmission.to destination of articles addressed to foreign countries, senders should make the address legible and complete, giving the name of the country and of the town or post office and in case of cities or towns the street number should be indicated. Avoid using flimsy paper for envelopes, as they are likely to be torn or destroyed in the long transit. Avoid sealing wax on the covers as letters so sealed often adhere to each other, and the addresses on some of the articles are destroyed by the tearing of the cover in the attempt to separate the articles. See that postage stamps affixed to the covers of articles of printed matter do not adhere to the articles themselves, thus virtually sealing the packages and thereby subjecting them to additional postage at the letter rate on delivery. Owing to the various rulings of different countries, to determine the rates, classifications and conditions under which matter may be mailed to a certain country the latest Official Postal Guide and supple- ments and the Postal Laws and Regulations should be consulted. Maintine Lists anp PostaL INFORMATION rigas: CUSTOMS DUTIES The question whether or not an article sent by mail from one country to another is subject to customs duty in the latter country can be decided only by the country to which the article is sent, and is not affected by any postal convention between said countries. The post office department therefore, does not exclude articles of merchan- dise from the regular mails for foreign countries, (unless they have been specifically prohibited), because they may be liable to customs duties in the countries to which they are addressed. They are accepted at the sender’s risk. Any country may refuse to deliver dutiable articles received in mails from other countries, and may dispose of them in accordance with the customs regulations of that country. The Depart- ment is not authorized to question the decision of foreign officials in such matters any more than foreign officials would be authorized to question the decision of the United States officials respecting the liability to United States Customs duty on an article received here in mail from abroad. Customs duties cannot be prepaid by the sender of dutiable ar- ticles; they will be collected of addressees if the articles are delivered. It is suggested that senders avail themselves of the facilities of the Bureau of Foreign and Domestic Commerce of the Department of Commerce, Washington, D. C., in order to obtain information con- cerning the custom restrictions of foreign countries. INTERNATIONAL PARCEL POST Parcels may be sent to certain countries by International Parcel Post. A list of countries to which parcels may be sent by this method with information as to maximum dimensions and weight as well as articles that are prohibited will be found in the Official Postal Guide. Mailable fourth class parcels for Canada shall not be registered unless they are sealed and prepaid at the letter rate of postage. If they do not exceed eleven pounds in weight, they may be insured upon application under the same conditions, in so far as applicable, as apply to domestic fourth class (parcel-post) mail. The domestic insurance fees will apply to insured parcels for Canada. The postage rate on acceptable matter, for all countries is 12 cents a pound or fraction of a pound to be prepaid with postage stamps affixed. For certain countries a transient charge is added which also must be prepaid by postage stamps affixed. Parcels for foreign countries cannot be insured or sent C.O.D. and for some countries they cannot be registered. A parcel for a foreign country must not be posted in a letter box, but must be taken to the post office and handed to the postmaster, or other official in charge. A delivery fee of not less than 5 cents is collectable when the parcel is delivered. This fee cannot be prepaid by the sender. 776 COMMERCIAL ENGRAVING AND PRINTING A customs declaration properly filled out must be securely attached to every parcel; but so attached that it does not seal or close the parcel so that it cannot be easily opened without damaging the cover. The contents must be accurately described in the English language, al- though an interlineation in another language, if desired, may be furnished. The form for filling out will be furnished by the postmaster. ° INTERNATIONAL REPLY COUPON A reply coupon may be purchased (price 11 cents) at post offices which upon presentation at a post office in practically any country in the world will entitle the person presenting the coupon to receive (without charge) postage stamp or postage stamps of that country representing the postage on a single-rate letter originating in that country for abroad. By this arrangement a person in the United States can furnish his correspondent with postage with which to prepay postage on a reply to his letter. COMPLAINTS AND INQUIRIES All complaints in regard to mail should be addréssed to the local postmaster, and whenever possible should be accompanied with the envelope or wrapper of the piece of mail to which the complaint refers. An early report should be made relative to lost or missing mail of any description. Complaints in general affecting the service should likewise be made to the postmaster, but when that course is manifestly improper under the circumstances, they should be addressed to the Post Office Depart- ment, Washington, D. C. More than one subject should not be treated in the same letter. Postmasters and all others in the Postal Service are forbidden to furnish lists of names of persons receiving mail at their offices or to give information as to the post office addresses of former patrons. They, however, are permitted, though not required to correct mailing lists, by crossing off the names of persons to whom mail can not be delivered or forwarded; add the correct street, rural or box number; correct initials where apparently there has been a bonafide intention to write a name known to the sender of the list; and when two or more names appear at any one address, the head of the family may be in- dicated if known. Addresses of persons who have removed to other post offices will not be furnished, nor will new names be added to the list. Under the above limitations, and with the consent of the owner of the list, corrections may be made at first and second class offices by substitute clerks at the owners’ expense at the rate indicated in Section 299, Postal Laws and Regulations. Postmasters at third and fourth class offices are not prohibited from making a reasonable charge for such work. } *Fig. 1990. O be able to locate instantly a certain printing plate or piece - of copy and to find it in perfect condition is a state of efficiency - that every user of plates desires but which few realize. As the frequency and manner of their use is uncertain, to prevent loss of time in searching for missing plates or copy, and to prevent loss due to carelessness in filing, it is necessary that a systematic and adequate method be adopted for their care. The smallest user of plates will find it worth while to carry in his card index a memorandum for each of the few plates he may have, while the large user will find it absolutely essential to care for his copy and plates properly, not only as a matter of convenience but to save expense in replacing them. Those who use this material in quantities will find that it accumu- lates rapidly. That files may be free from all ‘‘dead’’ material, plates that have been damaged, by wear or otherwise, those of obsolete numbers or patterns, and those having no further value for other reasons should be disposed of, leaving the filing facilities entirely for “live” plates and copy. Damaged copy or plates that are to be used again should be at once put in proper repair or replaced with new. This will insure against delay the next time they are wanted quickly, as well as against the temptation to spoil a piece of printed matter by using a worn or dam- aged plate to save a little time. It will also prevent accidental order- ing of a new plate from an imperfect piece of copy through oversight. The lack of uniformity in size of copy and plates in nearly every line of business makes it necessary to provide a flexible filing system. The probable number of plates or pieces of copy to be cared for and the frequency with which they are likely to be used, must also receive due consideration in planning a system. The line of business and its size and the amount appropriated for installing the system, too, must be taken into consideration. The system can be only outlined here in a general way; details must be worked out to fit the individual case. DETAILS TO CONSIDER Proper preservation should receive first consideration. Dirt, dampness, extremes of temperature, rats, mice, cockroaches, etc., must be avoided to prevent swelling and shrinkage or warping of wood *Square-outline halftone, 133 line. Made from a wash drawing. 778 COMMERCIAL ENGRAVING AND PRINTING blocks, stains and corrosion of printing surfaces, or faded, mutilated, cracked and scaled copy. Careless handling, or the promiscuous piling of plates in bunches or drawers without proper packing between, will result in scratched or damaged plates, necessitating extensive repairs or new plates. The use of plates for improvised rubber stamps or for paper weights is not conducive to their high printing qualities. The next consideration should be the ease with which they can be referred to. This not only has reference to the receptacles for filing, but to the related system of records. The possibility of the use of material in many different pieces of printed matter, the loan of it to customers, trade journals, advertising agencies, etc., makes it necessary to keep a record of each individual piece of copy and each plate in order to be able to determine its location and its probable condition at all times. THE IDEAL SYSTEM The metal fire-resisting sectional cabinet is of course the ideal system for filing this material. Except for the fire-resisting feature of the metal equipment, the sections of wood are just as convenient and serviceable and somewhat less expensive. The sectional system may be begun in a small way and added to from time to time as necessity may require. Built for office use, the appearance is such as will permit its being put in the most convenient place without injury to the aspect of its surroundings. As sections may be added to the system for other purposes than the-filing of plates and copies, it will be found a great convenience to have the entire filing system combined; sections for correspondence, card indexes, Courtesy Yawman & Erbe Mfg. Co., Rochester, N. Y. Line etching on zinc. Made from a pen drawing. Fig. 1991. Suggestion for sectional filing equipment for drawings, photographs, plates, index cards, etc. CARE AND FILING oF PLATES AND Copy 779 ee i. s @ Outline halftones, 133 line. Made from retouched photographs. *Fig. 1992. Shallow drawers. Fig. 1993. . Card file tray. bookcases, legal blanks, documents, cupboards, storage, etc., being installed in connection with those needed for the plates and copy. The shallow drawer just deep enough to take in the type high printing plate permits of easy examination of contents, and as these sections may be built in with those for filing the copies from small to large sizes, the plan will be found most convenient. All plates should be thoroughly cleaned before filing. Ink that is allowed to remain on the plate will harden and will be more or less difficult to remove later on. Many times plates may be cleaned with benzine or diluted concentrated lye and a soft brush. In cleaning plates mounted on wood blocks, care should be taken that the blocks do not become damp or wet, thus causing them to swell or warp. The _ printing qualities of a plate are not always affected by discoloration. Only by thoroughly cleaning the plate and afterwards taking a proof from it can it be determined whether or not the discolored part is damaged. THE CARD INDEX A card index of the plates and copy on file is almost indispensable, even though the number of pieces to be cared for is limited. A 5x3 index card will probably be found most convenient unless proofs of plates are to be pasted to the card, in which case a card should be used that is large enough to permit the mounting of proofs without folding, using, of course, one of the standard sizes such as 6 x 4, 8 x 5, or larger. In the case of proofs of large plates, envelopes may be used in the index or pasted to the back of the card, to contain a folded copy of the proof. Where there are facilities for making proofs from the plates, a rough print of the entire plate on the back of the index card, or as much of the essential part as will go on, will conserve space in the index file, make the cards ride better and otherwise be of great convenience. When there is only a limited number of index cards, these may be *The photographs from which the halftones were made for Figs. 1992, 1993, 1997, 2001 and 2002 were furnished through the courtesy of Yawman & Erbe Mfg. Co., Rochester, New York. ES Fig. 1922S. Halftone, 60 line screen. Fig. 1923S. Halftone, 85 line screen. x Fig. 1924S. Halftone, 100 line screen. _ Fig. 1926S. Halftone 120 line screen. " m Fig. 1926S. Halftone, 133 line screen. Fig. 1927S. Halftone, 150 line screen. Pages 777 to 784, inclusive, are printed on 25x38—60 Ib. White Koatine, made by The Champion Coated Paper Co., Hamilton, Ohio. 781 CARE AND Fininc or PLATES AND Copy rs > NN \ i a = = =N \ wi in ~ q cx x \ AY , a We \ SSS SS = Ze \ \ WY Fig. 1929S. Line etching on zinc from a pen drawing. Fig. 1928S. Open or grey nalttore, 120 line screen. Fig. 1930S. Line i ae on zinc from a crayon drawing. My My I st | i i" | yt \ RY Fig. 1932S. Line etching on zinc of lettering with machine shaded ground MANUFACTURERS = = Eoace Toots & Machine OR WooDwoRKERS | £ ?) pposite page are a part of a series demonstrating the suitability of 7 See explanation on page 672. ent kinds of papers. The illustrations on this and the o different kinds of engravings to differ 782 COMMERCIAL ENGRAVING AND PRINTING filed in a desk tray of current data, separate, of course, from other matters. When there are a larger number of plates to be cared for, a separate tray or a number of trays may be used. Making the necessary record on the index card before filing a plate or piece of copy, or before permitting it to leave the files for any pur- pose whatever, will prove a great factor in keeping files and records in proper condition. All drawers or compartments that are to receive copy or plates should be properly labeled, each being given a separate number. By way of suggestion two index cards are illustrated herewith, one for plates and one for copy, which contain complete data and which Line etching on zinc. Made froma pen drawing on which the text was typewritten. The shading machine was used on the print on metal to obtain the tint effect. Fig. 1994. Copy and plate index cards. will be found practical and convenient. The former carries on the reverse side a record of the electrotypes that may be made from a plate. When a large number of pieces are to be taken care of it is advisable to subdivide into departments, giving each department a letter or number to designate that department. The index cards should be filed alphabetically or numerically with reference to the subject of the drawing, or plate, and without regard to the file number. All pieces of copy should be properly titled or numbered before filing, putting the title and number on the margin or back in ink so that it may remain permanently. : All plates should also be permanently marked and wherever pos- sible this should be done with a steel stamp on the bevel or some other part of the plate that is not printed from. Marks on blocks with pencil, pen and ink or brush are usually obliterated or made illegible with the first washing of plates after their use. While the steel stamp may be used on wood bases, this is not always permanent inasmuch as it is frequently necessary to remount and in changing of blocks the marking would be lost. CARE AND Fininc oF PLATES AND Copy 783 Where subdivisions are made, drawers or compartments may be labeled as to contents as well as being designated by number. Although different files are used for copy and for plates, the same file number may be used for both if this is thé trade or stock number. Regardless of the number of plates or pieces of copy to be cared for, the card index system will be found a great convenience in keeping trace and locating the various pieces. It will also assist in utilizing all drawer space, as each drawer can be filled to capacity, no classifi- cation being necessary unless for a very large number of plates. In the ordinary establishment it will require only a few moments each day, on the average, to care properly for the card index record, and if this is done it will be found that the time has been well spent. Without such a record it is a very easy matter to misplace a plate or copy, or to lend it to a customer and temporarily forget it after the lapse of a few weeks. The index card, having a place and being always in its place, will always be consulted first and its record will indicate just what steps to take. Plates should not be crowded in the drawers. Fill each drawer comfortably but do not make it necessary, when replacing plates, to turn the drawer into a set of puzzle blocks where each plate must occupy a certain position in order to get them all in. Under such con- ditions it is very natural in re-arranging the plates to pile some on top of others and in doing this care must be taken not to mar or scratch the printing surfaces. While drawers may be partitioned to an advantage in the separa- tion of plates under different classifications, partitions separating the drawer into small compartments are a waste of space unless the plates to be filed are very small in size. In classifying, a letter of the alphabet may be used to denote the classification, following this with the number of the article, and then following with the filing drawer number, preceded by a hyphen. Thus characters A230-1 stamped on a plate of dresser would indicate that all dressers appear under classification ‘“‘A,” that the factory or trade number of this piece is 230, and that the plate is filed in drawer number I of class A. Or the hyphenated number can be used to designate a: particular plate or piece of copy that had been made of that number. One method of filing copy is the use of an envelope of a size to fit in the regular vertical letter size filing drawer. Or if the copy is of such size as to require it, a cap size drawer with envelope to corre- spond can be used. The illustration, Fig. 1995, shows an envelope used by an automatic scale concern for filing copy—chiefly photographs. This envelope serves several purposes: First, it protects the copy from damage. Second, it provides an easy, convenient method of filing and finding pieces of copy. Third, it provides a proof record of all printing plates which have been made from the copy, showing where those printing plates were used and when and where they can now be located. In addition to this, the envelope, on the face of it, gives some very valuable data in regard to the copy which is inside and serves also as a convenient data file for information related to the copy in the envelope. 784 COMMERCIAL ENGRAVING AND PRINTING Line etching on zinc. Made from a pen drawing on which the text was typewritten. The shading machine was used on the print on metal to obtain the tint effect. Fig. 1995. Envelope used for filing photographs and small drawings. When copy is not too large, this system offers numerous advantages in that it combines the copy record with the plate record. It will be noticed that each plate bears a number and the plates are filed in a separate file, being indexed as described in a card index system. This card index system, however, is not necessary save when the number of printing plates on hand as well as the number of pieces of copy is very large and when the method of keeping record of these things is necessarily somewhat complicated. The average business can use to very good advantage the envelope system which combines copy file, copy record and plate record as well as valuable data. Any system, however carefully planned, must be rigidly adhered to if it is to be successful. There must be a place for everything and everything in its place. The careless dumping of copy and plates from drawers, bins, etc., should not be tolerated, but instead each and every item when examined or removed from its place should be returned to that place in proper condition. It is well to use one color of index cards for plates and another color for copy. These cards when filed in the same tray should be kept entirely separate with the index card for each. ) SCRAP BOOK FOR PROOFS Proofs may be taken of plates that are to be filed and these mounted in a scrap book or blank invoice book. Only rough proofs are neces- sary, just plain enough for identification purposes. These may be marked to correspond with the number of the plate, and the number of the file drawer or bin. When the plate is taken from the file, nota- tion may be made on the margin of the proof of the date, and for what purpose the plate is taken out and to whom sent. When the plate is returned to the file, the memorandum may be erased or proper nota- tion made. The same plan may be followed with copy. CARE AND FILING or PLATES AND Copy 785 Outline-vignette halftone, 150 line. Made froma photograph on which the vignette was painted. Fig. 1996. Book file for proofs. WRAPPING IN PACKAGES If plates are to be filed in drawers that have a greater depth than the regular plate filing cabinet drawers, each plate should be wrapped separately. It is not necessary to wrap plates that are to be filed in shallow drawers where there is no possibility of other plates being placed on top of them. All dirt and grit should be carefully wiped from the face of the plate, the plate wrapped in soft paper, and the package sealed with adhesive tape. By pasting a rough proof on the outside of the package, the contents may be easily identified without unwrapping the package, then by the use of marking brush, coarse pen or pencil the necessary filing title or number may be placed on the Outline halftone, 133 line. Made from a retouched photograph. Fig. 1997. Storage shelving for packages, etc. 786 COMMERCIAL ENGRAVING AND PRINTING Outline-vignette halftone, 150 line. Made from an unretouched photograph on which the vignette was painted. Fig. 1998. Wrapping sets in separate packages. edge of the package. Plates so wrapped and marked may be filed on edge, in bins, or placed one above the other with the labeled edges exposed. The card index system may be used in connection the same as if they were filed in cabinet drawers. Unwrapped plates should never be placed loosely one above the other in a file, bin, or drawer, for damage to the printing surfaces is sure to follow. Color plates whether mounted on wood or unmounted should be filed in packages, a complete set to a package, with proof pasted on the outside of the package. Blotting or other soft paper should be placed between plates. The face of the top plate in the package should be turned down to insure absolute protection. In the case of process color plates or other sets where the printer will require progressive proofs, these proofs should be filed with the plates inside the package. Also all plates that are used as a series (where one would not be used without the other) should be filed in one package. Electrotypes, stereotypes, etc., should not be filed with original plates. These plates are usually made up with the expectation of sending them to customers and should be handled as stock rather than a part of the filing system. Their separation also prevents the possibility of shipping originals when electrotypes should have been sent. Outline-vignette halftones, 150 line. Made from slightly retouched photographs on which the vignettes were painted. Fig. 1999. Wrapped separate for Fig. 2000. Filing in shallow filing or storage. boxes. CaRE AND Fininc or PLates AND Copy 787 FILING PLATES IN SHALLOW BOXES When only a limited number of plates are to be cared for until the sectional cabinet of drawers can be installed, it will be found practical to use shallow boxes either of wood or pasteboard. Pasteboard boxes in which photographers’ dry plates have been packed are very con- venient for this purpose and almost every commercial photographer has a surplus of them. These boxes come in sizes 8x 10, I0x 12, 12X15, 14x17, etc., and are just about the right depth to take in a type high plate. Plates filed in such boxes should be covered with a sheet of blotting or other soft paper. The edges of the boxes should be numbered the same as the drawer in cabinet section, or compart- ment in bins. FILING COPY Drawings as well as plates should be kept from extremes of tem- perature, light and dampness. This applies especially to wash draw- ings, photographs and retouched photographs. Photographs, retouched or unretouched, and wash drawings should be mounted on cardboard that is sufficiently heavy to keep them flat and protected. They should be supplied with a cover pasted on the back top edge and folded over so as entirely to cover the face, or they may be enclosed in suitable envelopes. A wide margin or mat, except for appearance is unnecessary, and adds to inconvenience in filing. On copy frequently used, especially wash drawings and re- touched photographs on which there is air brush work, damaged covers should be repaired before filing, and it is also well tu remove all pencil marks or other memoranda that may have had reference to plates that have been finished. These data, unless they are to be followed each time a plate is made, are likely to cause confusion. Quite often an engraver receives copy on which more than one size is indicated, these having reference to previous orders, and unless the size for the current order is particularly specified, an error is possible or there is delay until size can be verified. Outline halftones, 133 line. Made from photographs of retouched photographs. Fig. 2001. Horizontal and tilting. Fig. 2002. Vertical. Files for large drawings. 788 COMMERCIAL ENGRAVING AND PRINTING Unmounted photographs are in danger of damage through tearing of edges or breaking of corners through accidental folding or rough handling, and any piece of copy that is likely to be used more than once should be properly mounted. Copy should be numbered, classified and filed in the same manner as indicated for plates. In order to accommodate the various sizes of photographs, draw- ings, etc., drawers of different sizes are necessary, and a sectional system is ideal, as different sized drawers may be added from time to time in units of the proper size. Also the vertical filing system is much to be preferred to flat drawers, as the desired pieces of copy may be readily found without the removal of other copy in the same com- partment. This also eliminates danger of damage to copy by frequent handling. The tilting form of drawer for the larger pieces of copy is especially advantageous. The larger the drawing the more difficult to handle and preserve, and it requires patience as well as care to go through a large number of large drawings in a flat drawer without damage. The use of the sub-number on copy or plates indicating the drawer or compartment will serve as a double check to insure the placing of the piece in its proper place. Any difficulty in locating the index card of a certain subject in a large filing system may be overcome by cross indexing. Plates of different kinds and sizes from the same copy, or different pieces of copy representing the same article, such as photographs, retouched photographs, pen drawings, etc., may be filed under the same number but given a different sub-number. A follow-up system should be in force for all loaned plates or draw- ings so that these may be returned to their proper files with as little delay as possible. By placing a signal on index cards to plates or copy out of file, and occasionally glancing over these signals, one will have a very ready and practical follow-up system. The form illustrated is a combined plate record and follow-up. Plates that are to be electrotyped frequently should be left in the hands of the electrotyper and an identification number should be Line etching on zinc. Made from a pen drawing on which the text was typewritten. The shading machine was used on the print on metal to obtain the tint effect. Fig. 2003. Follow-up index card for loaned plates. CARE AND FILING oF PLATES AND Copy 789 given to each plate for convenience in sending orders. This will save possible damage to plates, or loss in transit. Also drawings that are to be used frequently for plates should be left in the hands of the engraver. This will save expense in shipping back and forth, also prevent possible loss and damage. One person should do all of the indexing and filing of plates. Or at least one person should determine the titles for the different plates and pieces of copy. Printers will find it more convenient to file customers’ plates in packages, numbering the package to correspond with the job number on which they were used. These packages may be filed alphabetically or numerically in bins with card index system in connection. Every printer should make it a rule to take a receipt for plates delivered. Stock plates may be filed by separate system, such as we have outlined for the use of the customer. Mats for stereotyping, copper plates for visiting or business cards, may be filed by the vertical index system, while steel dies, lithograph engravings and plates used in other pro- cesses may be filed under one of the plans we have mentioned. Department stores, catalog houses, and those using plates in large numbers file by departments. It may not be amiss here to suggest that all printed matter should be delivered in packages of 25, 100, 250, or 500 pieces, the number of pieces to the package depending upon the bulk of the individual piece, and the frequency with which the customer will probably use the matter. A little forethought on the part of the printer in making up the packages so that they can be easily handled and conveniently used with the minimum of waste, will result in a bit of satisfaction on the part of the user that will have considerable good-will value to the printer. Making the packages uniform in size and appearance will also assist the customer in making an inventory quickly at any time. VALUE OF OLD PLATES Everyone who uses printing plates accumulates a greater or less number of them which have no further value for use in printing and thus inquiry is frequently made as to the value of such plates to the manu- facturing engraver. Such plates have no value whatever except as old metal, as the making of new plates requires the use of new material. The old plates may be disposed of to any dealer who buys old copper, lead, zinc, etc., and to get the most out of them they should be re- moved from the backing, separated from the nails and sorted and classified according to the metal in them. All copper plates should be in one lot, all zinc plates in another, all electrotypes in another, stereo- types in another, etc. As some metals have a higher value than others, by sorting in this manner, full value for each kind may be obtained. INVENTORY VALUES About inventory time inquiry is frequently made as to what value should be placed upon copy and plates on hand. Conditions in each case must determine this, as values would differ, depending upon the Pages 785 to 792, inclusive, are printed on 25x38—80 lb. Aigrette Enamel Coated Book, made by The Champicn Coated Paper Co., Hamilton, Ohio. 790 COMMERCIAL ENGRAVING AND PRINTING purpose of the inventory, whether to ascertain the condition of a going concern, transfering a business from seller to buyer or of an insolvent for liquidation. Pieces of copy of subjects that are obsolete have no value whatever, although it is sometimes possible to use them further after making alterations, in which case they should be given a value commensurate with their probable use. Plates of such sub- jects usually have no value except as old metal as it is seldom practical to alter a plate. Pieces of copy and plates that have been used and are of live subjects, should be given a value proportionate to their probable further use, while new material on hand or in preparation should be included at its cost. Some firms also take into considera- tion, for inventory purposes, the cost of planning illustrations, as well as the cost of photographing, art work and plates. Outline-vignette halftone, 150 line. Made from a slightly retouched photograph on which the vignette was painted. — Fig. 2004. The way not to do it. * APPENDIX «@ | = —— > — 2 *Fig. 2010 SILK STENCIL PROCESS This work is done under various trade names and is a method of producing designs and advertising matter in poster effect without the use of engraved plates or a printing press. It is a stencil process, there- fore limited to solid colors, and is adaptable to the production of posters, show-cards, window displays, etc., in any number of colors. The stencil consists of a sheet of silk gauze stretched on a frame to form a screen. After the design has been made it is placed under the screen and a tracing of the outline of the design is made on the silk, as a guide for the register of the colors. The artist then paints over the parts of the screen that are not to print, using a composition to fill the pores of the silk, but leaving undisturbed the parts which are to form the design which is to print in the color for which the stencil is being made. In this manner a stencil is made for each color to be used in the design. The upper ends of the stencil frames are fastened to.a table by hinges so that they are interchangeable and may be raised and lowered freely, as the films on a shading machine, and when lowered in position will always be in register. The frame with stencil is raised for the in- sertion underneath of the cardboard, tin, wood or other material on which the design is to be printed, and is then brought down in contact with it. The color—ink, oil paint or other medium—is applied to the surface of the stencil with a special dauber or squeegee and is forced through the pores of the stencil, leaving the design in one color as represented by that stencil on the material being printed. The printed sheets are placed on racks to dry. When dry the next color is applied in proper register with another stencil and so on until the job is completed. While this is rather a slow process it is practical because of its simplicity and requires but little equipment. It also makes possible the production of effective work at a comparatively low cost, especially where the required quantity of prints is not large, or in printing on materials that cannot be handled on ordinary printing equipment. HAND COLORING Many prints from halftones and other kinds of engraved plates and photographic prints may be effectively colored by hand with transparent colors. This method is often used to obtain subjects in color when the cost of plates and the printing of them would be pro- hibitive, as would be the case were only a limited number of prints required. Work of this kind is frequently used on photographic prints for sales purposes and on halftone and other kinds of prints for book and brochure inserts, street car and advertising cards, theatre lobby displays, calendar backs, etc. It is also used for art subjects for *Border composed on the Linotype. Foundry type used for the word and ornaments. 792 COMMERCIAL ENGRAVING AND PRINTING framing because of the soft, pleasing effects that may be obtained, and it can be used on photographs of merchandise without loss of detail in the original subject. Some subjects are, of course, better adapted to hand coloring than others, and best results are to be had if the plate from which the prints are made, as well as the prints themselves, are prepared with a view to obtaining the special effects sought. Parts that are to receive a strong color should be made so as to appear light in the print, that the color may be full when applied over the part. Also the color chosen for making the print to be colored may be of marked assistance in obtaining the desired effect, with a minimum amount of hand work. Subjects in which high-lights and middletones predominate, with little or no solid color, are best for this work. While hand coloring is usually applied to prints that have been made in one color, it may also be used on subjects printed in more than one color and on those printed with duotone ink. Owing to the smoothness with which the color may be applied, and the ease with which colors may be blended, it is usually put on with an air brush, while small details and touching up is done with a sable brush by hand. Where a number of prints of the same subject are being colored a stencil, in which openings have been cut for the patches of color, is used in applying each color, thus making it possible to do the work rapidly as well as to retain uniformity. The cost will vary somewhat, depending on the size and nature of the subject and the manner in which the work is done, as it is usually possible to modify the color scheme to make it more or less elaborate. PHOTO COPYING MACHINES In Fig. 2015 is shown a machine for making copies of records, drawings, blue prints, manuscripts, flat merchandise, etc., by a simpli- fied method of photography, the copies being made in enlarged, reduced or natural size directly upon sensitized paper. A roll of sensitized paper is placed in the machine and this is fed into the ex- posing chamber as needed. The machine is automatically focused and the exposure is made with two mercury lamps. The resulting print is a “‘negative’’ on the paper, the image being in white on a black background, as shown in view at right in Fig. 2017. A re- flecting prism, combined with the lens, prevents the reversal of the image as in ordinary photography; thus, while the whites and blacks are reversed as in the ordinary negative, the subject reads correctly from left to right. To obtain a ‘‘positive’’ print, showing a black image on a white background as in view at left in Fig. 2017, it is necessary to make a copy of the first copy made. An exposure is necessary for each copy required. No dark room is necessary, as the developing and fixing of the print is done mechanically and the only operations necessary, that must be done outside the machine, are rinsing the prints in clean water and afterwards drying them. The model shown in Fig. 2015 uses paper sensitized on one side and will make prints up to 13x18 inches in size. That shown in Fig. 2016 has an arrangement of mirrors to reflect the light upon opposite sides of paper which is sensitized on both sides. The two sides of the Photograph by Frank M. Hohenberger, Nashville, Indiana. Square halftone, 150 line, no line. Made from a photograph. Fig. 2025. Hand colored halftone print. Printed in black on 25x38—100 lb. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. at nae ‘eas APPENDIX 793 a Outline halftones, 150 line. Made from retouched photographs. Fig. 2015. Cameragraph simplex Fig. 2016. Cameragraph duplex. paper are exposed through one lens at the same time thus making it possible to copy two subjects at one time, one on each side of the paper. No prism is used on this model, as its functions are performed by the mirrors. This plan is advantageous when photographing pages of a book or document, as it not only saves time in copying but also saves filing space in caring for the prints. This machine will make prints up to 10'%x14 inches in size. Color screens are furnished for use in copying subjects that are in color, so that proper color values may be obtained in the copies. The system is not practical for making photographs from which to make photo-engravings, although the method is useful for obtaining inexpensive photographic copies of layouts in enlarged or reduced sizes to help in the planning and prep- aration of copy for engraving. The machine may be purchased out- right by those who have sufficient work to warrant its installation, and there are establishments in nearly every center where this class of copying is done for the general public. OENS-LIMITEO TORONTO Auguot 5, 1% 3. Line etching on zinc. The original letter was mounted on a drawing of the border and shadow and from this group a negative was made. A “reverse” negative was made of the letter and stripped into place at its right. Fig. 2017. Prints as made with a photo copying machine. 794A, COMMERCIAL ENGRAVING AND PRINTING THE MUNSELL COLOR SYSTEM* The distinguishing factor of this sytsem is that it is based solely on equidistant color steps as judged by the trained normal eye. It divides all colors into two main groups: the Gray colors and the Non-Gray colors. The Gray colors include pure white, pure black and all neutral grays lying directly between. This scale of grays is divided into ten steps, equally spaced to the eye. The degree of lightness or darkness of Gray colors, shown on this scale of grays, is termed VALUE. The Non-Gray colors are also arranged in relation to their lightness or darkness, and therefore possess the dimension of value. The non- gray colors possess two further dimensions: Hue and Chroma. HUE is the quality of a color by which one Non-Gray color can be distinguished from another, as red, yellow, green, blue or purple. The Hue dimension is divided into ten steps, each equidistant from the next according to the eye. There are the five principal hues: Red, Yellow, Green, Blue and Purple, and the five intermediate hues: Yellow-red, Green-yellow, Blue-green, Purple-blue and Red-purple. For exact work each of these ten steps may be divided into ten subdivisions giving a hundred hue steps, which is ample for most needs. The third dimension of color is CHROMA. Chroma is the measure of the strength or weakness of any color, but does not refer in any way toits hue, or value. This dimension is also divided into ten steps, equi- distant to the eye, beginning at neutral gray, and running to the strongest colors attainable. These three dimensions of color—Value, Hue and Chroma, as classified by this system, may be visualized and remembered by learn- ing their relation toa COLOR TREE. The trunk of this tree is composed of all Gray colors, black being placed at the base, white at the top and the remaining value steps between. In creating a mental picture of this trunk it is helpful to remember that the trunk is Vertical, a word which begins with the same letter as Value. About the trunk at various levels of value there are branches extending at right angles, similar to the spokes of a wheel. These branches represent the ten hue steps, and are therefore spaced a tenth of a circle apart. Hue is measured horizontally in a circular a J y VALUE Measurement up avertical pole Measurement around a circle (CHROMA Measurement ona horizontal away JSrom avertical pole Printed from line etchings on zinc. Made from pen drawings. Fig. 2030. The Munsell system of color notation. *“Color Notation” by A. H. Munsell and ‘The Munsell Color Atlas” may be purchased at. book stores. APPENDIX 795 direction. It is helpful to asso- ciate the word Hue with Hori- zontal. Branches sprouting near the top of the tree carry colors of a higher value, and those sprout- ing near the base of the tree carry colors of a lower value. Branches growing out in adjacent pairs represent neighboring hues, and those growing out in opposite di- rections represent opposite hues. Finally, the distance on any branch, measured from the cen- Line etching on zinc, made from a pen drawing. tral gray trunk, represents the Rig. 2031. The Munsell Color Tree. degree of Chroma. That is, the strongest colors, no matter in what hue they occur, or on what level of value they belong, are found near the end of the branches. It is helpful to remember that Central begins with the same letter as Chroma. This Color Tree is but the skeleton of a COLOR SOLID, for if every one of the thousands of discernable colors was placed in its proper position in respect to its value, hue and chroma, then all the spaces between the branches of this tree from the base to the top and from the center to the outside would be completely filled with color. Within this solid it is possible to trace innumerable paths of color sequences. Familiarization with such a color tree or solid makes possible a proper visualization of color relations, and the composition of beautiful color schemes. Such systematic choice in no wise cramps the freedom of the artist, but rather extends his field of work to such boundaries as are imposed only by his own creative abilities. LINOPLATE PROCESS This is a method of converting linotype slugs into solid printing plates for use on patent bases. It is used mostly for book plates made up of straight reading matter, with lines running full width of the page. However, combination plates made up of slugs and illustrations, and pages made up of two or more columns, can be handled by this method. As the matter is set on the machine the slugs are cast with special liners which form shoulders on each end of the slug, the tops of the shoulders being quad high. The slugs are then locked up, face down on a special lock-up galley the sides of which have grooves to engage the shoulders on the slugs. The grooves and end lock-up on the special galley hold the slugs firmly while the backs are being sawed off on a special sawing and back shaving machine. The slugs are left about 3/16 of an inch high. Grooves about 1/16 of an inch deep and about an inch apart are then cut lengthwise of the page on the back. Steel wires are dropped into and soldered in the grooves and the back of the plate is then shaved, and the shoulders made by the ends of the slugs are bevelled Pages 793 to 808, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio, 796 COMMERCIAL ENGRAVING AND PRINTING for patent bases. The cost of preparing plates of straight matter by this method is less than that of electrotyping and if matter is to be kept standing it allows the release of a large part of the metal used for composition and less storage space is required for the plates. Square halftone, 150 line, no line. Made from slightly retouched photographs. The halftone negatives made from the two photographs were stripped together and the white line between the views was cut in the plate. Fig. 2032. At left view (enlarged) showing face of type form with rule-holding lugs and broached openings in horizontal rules (A), insertion of vertical rule (B) and lugs closed (C) by the Lino-Tabler system. At right view of Lino-Tabler broach. THE LINO-TABLER SYSTEM This is a method of producing vertically ruled tabular matter and ruled blank forms on slug casting composing machines. Special brass matrices, usable as a part of the regular font of matrices on the ma- chine, cast lugs on the top of the nonprinting part of the slugs, the lugs being composed in the line as though they were characters to print. As the lugs are arranged in columns as the form is composed, this permits the insertion afterwards of a special triangular brass rule, the apex of which is a standard foundry face for printing. The points of the lugs are rubbed down to hold the rule in place. The joining of vertical and cross rules is given an improved appearance through the use of a special broach with which the opening is drilled in the face of the horizontal rule for the insertion of the vertical. Type-high machine cast, or brass, rule is used in connection for horizontal lines. The system is not sold outright, but is leased at an annual rental to owners of type- setting machines. Sizes and Weights Sizes and Weights Sizes and Weights Rn aN SN ak A ie te Oe | Sub. | Sub. Bree Sub. Sub.’ |. Sib, SIZE 135 | M6 Size 13 | 16 OIL ES | i seaiene Ff 14 x34 16141 20% eet ew Doyelee te 16 ex2i 1114) 14% 14 x34 16% | 20% 16 x21 11%| 14y% 16 x26 141%4/ 18 Sea 16 x26 147%4| 18 16%x21%| 12 15 16." x21 11%] 14% 1634x2114). 122] 15 17° x22 13 16 16 x26 14%4°) 18 17 3x28 13 16 17. x26 15%] 19 16%4x21% | 12 15 17 x26 15341 19 17 x28 16% | 20% gest ea 17 x28 16%] 20% 17 x44 26 32 Vesa 13 16 17 x44 26 mse 17 x56 33 41 17 x26 13%) 19 17 x56 ne eee 1734x2234 | 14 17% 17 x28 | 16%] 20% Fig. 2033. Fig. 2034. Fig. 2035. Tabular matter as set on a slug casting machine (left), with Lino-Tabler vertical rules (center) and with Lino-Tabler vertical and horizontal rules (right), APPENDIX 797 SAW AND TRIMMER A combination saw and trimmer is now considered an important part of the equipment of every modern composing room. They have proven a source of economy and efficiency in the treatment of type slugs, electrotypes, engravings and other printing material for proper setup, makeup and lockup, and by improvement in these are an aid in improy- ing the quality of the printing that follows. The machine shown in Fig. 2041 is one of the popular makes and with attachments can be used for sawing metal or wood, trim- ming to point measure, miter- ing, grinding, under-cutting, mortising, notching, beveling, rabbeting, routing, drilling, jig-sawing, broaching and | planing type-high, as well as Outline halftones, 150 line. Made a other special uses and “ Pesce from a retouchedphotograph. operations encountered in Fig. 2040. Miller bench composing room work. The Fig. le Maller Saw and trimmer. bench trimmer and saw shown 54W 4nd trimmer. in Fig. 2040 is designed to meet the requirements in smaller offices where the purchase of a larger machine would not be justified. INK FOUNTAIN DIVIDER This is a device for use on the standard makes of platen, cylinder and rotary presses and by which several colors, on certain kinds of work, may be printed at one impression, from one ink fountain. Also when it is necessary to print a single color on a small sheet on a large press, a pair of the dividers may be placed in the fountain to correspond to the position of the form, thus saving ink, rollers and wear on the fountain blade as well as time for adjusting the fountain were the entire fountain to be used. Its use also makes possible, in a great many cases, the printing of two separate jobs in different col- ors, at one and the same time by ! using one or two of the dividers and Printed from an electrotype made from halftone, running the sheet endwise with two |” orig. 20498 Dace divider an feeders up. Miehle fountain. 798 COMMERCIAL ENGRAVING AND PRINTING THE MIEHLE VERTICAL TOB PRESS This is an improved automatic job press, the bed of which moves up and down instead of to and fro as in other presses. This feature allows the form to be put in position in shorter time than required for locking on a bed. The cylinder can be revolved to any position for packing or attaching the makeready and the ink fountain may be swung out of printing position for washing up. The feeding mechanism is also swung out of position when making ready. It feeds the paper automatically and will handle every kind of sheet within its range which is from tissue to cardboard. The stock table holds twelve inches of stock and the top of the pile is automatically maintained in correct FORM - ane —— ae IMPRESSION [= ££ ’ CYLINDER = ees) Da = FORM ROLLERS DISTRIBUTING ROLLERS OQ ; Fig. 2043 is a square halftone, 150 line, no line, made from a photograph of a retouched photograph. Fig. 2044 is a line etching on zinc, made from a pen drawing on which proofs from type of the lettering had been pasted. Fig. 2043. Miehle Vertical job press. Fig. 2044. Diagrammatic view of Miehle Vertical job press. position. The sheets are delivered printed side up on a table which automatically lowers as the pile of printed sheets increase. It prints from flat forms and they, of course, require the same makeready as for other presses, although the time for makeready is considerably re- duced as compared with platen presses, owing to the substitution of the cylinder for the platen. It will print sheets from 314x5% inches up to 12'%xI9g inches in size and at speeds from 2,000 to 3,600 im- pressions per hour. It is used for high-grade halftone color work as well as for simple type forms. LOW MULTIPLE UNIT NEWSPAPER PRESSES All newspaper press builders are now using what is known as low multiple unit construction for their machines, this type of press having superseded the decker type with units superimposed. This plan of building all units in a row on the floor not only affords greater con- venience for placing the stereotype plates on the press and caring for APPENDIX 799 Outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 2045. Duplex multiple unit sextuple newspaper stereotype press. the webs while printing, but also permits the addition of other printing units for expansion to any size whenever requirements demand them. A press of this type is shown in Fig. 2045. This particular press is built with paper rolls overhead as shown in the illustration, or with the rolls at the ends or underneath the press as desired. It is built in quadruple, sextuple, octuple, double sextuple and double octuple sizes, with double folders placed at the end or placed centrally between the printing units as desired. It is also built with additional plate and impression cylinders for doing multicolor newspaper work for comic supplements, etc. The press illustrated, prints 2, 4, 6, 8, 10 or 12 page papers at the rate of 60,000 an hour from four sets of stereotype plates; also 14, 16, 18, 20, 22 or 24 page papers at the rate of 30,000 an hour from two sets of stereotype plates; also 28, 32, 36, 40, 44 or 48 page papers at the rate of 15,000 per hour from one set of plates. DITTMAN PROCESS OF MAKEREADY Forms set up for electrotyping usually vary more or less in height in different parts of the form, and the electrotypes made from them require more or less time for finishing the plates, or for makeready on the printing press, or both. By the Dittman process, the face of such a form is levelled before moulding. It also provides for correcting the unevenness in the printing face of the plates and forms, thus reducing makeready and finishing costs as well as improving the quality of the product. The form is levelled before moulding by placing a special treating material on the back of the form before it is inserted face down Line etching on zinc. Made from a pen drawing. Fig. 2046. Diagrammatic view of Duplex sextuple newspaper press showing paper travel, etc. 800 COMMERCIAL ENGRAVING AND PRINTING into the hydraulic press where heat and pressure are applied. In this operation, the face of the form and the bottom of the treating material are each brought to a level, one by the upper platen and the other by the lower platen on the press. The material hardens as it cools and is allowed to remain on the back of the form while the mould is being made. The treating and finishing of electrotypes made from plates or forms is done in the same manner by means of a patented material placed underneath the rough shaved plate, to produce a level face on the plate. The treating material is of such a nature that it will force the low spots up to a level surface and at the same time is it easily displaced by the pressure of the high spots, which are brought down to the same level. Its compensating action eliminates the possibility of crushing the face of the plate, and its thickness while ample for leveling up the printing surface is not deep enough to force up the low spaces that are not to print, so that they will blur or smudge. In the sectional views, illustrated in Fig. 2048, the top platen of the hydraulic press is represented by A and the bottom platen by D. The electrotype to be treated is shown face up in contact with the top platen as B, and the patented treating material by C. The view at the left shows the plate and material before treating while that at the right, the even printing surface obtained by the treatment. After treating, the electrotype is placed face down on a shaving machine and shaved to an even thickness. The double treating press used in this process consists of two units as shown in Fig. 2047. One is of 200 ton capacity with a gas heated platen and with a range of temperature from 450 to 525 degrees Fahren- heit and automatically controlled. The other unit requires less pressure and has a water cooled platen for cooling the plates after they have been treated. Outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 2047. Dittman process hydraulic treating press. APPENDIX 801 Line etchings on zinc. Made from pen drawings. Fig. 2048. Enlarged sectional views showing manner in which an even printing surface is obtained by the Dittman process. An automatic compensating underlay, is supplied in thin sheets that may be placed under an electrotype on the printing base, or plate cylinder, and will displace and take up any unevenness in the plate base, press bed, packing or cylinder and acts as a cushion making - perfect printing contact possible. CLAYBOURN PROCESS ELECTROTYPES The steps in making a plate by this process, up to the pouring of the backing metal, are the same as in the ordinary process of electro- typing. The backing is poured somewhat thicker than the finished product is to be, and the plate is given the first of the special treatments to which it is subjected in the solidifying machine, the rear and front of which are shown in views No. 1 and 2 in Fig. 2049. This machine is also used as a lead moulding press. The plate is laid face down on the platen with a heavy special composition rubber blanket over the back and it is then automatically transferred into the machine. Pressure up to 150 tons is applied. Through this treatment every portion of the printing face of the plate is brought into one common level. The plate is then given a preliminary shaving on the machine shown in view No. 3. This special flat plate shaving machine has hardened steel rollers, actuated by torsion springs which bear pressure on the back of the plate and keeps the face true and even against the platen. After the first shaving the plate is moved the width of the rollers and a second shave is made which cleans up the plate. The plate is again transferred to the solidifying machine for further correcting with a special cor- recting plate, and by exerting upwards of 400 tons of pressure against the back of the plate. A type of solidifying plate adaptable to the type of plate in hand is used. The cold metal is actually made to flow under pressure up into the solidifying tool and the metal is coagulated and condensed until it is of the consistency of close grained steel and no portion of the plate will recede while being printed from. After the plate is solidified it is given another shaving and if necessary it may be again returned to the solidifying machine for a second treatment. After the final shaving, the plate is calibrated over its surface on the plate gauging machine shown in view No. 5. It is then placed on the precision proof press shown in view No. 4, where the printing qualities are determined. In principle of construction, Printed from a lead mould electrotype made from a square halftone, 133 line, narrow gray border. Photographs of the machines were cut out and mounted on a white card. The numbers and border were drawn on this and the airbrush was used on the background. Fig. 2049. Claybourn electrotype equipment. this press follows very closely the two revolution cylinder press, having the same ink distribution, the same oscillating bed movement, the same cylinder and uses the same packing and tympan. AUTOMATIC BOOK TRIMMERS In publication plants where the volume of work to be trimmed runs into large editions, and the quantity is of frequent recurrence, a special trimmer is used, one type of which is shown in Fig. 2050. The machine illustrated is a continuous automatic machine with trough feed, belt conveyor delivery and air suction chip remover. It will handle all sizes up to 12”x16" in piles up to 6” high and is operated at a speed of about 20 piles per minute. The books are jogged on the backs in the trough and the pile, still on its back, is slid under the automatic clamp under which it is held during the entire trimming, with the head against the head gauge which determines the amount of the trim. The a ‘tomatic turret which revolves away from the operator has four stations, each equipped with an automatic clamp, and at which it stops for a period of about two seconds while the pile is being placed under the clamp. At the time the pile is being placed at the first station in front, a knife is making the cut on the face of the book at the second station at the top, and the head and tail knives are cu tting the ends of the third pile at the third station while the fourth pile, completely trimmed, is being delivered at station four at the bottom to the continuous belt con- veyor. Some of the well known national magazines are trimmed on this machine at the rate of more than 20,000 magazines per hout APPENDIX 803 Outline halftone, 150 line. Made from a retouched photograph. Fig. 2050. Seybold continuous automatic book trimmer. OFFSET PRESS PLATE MAKING MACHINES The greatest development in offset lithography, since the per- fection of the offset printing press, has been in the method of making the press plates for use on the press. Formerly these plates were mostly made by the transfer process, which is not only a slow method but unsatisfactory for some classes of work, especially halftones. Also, it is difficult to transfer color subjects, and practically impossible to transfer halftone process color work on account of the stretch in the transfer paper, which prevents correct register not only in single subjects but in preparing to print more than one subject at the same time. Several machines have been developed, and are now in use for making press plates without transferring, and which insure correct register for all plates regardless of the number of colors used, or the number of subjects being printed at one time. The printing plates made on these machines also produce cleaner and sharper results. One of these machines is shown in Fig. 2051 and on which may be made a press plate as large as 50x65 inches from negatives as large as 20x24 inches. Plates are made on this machine in the following manner: A negative is made on glass, or film, of the drawing, photograph or other copy that is to be etched on the press plate and in the size that it is to be printed. The negatives are made as for photo-engraving— line negatives from line copy, screen negatives from photographs, wash drawings and other continuous tone copy, and color separation negatives from copy in color. Line or grain screens may be used and eee 793 to 808, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated Paper Co., Hamilton, Ohio. 804 ~ COMMERCIAL ENGRAVING AND PRINTING work is being produced with screen as fine as 400 lines. The negatives are not stripped to reverse the subject: as for photo-engravings, as being printed by “‘offset’’ they will appear correctly in the final print. A layout sheet of the same size as the sheet to be printed is made up, and on this the exact position is predetermined for each subject to be printed. The negatives are placed in the machine, one at a time, and by the aid of a transparent registering device are placed and locked in proper postion where they remain stationery while the print or prints are being made. The metal press plate is a little larger than the sheet of stock to be printed and is coated with a sensitized solution on a whirler in a manner similar to the method followed in coating metal plates on which photo-engravings are etched. The sensitized plate is attached to the metal holding board and turned face down in the holder on the machine. By a system of moving devices, the sensitized plate is moved so that the part of the plate that is to receive the print as indicated by the layout sheet, is directly over the negative. The plate is lowered to the negative and brought in firm and even contact with the film side of it with the aid of a thick rubber blanket between the plate and the holding board and the pressure arm above the board. The arc lamps under the machine are switched en and that the heat from them will not affect the plate, the light is reflected by a mirror through the negative to the sensitized plate. As only the part of the metal plate under the transparent units of the negative has been exposed, the remainder of the plate having been protected from exposure to light, the plate is moved to the next predetermined position and another exposure made from the same negative, if the subject is to be duplicated, or from a different one if a change in subject, and so on until the plate is filled. In making plates for color printing, the readings on the indicators as shown for the plate made for printing the first color, are copied and followed in preparing plates for the subsequent colors to insure perfect register. In preparing the plates for process color work, color separation negatives are made in the usual way. When necessary the negatives are reduced in tone by tinting with transparent dyes. Wet plate continuous tone positives on slightly grained white procelain, or ground glass, are then made from the negatives and usually larger than the final plates are to be. These positives are further corrected by hand work or with the air-brush and from these corrected positives the screen negatives are made to be used on the machine in the actual plate making. All negatives used on the machines are opaqued or blocked out so that only the subject that is to print, will remain transparent in the negative. The edges of vignetted halftones are softened in preparing the copy, as they cannot receive this treatment by etching as in making halftones for letterpress printing. As it is possible to compose a plate made up of subjects in line, screen or grain, combinations of these may be had by stripping or double printing and other methods as in photo- engraving. If type matter is to be used it is set up and made up as for letter- press printing. Good, clean press proofs are made from the forms and from these proofs the negatives are made for use on the machine. APPENDIX 805 Outline-vignette halftone, 150 line. Made from a retouched photograph. Fig. 2051. Multiple offset plate making machine. Proofs from engraved stones and plates are handled in the same manner. After the required prints have been made on the sensitized metal plate, they are developed and treated to convert them into an ink- taking base and the remaining surface of the plate to repel ink, when it is ready for the press. The machine also has an attachment whereby unit dry plate negatives can be made on it. By duplicating the subject on the dry plate so that several prints of it may be made at each exposure when making the press plate, the number of exposures for the press plate is greatly decreased where a large number of duplicates are to be placed on one plate, as is often required. OFFSET GRAVURE This is a litho-gravure-offset printing method, working under Grass etching patents. The photographic negative is made identical with that used in rotary photogravure. The positive is made with a halftone screen into high light tone values. A grained zinc plate is coated with fish glue colloid and this colloid is exposed to light under a positive transparency. After the exposure the unhardened colloid is washed away. The design is dyed to render the exposed part visible. When the plate is dried, it is etched about one or two minutes in iron chloride standing at about 42 Beaume, to lower the design in cavities. The plate is dried and filled with a lithographic ink-attracting medium, after which the colloid is removed. The high grained surface is treated to repel lithographic ink. Briefly, the process is photographed in halftone, is etched like a gravure, is treated lithographically and is printed by offset. 806 COMMERCIAL ENGRAVING AND PRINTING MULTIGRAVURE PRINTING There are now in operation presses printing from a roll of paper up to four colors in intaglio on both sides of the sheet. These presses have a speed of up to 5,000 cylinder revolutions an hour and the product is delivered folded or in flat sheets, without the necessity of using slip sheets. BLOCK PRINTING This might be termed a simplified form of wood engraving, and is practiced principally by art students and artists who have especially developed their skill in this class of work. The blocks, which are printed by letterpress in the same manner as type, line etchings, wood engravings, etc., are cut on soft wood, linoleum, leather or other material. If the material on which the design is to be cut is less than type high, it is glued or otherwise mounted on a block, to obtain proper height for use on the ordinary printing press, before cutting the design. Most of the designs made by this method are in silhouette or poster effect, and if printed in more than one color, flat colors are usually used. The results obtained depend upon the artistic ability and the skill of the one who engraves the block and prints it. The method is seldom used in commercial printing, although flat tint plates that are simple in outline are sometimes made and printed in this manner. Usually, if the print is to be made in colors, a drawing is first made of the design in colors. From this drawing a tracing is made, outlining the parts or sections, and this tracing is reversed and transferred to the blocks to be engraved. The design on the blocks is outlined with a tool and the surface that is not to print is cut away with a knife or tool leaving the design that is to print, in relief. A separate block is re- quired for each color and if all are made from the same tracing, the different sections when printed in their respective colors will fit together properly without overlapping in the finished design. If the design is to print in only one color it is drawn or sketched in reverse on the block to be cut. Some of the steps in making wood engravings and line color plates as described elsewhere are applicable to this method. METERED MAIL There is now available a system whereby mail of all classes, under certain rules and conditions imposed by the Post Office Department, may be stamped, cancelled and postmarked in the mailer’s office. A printing and recording device known as a postage meter is required and its imprint is a combination of postage stamp, cancellation and post- mark, printed directly on the mail matter. A reproduction (reduced in size) of one of the imprints is shown in Fig. 2052. Separate meters are required for different denominations of postage and each meter prints an impression corresponding in color to the denomination of the regular adhesive postage stamp it substitutes. One type of meter is shown in Fig. 2053 and the same meter in place on the mailing machine on which it must be used is shown in Fig. 2054. The meters are taken to the Post Office and set for a designated number of impressions corresponding with the amount of postage paid in advance. Each meter has two registers both visible through APPENDIX 807 Fig. 2052 c= Fig. 2052 is a line etching on zinc. Figs. 2053 and 2054 are outline halftones, 150 line, made from retouched photographs. A : Fig. 2053. Fig. 2054. The Pitney-Bowes postage meter and mailer. small glass windows, the upper register indicating the total postage used and the lower indicating the stamped impressions paid for and unused. The meter can be set for 100,000 imprints. The door of the meter is locked and sealed at the Post Office after each setting and all keys are retained by the Postmaster. When the lower register entirely discharges, the printing head automatically locks and will not function until the meter has been reset for additional postage. It is not nec- essary to wait for the meter to be entirely discharged before resetting. The use of this device expedites the dispatch of mail matter, saves time and expense, permits better accounting and safeguards the stamp account. The meters are not sold outright, but are rented by the manufacturer for use under special rules and regulations issued by the Post Office Department. Application for their use must be made through the local Postmaster. THE MANUL PROCESS The principal use of this process is in the reproduction of type pages or other copy, for re-print in the original size, in connection with plate making for offset printing, or stone lithography. It does not require photographic apparatus, and for reproducing certain kinds of copy, many of the steps usual in the preparation of offset printing plates, or stones, are eliminated. A glass plate is coated with a special emulsion and dried. This plate is then placed upon the original which is to be re-printed, with the sensitized side in contact, and exposed in a printing frame to artificial light. The light falls through the glass plate from the back. The plate is then developed in water, the film side reinforced and dyed. When dry the film is stripped off the glass, resulting in a transparent paper negative. This film is then used in making the printing plate or stone, LEADING TRADE and CLASS PUBLICATIONS AMERICAN PHOTOGRAPHY, repre- senting all that its name implies, has the largest circulation and widest influence of any American photographic periodical. American Photographic Publishing Co., 428 Newbury St., Boston, Mass. THE INLAND PRINTER—The leading technical journal in the world for the print- ing and allied industries. Monthly. Price, $4.00 a year in United States; $4.50 in Can- ada; $5.00 foreign. The Inland Printer Cox 632 Sherman St., Chicago, Ill. CAMERA CRAFT. Claus Spreckels Bldg., San Francisco, Cal., is\-a monthly magazine covering the photographic field. It satisfies largest and smallest advertiser and photographer. Beautifully illustrated, interesting, instructive. Member A. B. C. AMERICAN ART STUDENT AND COMMERCIAL ARTIST—Reaches art schools, illustrators, students, engravers and designers. $2.50 yearly; 25c copy. Circula- tion 11,000 monthly. 21 Park Row, New York City. PRINTING—The Weekly News, Busi- ness and Service Journal of the Printing and Allied Industries. At $3.00 per year including THE PAPER RECORD we know of few better buys. 41 Park Row, New York: s Nee ve THE PRINTING ART—Monthly maga- zine, meeting place of printer, adv. man and manufacturer. Printed Salesmanship taught, advs. criticized by Robert Ruxton; house organs analyzed by Clifford Sloan. $4 a year; $4.50 in Canada. Cambridge, Mass. COMMERCIAL ART—Only magazine completely devoted to art as a selling force. Color reproductions of best British posters. An inspiring monthly for advertising men, printers, etc. $5 a year. Sample copy 45c. A. Broun, 44 Fifth Avenue, New York City. THE AMERICAN MAGAZINE OF ART —Mthly. Non-technical, readable, well illus- trated. Deals with Architecture, Civic and Industrial Art, Painting, Sculpture, etc. $3 year. The American Federation of Arts, 1741 New York Ave., Washington, D. C. THE PRINTING CRAFTSMAN—A monthly Journal of News, Equipment and Product in Prtg. and Allied Indus. A busi- ness jour. for excts.; practical articles and valuable depts. $2 per yr. $2.50 in Can. Fielding Pub. Co., 167 Oliver St., Boston. THE NATIONAL LITHOGRAPHER— The only lithographic trade paper published in America. Makes a specialty of articles on the Offset Process. Published monthly at 150 Nassau St., New York. Price $3 per year; foreign $4. Warren C. Browne, Editor. CARTOONS MAGAZINE—15,000 copies monthly to cartoonists, strip-comic men and general public. Humor, comics, poetry and international cartoons. $2.00 yearly; 20 cents per copy. 13 Park Row, New York City. WALDEN’S STATIONER—Publd. for 33 yrs. under same management. Special Engraving and Greeting Card section. Sub- scription $2 per year, including a copy of Walden’s Red Book. Walden’s Sons & Mott, Inc., 41 Park Row, New York, N. Y. THE ENGRAVERS BULLETIN—Of- ficial organ of Engravographia, the national association of the steel and copper plate en- graving industry. $2 a year. Theodore A. Isert, Publisher, 250 West Fifty-seventh Street, New York. THE PHOTO ENGRAVERS BULLE- TIN—Official Journal of the American Photo-Engravers Association. $3.00 per year. Louis Flader, Editor and Business Manager, 862-3 Monadnock Block, Chi- cago. ADVERTISING FORTNIGHTLY—De- voted to Markets, Merchandising, Media and the advancement of advertising. Pub- lished every other week. U. S. $2 per year, Canada $2.50, foreign $3. Advertising Fort- nightly, 52 Vanderbilt Ave., New York City. ADVERTISING & SELLING—5941 Gr. Cent. Term., New York. Founded 1891. The Nat. Jour. of the Adv. Indus. Practical sales and advertising ideas for every-day problems. Mthly. Closing 25th of mo. gai can Type page 844x11%. Member A.B.P. and A.B.C. THE PAPER INDUSTRY—America’s only monthly or Educational Journal for the Paper Maker and Paper User. Invalu- able to every one who wants to know more about paper. $2.00 per annum. 356 Monad- nock Block, Chicago, IIl. NEWPAPERMEN AND NATIONAL ADVERTISERS subscribe to the National Weekly that exploits Value of Newspapers as National Advertisers’ Medium of First Importance. $4.00 per year. The Fourth Estate, 232 West 59th St., New York. THE PAPER TRADE JOURNAL—Est. 1872, wkly., $4 a yr. Lockwood Trade Jour- nal Co., Inc., 10 E. 39th St., New York. Also publishes Lockwood’s Direc. of Paper, Sta- tionery and Allied Trades, Amer. Stationer, Office Outfitter. Chicago, 431 S. Dearborn. THE MAILBAG—Monthly. Louis Bal- sam, Editor. A Journal of Direct-Mail Ad- vertising. Tells how others have used Let- ters, Booklets, Blotters, Folders, Catalogues, Broadsides, etc. $1 a year. The Mailbag Publishing Co., Caxton Bldg., Cleveland, O. THE AMERICAN PRINTER—Techni- cal, business news. Published twice a month. Price, $4.00 in United States; $4.50, Can- ada, $5.00, foreign. Oswald Publishing Company, 243 West Thirty-ninth Street, New York City. THE POSTER—Monthly, 307 S. Green St., Chicago, Ill. The Nat. Jour. of Poster Adv. and Poster Art. Known internationally as the authority on poster adv. and poster art. Fully and beautifully illustrated. United States $3 yearly, Canada and foreign $3.50. THE. BRITISH» PRINT ER=—The™ Na; tional Journal of the British Printing Trades. Published bi-monthly. $2.75 per year. Sample copy, 50 cents, post free. ae House, 231 Strand, London, W. peas 808 WESTERN ADVERTISING—Monthly. Covers information and news of interest to prtrs., publrs., engrvs., advtsg. men, advtsg. salesmen, etc. $2 year; $3 east of Miss. River and foreign. Ramsey Oppenheim, Publisher, 564 Market St., San Francisco. Page Adaptation of Halftone Screens to Different Papers. . Adding a Subject toa Photograph oa OUD niin ee Fe eae { Adding to Background in Drawings 87 Addressing Mail Matter....... 737, 750 Adjustable Dies for Cutting Envel- Oe SS 618 Adjustable Patent Iron Blocks..... 395 Advantages of Lithography....... 484 Advantages of Offset Printing Over DROME MNLUOGTADNY.... 0... 2.5.5. O12 Advantages of Rotary Photogravure 566 Advertisement Layouts........ 140-143 Piawenmisitig Wesions.............. 139 Advertising Mailing Cards........ 168 Advertising Specialist, Services of.. 400 Aeroplane Mail Service........... 760 oN S15) Clue 4h sy Si a rn 61 Alterations in Copy for Photo-Engravings. .108, 328 Halftone and Line Etchings..... 337 [oe Sele a 75, 76 WN gee TAWINE Ss fot ws 120 ON TERT We) 3a0/ 5. 362 are enoterrapls..........:. 9 Pipactiomatvenss, 26. orc. . es... 14 Anchoring Plates to Wood Blocks.. 388 Angle of Halftone Screen Lines... . 251 Angle of View of Lenses........... 16 Amiline Prints on Metal........... 320 Annealing Steel Dies and Plates.... 552 Anniversary Announcements...... Announcement Forms Setar 537, 538, 540, 544, 545, 546. mAmnewmueanish Papers. .... 2... 0... 650 EXMPOCOOIIIC ONS. ee es 294 peouane tora batent.... 1... ..5.. 12D Appropriations for Illustrations.... 341 Arrangement of Data for Printing a poke: 0. 28 a i a Arranging Groups of Small ee for Photographing. . ere 28 Pig teteipeCializen or. 108, 134 Artist’s Time for Retouching. ..... 109 NTO OT Ee ce 207 PEE NOOM ACCESSORIES... )..%. oT Assembling Composed Type....... 441 os Ge VOR (a rr 538 Automatic Printing Press Feeders. . Automatic Stereotype Plate-Making AUIS GM Ve 2. 5 ne io aa ae 367 Avoiding Reflection on Polished Objects When Photographing.... 22 Page Backgrounds for Advertising Designs............ 148 (GLOUDG i etc ey one aera ae ties 29 Pettering ee eins end: se ee 147 Vi cehatical Subiectsaug sy see ame OLLI Sw ae ate thee eee he 33 BackingsBooks & page tre, oes es 704 Backing Electrotype Shells........ 352 Backing Up for Patent Bases...... 390 Dae) VW OOUS ams seni: aalla vie gone 084 Sichd Steleal RJ dttest le eee eey eh ae ae 627 Beaters. tor | ype Forms. 50 a0 040 Beaters for Paper-Pulpy-o5.... 42.5 635 Ben Day Shading Machine........ 67 Dem win iles iter sw wir, yo ao. ees 603 Beveling Halttone Plates<). 0... 260 Bible Pa nerre nasa eee bea 651 Billboard and Poster Sizes........ 612 Dilderseotaniose 0 te arene oa 601 DITdsevie :V 16WS ay ae on 150 Birth Announcements... ae. 5... 540 Blacks backeroundsmsa. heen tee 206 Blank Metal on Photo- ne evince 345 Bleach Boilers for Cooking Rags... 633 Bleeding Ota. a. teen ace eer ane 313 Blocking Out Negatives. ue 36 Blockines Wo0ds = tise ee ae . 384 Blocks rintinvw:. te el eee 806 Blocks Trimmed Flush........... 385 Blotter Desions 2...5ee coe Se ee 149 Blotting, Papers mene 5.2 eres 659 Blues Printsy woce ee 45°01 7 127 ol 28 Board Covets.235 oh eer een. 705 DoareiMachiney yo ase eee 643 Boilers Rags. 2 ek. cde aeons 633 Bond aPapers:,; (ras ee ee 655 BOOK BINDING

ne eee 129 COMBINATION PLATES............ 301 Combination Sheet of Envelope Blanks and Letterheads......... 622 Combination Wash and Line Draw- INS... 0 ee 119 Combining Different Kinds of Plates on One: Baseg 4 ee 391 Combining Line and Halftone Nega- IVES. yw ys ee 303 Combining Originals and Electro- types... 4 20) aan 309 Combining Photographs and Draw- Ings... o. . 5s. 87 Commercial Envelope Sizes... ..... 618 COMMERCIAL PHOTOGRAPHY....... 9 Companion Halftonesy) 25s 275 Comparative Charts. 22.55) 168 Comparative Sizes of Types....... 429 Comparative Weights of Papers.... 670 Comparison of Photographs of Furniture.) 9) aoe 20 Comparison of Printing Qualities of Papers... +. 4) fase 672 Comparison of Wash Drawings and Photographs... ic.) Sea 111 Compiling a Mailing List......... 735 Complaints and Inquiries Regarding Mail Matters, 85.0 776 Composing Room Operations...... 426 Composing Sticks.92 ssa 439 Copper Etchings) 32 229 Copper Halftones 2) 20 ane 246 COPPER PLATE ENGRAVING AND PRINTING. «..<45 er 525 INDEX Page Copy (Engraver’s) Filing......... 787 Copy for IE ME OOS St iy en 267 Melitone Color-Plates:........, 276 Minewercainees a 6k. et. 217 MEDD 20 683 PumeleOIawinegs.... 0... 6... . 118 PeexeeMeravings,:...20/........ 376 RVood -Engravings......3....... 3v1 PCPersGiitc ht se beck... eee. 728 moredavietal:Bases.....2......... 391 Correcting Distortion in Photographs....... 47 Embossing Dies............... 599 Engraved Copper Plates........ 528 Halftone and Line Etching Plates 337 Wood Engravings’............ 374 Cost of Combination Plates. ........... 323 Copper Plate Engraving........ 534 VOGT Golo ie a 363 Csulsie ota) 0) 600 Halitene Color Plates. .....«.... 300 Wine Color Plates! 2... .2.. 0 .. 241 Proto-Ungraving..02.1..0...... 339 De, a 52 ee 481 PSGUDUGHING ok oe. ee ea i08 Steel Die Engraving and Emboss- cum ess oe OL ek 558 MROMIOPAWINGSS.....0...<..... 120 WVue NeTAVINGS.. 0.5... kk. 381 NVOOCMENGTAVINGS...c4..4.....\... a15 Meunier Dies... 0. ......552, 594 Ovemorsiyncie st. se... os... 159 Covering Power of Lens.......... iW Cover Materials for Books. ....... vis PeGeteaietsr a. ace eae 653-705 Cownime Binding................ 707 Crasn Finish on Papers........... 649 Crayon Drawings......... 124, 125, 136 2G Te Eisen 135 Creasing the Joint on Books...... 714 Prmming onects!.... coc... 674 Curved Electrotypes............. 356 OOS ES Cr 775 Customs of Photo-Engravers...... 324 SOUS = Se Ge 605 Cut-out Method of Printing Make- Dre NCEE ys oa ens es. 458 Cut-out Photographs, Patching and Ieee es ee 89, 95 Cutting Raper............407, 642, 686 Pe OAV SL See cn 632 Cylinder Paper Making Machine.. 644 Gylinder Printing Press..-.. 2.2... . 455 Cylinder, Rotary Photogravure.... 568 Daguerreotype, Reproduction of... 135 Damaged Mail Matter............ 770 Coated Paper Co., Hamilton, Ohio. Page DancceLiVisations amen ae ee, 541 Dandy Roll on Paper Making Machinetaie see coun wee ee 640 Day (Ben) Shading Machine...... 67 Dead Metal on Engravings........ 345 Death Announcements........... 545 DeckelsHdge on Paperss 2 402 4. 649, 697 Decorative Backgrounds for Groups 28 IDeU D, ECchinate: aon dee pee eee 305 Definition in Photographs......... eZ Definitions under the Patent Laws.. 727 Depositing Shell on Electrotypes 351,361 Depth of Etching for Halftones.... 250 Depth osMocus sea. nee eee iby Decren VaAtcite ye yee. nee ae 6 Desionsdor blotters (+. «set. see. ee 149 MetarliViewein nots io ee ee 210 1d Der are ee wee ee, Se 38 Developing Photographic Plates... 34 Dies for Cutting Envelopes........ 618 Dice? Stecl aay 7 ote Ot tea hee FAS Dutised Photographs -.2e 5. 6 206 Digesters for Cooking Wood Pulp.. 630 Direct from Subject Color Plates 277, 281 Direct Halftone Process........... 275 Direction of Grain in Papers...... 666 Direct; Rotary. Printing 7eee sass es 511 Dise:Rilinge Machines <7 shaeees 682 DisplaysMatters geen en, fc 426 Distortion in Photographs......7=> 47 Distribution of Type and Printing Wiaterial Apa ew a Sa eben 451 Dittman Rrocess:te ten oe ee 799 Double Printing on Metal for Photo- PBaigravirigene te ekee oan 307 Doubletone: | nice. ee eee 575 Drawing For Line: Color: Platess eae en nt e4 Forshading Machines; eae 66 From Blue: Print: Copy yes. ee LG Made -with#Air- Brushy 2 ae 62 On: Photographic se ee 89 Pencil Sota eee ie 2 ie, eee 138 Water Golor um rte sn face 138 DrawnG_etteriic ant eee 169 Drying Drums on Paper Machine... 641 DuckiorsBook:€overes ssn a ee Dull Enamel Coated Book Paper.. 652 Dull Finish Photographic Prints... 38 Dummy for Booklet or Catalog.... 413 Dunimies and: Lavontcn eos ee 335 Duodectng Size. an eee 691 Duogranh) shee: aoe ee ee 279 Duoty pe, [hem ee ee ee 20 Duplicate Original Plates......... 342 DUPLICATE” PUATES eae) ieee 42 Duster Racca to ee eee 632 Duties Customs? 0. ene ee 775 Pages 809 to 824, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion 812 Editions bookbinding «se. ae ee Effects Obtained in Reproductions of Different Sizes from the Same Dea wing ka eee ek eae 115,131 Peo ohell Panera.) ae een 650 Electric Embossing Blank.........-598 Blectricity in Papers. see ae 670 Electrotype Blocks, Cast Iron. .... 395 Electrotypesaed, ate a oe ee 342 Electrotypes made from Electro- ty PCS. Ree Paes Gee 360 Electrotyping Halftone Color Plates 299 Electrotyping Trade Customs..... 363 Electrotyping Type Forms........ 450 Elliipsooriphs 7 ae ee eee 61 EMBOSSING, STAMPING AND CUTTING LD TES enor ds rll ty Ae ee oO Embossing with Steel Dies........ 554 Enameled Coated Book Paper, Dull 652 Enameled Coated Book Paper, Gloss 651 Enamel. Coating- Paper. se5. see e 644 Pind SNeetats aor eee + are eee 698 End Wood Eneraving ace el | Engine Sizing Panersia kon eae 647 Engravers Préotsfe anes Sie 385 Engraving Copper Plates Wii a4. tence ee 526 For OffsetsPeinting <2 ee ne aeeeas 509 On Stone, Lithographic = 23 485 Poster Acad oh ice Ree ee meee 614 Steel. Dies. “47s ee ee 550 Wood Soe. iP is ee eer 369 Engraving: Machine: . 2). 7. ste. ee 529 Engrossing #25. oat. - a eee 161 Enlarged Prints from Small Nega- tives dN nee erie ea eee ae 46 Enlarged Sections of Halftone Pro- cess Color Platesins-.0 tse ee 284 Enlarging: Negatives... 9. ae 47 Enlarging Photographs.......... 46, 50 Envelope and Card Printing Press.. 467 linvelope-Desions2=) 37) as ae 161 ENVELOPES 400. i yeh nae te 617 Envelopes for Filing Engraver’s Copyits.02 ase nae ee 784 Estimates on Photo-Engraving.... 341 Estimating Amount of Paper Re- quired fora Jobwee aan es 406-408 Estimating Postage on Mail... .406, 737 Etching Att: Subjectsaeessyance eee 54 Halitone Plates Aiea ee 257 Dine Etching 2 Sache tees ee Negatives.) fence eee 36 Plates for Offset Printing....... 498 Process Color Plates? ey eee 294 Rotary Photogravure Cylinders.. 569 Transfers, Lithosraphicst ee Etching Machines... 22) 3. 2s Etching “Fub. ag eee eee W23 Examination of Mail Matter...... Exposures in Making a Halftone Negatives?. ir naan ae ee 254 INDEX Page Exposures, More Than One on a Plate... .. ae 30 Extended Covers. .24) ae 698 Exterior Views, Photographs of.... 31 Extra Colors with Halftone Process Color Plates... 45.8225 ae 281 Eyeletting: ..<4,. 2 678 Fabric Finish on Paperseusew eee G Fac-Simile Reproductions... ... 163, 754 Factory Skylights eee 10 Fake Coler Work) 7.233. eee 281 Faking-in and Patching Photo- graphs. v. 3... 256 gee 92 Family of Type: a ee 428 Female Die, 24505 2 592 File Proofs, Engraveres see 335 Filters; Color: (2) 72 eee 279 Fine Line Copy2c 0) eee 326 Finishing Books, cd, een ee 15 Finishing Electrotypes.. eee 355 Finishing Plates: ) ae 225, 259, 261 Finish Test fon Paper) eae 662 First Class Mail Mattern: sana 742 Flashlight Paotographs, | jee) ee 31 Flat Colors and Tints in Comparison with Black. 2:52 eee 315 Flat Colors Superimposed......... 239 Flat Etched ‘Halitene die =e 258 Flat Line Color’ Plates: 3) ee 240 Flat Proofs, Engtaver o=.e =e 336 Flat Proofs of Halftone Color Plates 294 Flat. Tone Halftoness49 aaa 318 Flat. Writing Paper: 7393 ee 654 Fleshers for Bookbinding.......... 707 Flexible Book:Geyers.y.. 3 eee 705 Floors and Backgrounds in Photo- graphs... oh cs ae 25 Flush Covers {5.2 22) ee 698 Focal Length-of Lenses, ane 16 Focal Plane.) 17 Folders for Mailing) )..eeaeee 168 Folders, Manner of Folding....... 405 Folding Printed Sheetsama mee seas 688 Folding Qualities Test for Papers. . 666 Follow-up System for Loaned Copy or Plates... .<./.25 0%. 788 Foreign Mail Matter....../2.2.9. 774 Format Sizes. (i249 ee 403 Form of Type). cas.eeen 442 Form Made Up on Patent Bases... 394 Forms and Customs for Copper Plate Engraving )) 52s 535 Forwarding, Bookbinding......... 703 Forwarding of Man) jan. eee 769 Four Color Line Platesa a eee 235 Four Color Process Halftones...... 280 Fourdrinier Paper Making Machine 637 Fourth Glass'Mail Matter seen 744 Framed Copy for Engravings, Hand- ling of | ..00. 49 ee 309 Freak Combination Photographs 92, 107 Frisket in Air Brush Work oy sae 62 INDEX Page Furniture, Preparation for Photo- CU as 19,20; 21 Furniture, VWood................. 442 Pele ion Uy penis ess. fine ca. 441 CONAN COS a) an 442 Ceuleveotorage Stand............. 443 Gas Burner to Overcome Slip- LSS Si 464 Gathering Printed Signatures... .. . 694 ONONUL GEL he Se) he le 324 ae IOWS AS. on ec ec 210 Glassware Drawings.............. ibs Glassware, Preparation for Photo- Shwe a. ak 2s 2a lager apery Foss)... 660 Gloss Enamel Coated Book Paper.. 652 Gloss Photographic Prints......... 33 isiuedsUp Backing. ).......-. .885, 386 lameness: 720 ME eCULEEING | of ho. hs cn 719 Government Printed Envelopes. . 766 Gradation of Color through the Half- RO MCN MOET Hae yo ee eka we. 243 Grain Direction in Papers. 665 ene OK ie ol oan oes, ils Graining Machine for Lithographic Ibo a 516 PreMetaine es. 2... (ees oy SO ES 170 Grass Fibers for Making Paper.... 634 Serene Cards. 2)... ee a 545 Grinder for Rotary Photogravure COT Ce od D713 Grinders Wood Puip.............. 628 Ground Wood Fibre, Photomicro- Pe eee ek 636 Group Arranged for a Border...... 103 Grouping (ELSI a) 104 Pea E ONZE i foc ck wc &2 Pieckamical Partsa...-.... 84 pie Oemeniien. fal. <. ss... a 75, 80 een SoS 97 MONS ps See 98 PE AICS ok Gos se a: 102 Serie mections; ..........+.: 100 Sime Papers) Bod... Ae ie ws 681 Ee a See A7 Half Reduction, Meaning of....... 332 bie oroek ePaper... 22.04.05. 634 PaLevONY, COLOR PLATES,........ 276 Oe ONE ee ee a ek 242 er eer OCess ee eid ee 275 Vo Ds OF) 5) a a 326 ieirecr than Drawing... ........ 115 Larger than Photograph........ 50 PCCM ak Sass ke, 253 Mareapper et... Sin fg 246 OCS a a a ae 246 Overprinting Flat Color......... 313 813 Page Halftone Reproduction of Prints......... 269 Results from Different Photo- gtaphic, Papers qe eee 35 Screeitinder ge. Geli. 6o ane 250 CLEGG ae ea) oe 243, 247-249 Witheitisertemee okt ean aut aah 102 Hatttonemeterta.. ses heise, 338 Hand: Coloring ris san ch, 42, 564, 791 Hand. © Ompcsitici 4a eae me a 426, 439 Hand-cut Overlays for Printing ia er Garive atl U tne, dastie ates 457 Hand Drawn Lettering........... 169 Places Slain eae: a ene ae 689 HandleslestaorsPapers..0). 4 ee 664 Handiieadarre Gopya. ones 328 Hand Lithographic Press....... 504 Hand Made Envelopes . 620 Hand Made Papers i604 seen oo. 660 Hand Sewed Bookbinding......... 698 Hand Stamping, Steel Dies.... . 555 Hacmony o1 Colora) ate ie) oe 574, 587 Head-Banding Books ois). |) 704 Heading Desisnes, eee ee eee 170 Headings for Type Matter........ 412 Height of Printing Plates......... 456 HeighiiGm ly pens eee ee 429 Helps in Making Layouts for Printer 411 Tighlight.Halftones 0. ae eee 309 High Spaces and Quads... 450 Holdfast Shading Machine........ 67 Holiday Greetings........ 545 Hollow Backs on Books.... = TONS Hot Era bossing a7 A eye ee ee 598 Ine Royale @ Feed: Vai AR nue owuleer Bo 172 How Retouching Is Done......... 15 How to Indicate Changes in Draw- INOS en te ee ee ee eae 107 How to Order Photo-Engravings. .. 324 Hypotenuse Oblong, The.......... 402 Ideal Filing Systeme. oo ee 778 Illuminated Monograms, Steel Die. 557 Imitation Blue Prints............. 128 Imitation Leather for Bookbinding. 710 Imitation Steel Die Embossing... . 558 Importance of Good Photographs.. 9 Imported Papers... eee eee 655 [Imposing Stonces. 5 Geen eee 449 Imposing Vable 35) se saa ae 443 Ira positions...) a6 eee cee 446 Indexing) Books 5. net aes ween 715 Indicating Size of Photographed Objects favre < oe a ae ao 26 Indicating Size on Copy...-...... 331 Indirect Process Color Halftones... 281 Individuality in Work of Artists... 172 Individualized Calendars.......... 159 Infringement of Trademarks....... 734 Initia lt Designstreras = ae eee 172 Ink Fountain Divider............ 797 14 Page lnking in\Faints Copy se 4.7 2 aed ts Ink: Rollers.:Printing: oemeee ane, 463 Inks# Printing 2s. eee ee BYE: in, Memoriam Designs ™)...272. 48 161 Inquiries Regarding Mail Matter... 776 Inserting in Group Photographs.. 96 Inserting Separately Printed Sheets 695 Inside iVLortise../2 oe tee ae ee 396 Inside Routing and Tooling. . . 260 Inspection and Packing of Paper... 670 Installation of a Filing System for Platescand 2 opiesas: eater eee wir, Insured Mails sshay re ere 754 Integral Coverss © ocean apne 705 Interferences and _ Infringements Patents .>) 35 ae 431 Lithographic Paper... 25 eee 659 Lithographic Printing from Metal Plates. . ....cke4e 502 LITHOGRAPHY AND OFFSET PRINTING 483 Lithography in Colors/. eee 500 Lithotone........2 5.) ee 267 Locking Up Type Formesa eee 449 Loft Drying of Papers) ene 649 Logarithmic, They... . eee 55 Logotypes. .: .i.cei. eee 174 Long Focus Lenss) 3.5 eee 17 Loose Leaf Styles of Binding.. .... 722 Lost, Damaged or Delay ed Mail Matter... +.o. 25). cee 770 Low Spaces and Quads.) 9) sees 450 Ludlow Typograph. eee 437 Machine Composition... 5 se 431 Machine Finished Papers......... 651 Machine Shaded Illustration. ..... 70 Magnified View of Printing Surface of Halftone...= pase 245 INDEX Page PPAR NICCEW ICWOS sore Sucve boa we acs 210 Mailing Cards and Folders....... . 168 MAILING LIsTs AND PosTAaL INn- SOP OS Lo 735 Mailing Matter Without Stamps EAE SG. on 763 PM RICCOLCS ave cnc on cys sas tt Makeready for Embossing Dies.... 596 Makeready for Printing........... 456 Making a Layout or Dummy for the Lato Wis 5 De 410 Neale Embossing Die:............ 5¢2 Dia AMOPAVING 5. oe iw sw bn 378 WVICRMGMILOSING ote. ok ck mes vues 720 Margins and Type Page Sizes... .. 415 Marking Copy for the Engraver .52, 273 Mask Design for Panel Groups.... 105 DEsnea-Out Prints: .............. 40 Mask for Air Brush Work......... 62 Masks for Obtaining Color Har- a ee ay 588 Mats for Stereotypes............. 364 Mechanical Process of Preparation MEVVOOUMOIP aAper, 2.0.64. nen. 626 Mechanical Subjects, Photographing 24 Medals and Casts, Photographing.. 25 Metal and Wood Furniture........ 449 eetelMeeiging 70... ns 678 hetalfor Eine Etchings.......... 229 Metallic Overlay Process of Make- Peay rOrub Tinting... ...... +... 460 Reeesmell Bases. oi. .......-. 390 Metal Used for Photo-Engravings.. 332 ISLT est ee VIN EET Pe Methods of Folding Circulars, Fold- Gece CNS Soo 9h 405 METHODS OF MOUNTING PLATES... 384 METHODS OF TREATMENT.......... 133 NSE) 263 Dlezzatint Engraving............. 547 Miscellaneous Photographic Equip- (EEA OO rn 18 Models as Copy for Wash Drawings 115 WodermRoman Type............ Moire or Pattern Effects in Half- SOY Sa 271 Monograms, Steel Die............ 552 (uric) Se IN 432 PEOTOCCOMBINGING 0 ou. cee ess 707 Wheres lh eS 396 DOO ee eECLULES yc. ye ass es 49 Mounting Combination, Plates, ......:.... 302 (ut-out Photographs........... 89 WoMWOSSING DICS. 55. cee 595 Halftone Color Plates.......... 299 elles MICRTINO Gs) ac als oe oss wes 260 re Weta le Bases o.c.c5 04) y's sea dn 389 PART AS gh welche: cans seers fie Los 34 Mamllen Paper, Lester... 4 ........ 665 Multicolor Printing Press...... 465, 474 Munsell Color System............ 794 MIUSICLELNGRAVING... 2. ...0s0 05 es 608 Page NailingoViachineas wean. ae oe 355 Names of Paperioizes see ODT Narrow Angle. Pens 2.0 45.5 4... 17 Need for Retouching Photographs... 75 Need for Wash Drawings......... 110 INcEdsOLEWIplicateab latest sas 32 O45 INGW51 Pape ieee tenia ow thy eae 650 Newspaper Clippings, Reproduction Ol agian en we ot eg Be Mess 167 Newspaper Press... .........476, 798 New Type Faces, Designing....... 427 Nickelplating Electrotypes........ 362 INickelLypes Nw ee wha oe 342, 362 Non-Distribution System......... 451 INon-Postave Stamps 4oe-.3 450 k.0 (eal INOtCHINg BRIBES tag 3a eee ba oe 396 INoticetOL. Copyright re: ae a6 ac 729 NoveltWiGro poate cack ee 97 Numbered \sroupsen te © 2a ee 26, 101 Numbering While Printing........ 464 Number of Lines of Type to the LWT ae SORE eg ieee eR 413 Objectional Mail Matter,......... 779 Ubtaininera, Copyrohtyee 728 WStavOwlZecrme aioe nets eee 691 Office Style in Preparation of Copy. 444 OfmeialPostalGuidesen ae eee 738 OfisetsGra ville aan en anes are ee 805 Offsett Paper ca: = te ee ee eee 659 Offset Plate Making Machine...... 803 Offset Printing Process. ......==. 503 Oil;Patn tings sn u.ce ms cream Bec 137 OllsPa ner eave) ae ee ea 661 OldaPlatess\ alice ol noes eee 789 OldyStyle-Roman*“by per. aisha 416 Omitting Parts When Embossing... 599 One Color Combination Plates..... 302 One-Way Screen Halftone......... 266 Opacity lestiiorm Papen. eee 663 Opaque: Inks) 2 ye eee ee 586 Opaque Wash Drawing........... 112 OpaquingiNecative 2) eee 36 Operations in Making a Line Etching 220 Ordering Embossing Dies......... 599 Ordering’ Panern eaen ice: kee 671 Originals vs. Photographic Copies.. 79 Orthochromatics Plates 9 see 19 Outlines Drawing > ore eae 122 Outline Finish Halftones.......259, 261 Outlinesblalitoneeen ss ee see ee 261 OutsidesMortiseg: a. 5 wee 397 Ovalings Machine sa. nee coe aeee 61 Overhead Camera Rigging........ 18 Overlaying Processes../....... 457, 459 Overlays 230k aera eects ee 86 Overlayss:lasstiety eate eee eee 107 Overprinting Combinations........ 321 Ownership of Printing Plates...... 450 Packing and Inspection of Paper... 670 Padding Sheets of Paper.......... 673 Page: Horme.....0e0) one hae 446 816 Page Heading; Designe... 4. see 170 Painting in for Machine Shading... 69 Painting in on Line Color Plates... 233 Painting over Photographs........ (65) Paintings ii Oil aa ee eee 137 Panchromatic Plates. 7 eee. 19 Panel’ Backinovi ere ee 384 Panel:Groupse oc. ok 3 te ae 106 Panel: Mackaya se ase annan 105 Panoramic: Camerata ee 10 Pantograplt motte ets pee 60 PAPER <.cEC ERG UE cet es ees 625 Hulk lésterse. see eee 665 COVers oc: eke cho ee ee 705 Cittinges.. 7s. see 686 For Photogravure Printing...... 563 Fibres, Photomicrographs....... 636 Ruling. .4: eee ee eee 681 Selection Of [ons nc tee eee 400 lest. Beam Oca fee 665 (hickness, Gauges. --5es eee 665 drade,C ustomis 22s eee 671 races Nainiese. 0 ese are 670 Pa peteries (ois aoe) en eee ee 671 Ratallel, Foldsh ia". 2s eee 688 Parcel Post Manan et ee 747 Parcel Post Zone Rates. <-->... 745 Parchment’ Paper:3 .-e eee 661 Part of a Copy, Reproducing...... 333 Parts of. a“Type, 2) ... .. 26.) 24 Medals and Casts... ae 25 COVES 0), once ee 23 Top: Views 23a eee 29 Window Displays, 3255 3l Photograph Printing Machines.... 38 Photographs as Copy for Wash Drawings)... See 115 Photographs by Professional Photog- rapher Js ee 50 Photographs, Flashlights.......... 31 Photographs for Newspaper Half- tones... ine ee 32 Photographs of Retouched Photo- graphs... 78 Photographs of Wash Drawings... 78 Photography. 2.77) 2. eee 9 Photography, Color. 3.2. sae 42 PHOTOGRAVURE, .. 2. nn 509 Photolithography, 30a 489, 502 Photomicrographs <. 3) eee 43, 44 Phototone...... ait een ee 265 Phototypesi2e. spe 267 Pigskin for Bookbinding. ......... 707 Placing a Printing Orders.) se 423 Placing Objects on Floor to be Photographed). 97.7 ae 28 Placing the Illustrations in Layout or Dummy... ee 411 Planing a Type Form, 22 449 Planing Blocks to Type High..... . 224 Planning a Job-of Painting 9. 400 Plate for Offset; Printing ta00 504 Platen Printing Presses... eee 452 Plates Affected by Some Inks...... 575 Plates to Be Machine Shaded...... 66 Plating Paper), 2 2 648 Points of View for Drawings... ... 152 Point System of Type Measurements 429 Pony Printing Press) ) 2 ene 454 Portrait Lens. ie 14 Portrait Photographs for Halftones. 42 Portraits Engraved on Steel....... 548 Portraits, Styles of Halftones from. 179 Posed Groups...2 ). 2. eep eee 98 Posing Objects to be Photographed 27 Positive Plate S22 2), ee 227 Postage Due on Mail Matter...... 768 Postage Saver Envelopes.......... 618 Postage Stamps..75. 2.) eee 761 Postal Cards... 768 Postal Informations... 2. aa 735 Postal Laws and Regulations...... 739 Postal Money Order System....... 760 Post Cards. ..7 7 767 POSTER MAKING. |, 2.00 612 Poster Sizes. ....) eee 614 Poster Sketches, .70-)2 ee 616 INDEX Page iVWe 03 ee hethe CO ie 184 Fewer Press) Kmbossing........... 555 Precancelled Postage Stamps...... 763 Preliminary Work on Engraving LAGU es 325 Preparation of Forms and Plates for PECUOIOINO Ge, Sv se ee 345 Preparation of Mail Matter....... 750 Preparation of Subjects for Photo- Ce Gr 19 Preparation of Wood for Making Saye ee 626 Preparing Copy for Halftone Repro- SE, a a 270 Press Feeders, Printing........... 462 Press for Printing Copper Plates... 528 Press for Stamping Book Covers... 602 Press Rolls on Paper Machine..... 641 Press Room Operations, Printing... 452 Pelee ewer os iv. cs eee 267 Plnuer soon tcket sy. 65 0 skal. 425 Printing Demonstration on Different OSES es 672 Private Viatline’Cards............ 767 Printing Halftone Color Plates..... 297 PRINTING INKS AND THE HARMONY LE i A 574 tae on Wietal....... 6... es. 516 Printing Photogravure Plates in CO SLES a 565 Peano Presses, JOD... 6... ss. 452 Printing Qualities of Papers....... 672 Prints and Labels, Copyrights..... 730 Prints from Several Negatives on CIS Qe Sie 39 Dilipes re WOtostapniCs. .. 3.8... 37 Prints Reproduced by Halftone.... 269 Process Colors............295, 296, 586 Process Halftone Color Plates..... 276 Professional vs. Amateur Photo- ea i Ss in Sais aw es 9 PPomtecsiye PFOOISc. . 2 oe oe se 296 PUOPCUOMPEINTING 5 cca eee 46 GLEE CCE iS. 443 eo SUES tt 442 Prool-headers Marks. ........... 444 PEC OIS ME NSEAVED Si. ee 335 Proportioning and Trimming Copy. 327 PROPORTIONS IN ENLARGING OR URN CCU. FC" iar 53, LOT Proving Halftone Color Plates..... 296 Perow inet ates . 5 ei al ee ws 225, 260 ve LEY NYS 5 9 0 a 635 Pulp for New Paper from Old Paper 634 Pulp Grinder for Wood........... 628 Punched) Viusic Plates. ........... 609 Punching~Paper Sheets........... 673 Putting the Cover on a Book...... 712 Mrs BNC SPACES i a. 6 nee eines s 441 PO AME SIZED Ae I es ye os es es 691 ARSE ore Oe ca al ga 449 Page Racdiogr pliyecs © esses ey ieeaan ere ae 44 Rag Fibre, Photomicrograph. ..... 636 Rags foraviakingsbaperes sae... 631 Ready Made Covers or Cases for DOO hea wits eee gd cae 712 Receipts for Parcels Mailed....... 754 ReECepiion: CalUseas 0 ta oe. 538 Recitlineat, Lens ashes ert ee 14 Redemption of Stamps, Stamped Envelopes and Postal Cards..... 762 Re-Etching Halftone Plates... .257, 294 Reference Letters and Figures, Methods of Appending......... 210 Refining Enoine,-]ordan? :.4....0 2. 637 Reiecting Wamers sero mtyss eee 12 Registered sMailsaa. eee eee 759 Register Hooks for Patent Bases... 393 Registering Colom F Oris. ea. 448 Nepisteraviarke ook ae ee 291 Registration of Trademarks. ...... 731 IRGORG(S atten wie enna? Sarat ee. 442 Removing Objects from Group PHO OoTa plist, a esake ee. 93 Repairing Halftone Color Plates... 299 Rephotographing, Patching and Re- touch itioverweutin ms ote ah het aes he 94 Reply Coupon, International...... 776 Reproducing from ‘Books. ....:..4.° 327 Reproduction of Amateur Photo- gsTapliay see G re aes ae 135 Reproduction of Soiled Portrait Photograpise gee ee ee ce 135 Reproduction of Testimonial Letters 1638 Reproductions with Mezzograph Screense yt ey sae er A ee ot 265 Retaining Negatives for Duplicate Plates pts ree ee ee ae oes 255 Retaining Proportionate Sizes in a Series of: Objects. 2. ke eee 26 RETOUCHING, ALTERATIONS AND GROUPING OF PHOTOGRAPHS..... 75 Retouching Photographic Plates... 34 Retouching Photographs. .... 75, 90, 93 Return ot Mail Matter, 2295 2 769 Return of Photo-Engraving Copy.. 339 Reversed Face Envelopes......... 622 Reversing a Negative............. 254 Reversing Black to White in Line Etchings: seyret en oi ee 226 ‘Revises iP roots 2+. pad aay eee 444 Richtvingle holds) s a.eres ae ee eee RighttoOwshatente iy eee 726 Rosshoardn, Je eee eee 59 Rotary Paper-Cittersa) 4 sme oe ROTARY PHOTOGRAVURES, 3.474 4. 566 Rotary Printing Presses........... 470 Rotagravilresecens ae te ee 566 Rough Golomschemeas aaaene ee 334 Roughing Machine for Electrotypes 353 Roughing Printed Sheets. . bts Rough-Surfaced Photographic Prints 34 Round Cornering Cards and Sheets. 674 818 Page Rounding Book Backs... au se. e. 704 Routed sHalitotiess. 218 2. ck) eee 261 Routing and Finishing a Line Etch- LSPA Stee Ge Rides ates 223, 226 Routing: Electrotypes vacuo ee 304 Rubber Printing Plates... ee 602 Rule. Benders. sn a ee 603 Ruled: Gackerounds| 7-aenneen es ee 212 Ruled’ Forme see eee ce ae Opp.682 Rule Forms, Wax Engravings of... 380 Rules of Publishers Regarding Ad- Verlisements 2 oases Glee Ae eee 144 Ruling Machine for Engraving on WO0d casat.5 cee rien eee eee O74 Ruling Machine, Lithographic... . . 486 Ruling Machine, Papen sac eet 681 Ruling of Halftone Screens........ 244 Rural: Delivery Maps7.9 525 eee 739 Rush Orders for Photo-Engravings. 338 Russia Binding 97.90). eee 707 Saddle Stitchiitia- 3a ee malety Panerai econ nae 659 Same Focus Copy for Halftones.... 275 Daw and eErimnier nen: Seu. Ree 197 Scaffold, Use of for Photographing. 30 Scales for Size of Reductions or En- lareemenic. sae 389 Space for Type, Estimating....... 411 Spaces and Quadeusg =e: aaa 440 Spatter Work... 25.08 122 Special Binding of Books.......... 722 Special Delivery Mailan33aneneee 758 Special Made Envelopes.......... 619 Special Permit for Mailing Without Stamps... ....2.. see 763 Special Printing Presses). eae 465 Special Type Characters... uae 450 Specifications for Order for Printing 424 INDEX Page BecINIeNS Cle LY PG... wc eo. 418, 421 julea Mel aS See a 16 Spoilage in Production of Printed hehe tee. 4 6). ns oo 409 morine Backs on Books........... 715 Square Finish Halftones..... 261 Square Halftones from Oval Photo- TA ee eS a ee ee 90 Staging and Re-etching Halftone yes a Sa 257 Erinea Prints on Metal.......... 320 Siastecuepped Mortisé....,........ 396 Stamped Envelopes and Newspaper LOOSE 8 i 0 ean rr 7 Stamping and Embossing, Steel Die 555 PUM GOld 5. . 5... ee es 719 Puatmpno ol aves. fo... eee 601 Standard Format Sizes... . 403 Standard Scale of Prices for Photo- GL Ee 339 Braue ieciricity in-Paper)........ 6/70 Pe ietine LieG . fs fe. oe Se. 606 Steel Embossing Dies. . . 595 Steel Facing Photogravure Plates. . 562 STEEL PLATE AND DIE ENGRAVING. 548 Sree idte t Oftfaits... i... ce es 549 Steel Rule Cutting Dies........... 603 SCI Meh SS 0 Oi rr 362 Dreteolypes. 0... 2. .2-2...-..342, 364 Min@ MGOTIDUSING 1.65. ssa eee 439 Se euckingsl)p lransfers......... 487 Pee OGi COVERS. 0 2s oe en 705 Sropicos weawing .. fi .s. 2... ers. 122 Sipping erinted Sheets.......... 678 DUCE Ge 0. aie oe as a 696 Stock Engravings, ee 497 Stock for Embossing. . eae. tgtclo MES es A ee rr 616 Stones, Lithographic..... Jo... 484 Stop Cylinder Printing Press...... at Storage Shelving for Package Filing Sioveswl MOlographing..........:. 33 Straight NUDE oT I ae ae a 426 Saeetioarcards, ize of.....:.... 332 Strength Test for Paper. . .... 664 Stretch in Silver Print Paper. . areas String Loops for Hanging....... 678 Stripping a Negative...... 220, 254, 255 Stripping Line and Halftone Nega- bivece MOCCLUEH? ic. fie es 303 Srureenest tor Paper Pulp..... - .. 638 Sweating Plates on Metal Bases... 389 Styles of Bookbinding......... ROE ELU: Styles of Copper Plate Engraving... 531 Styles of Drawing. . ae 133, 185 Styles of Drawn Lettering. ree ha) BES Oe LADEN auc foe soe, ses 418, 421 Subject in which Another is Inserted 102 Subjects for Reproduction by Photo- PRON S. 5 doe a re a ri Suberancelest-.for Paper......... Page Sulphite Fibre, Photomicrograph... 636 SUA Cin LS eee ee ean rea eee 37 Super Calendering Paper...... 648 Superimposing Colors in Printing. . . 239 DML acer d CSHIGMEApEL. oe hoe ee 662 Symbolic Group Design.........<:; 103 SyimMDolc Groupse, 1.9. sean aaa 100 Symmetrical Lensesyre.4. 4.2", 500+ = 16 Sympathy Acknowledgments...... 546 System for Handling Large Printing ODS, a5 ae eines SPAGR ae S ots tal 422 Tabbing Cards and Sheets........ 673 ‘Papletiic-Panet pew mre © 673 Tapes Between Signatures, Book- DPV CUI oer tien Bepa lea rsd fap ce sete? 699 elephoto lect eee acest 15 Temporary Mounts for Photographs 51 Tenting in Objects for Photograph- PESO Oe ee ee Aint RW a ee 21 Testimonial Letters, Reproduction 6) Lice sage ane Meade a Oe ree tea Trg. 163 phesting Paper Shc iaut ys aoe 662 Texture of Halftone Screens.....-.. 244 hexcure:, lest lorsPaper.n 2 soon as 663 Thickness of Metal for Line Etch- TSS hee, Mh ares eine nA ee 229 Tacs ‘Lest lor Papers.) nee O03 ThirdsClass Vials Matters aaeen ane 743 (hbrasher,. 54-45 241 Tints Superimposed in Printing.... 240 ‘Lipping Gn Prints ese eae 696 “Tassie Overlays in seen cacee sas 107 TitlesPacve Styles: oe. 6) Se ree 208 Titles for Plates and Copy........ 782 Tongue and Grooved Wood Mount- ino Blocker: wea eee 385 Tooling and Burnishing Halftones.. 263 Top Views, Photographing........ 29 Tracing Copy a Ae Wes ee odie oe ee eR 126 ‘Tracing. Pa perset ate ene 57 Trade Composition Plants........ 439 Trade Customs, Copper Plate En- craving Wh. Baan Seen amen, rae 530 Trade Customs of Electrotypers... 363 Trademarks Designsar oo. ee 208 Trademarks and Trade Names, Copyrichts-=22e5 eee 730 Trade Name Desioenssateenaree: ene 185 Trade Names, Brands and Water- tnarked: Panerste: dc oe es 670 Trade Names of Envelopes........ 621 Transfer Prints.on Metal. 2. .5..- 320 Transferring for Offset Printing.... 509 Pages 809 to 824, inclusive, are printed on 25x38—80 Ib. Aigrette Enamel Coated Book, made by The Champion Coated “Paper Co., Hamilton, Ohio. 820 Page Transtérs) ithorrapiice. es 488 ‘Transparent, [nkssien eer. ne eee 586 ‘Pransparent baper scene eee 660 Transparent Wash Drawings...... 112 Treatment of Mirrors in Furniture. 21 ‘Trimming Blockst eee. tae ieee 224 Pringle BOoks.o. es eer ree 703 Trimming) Copy sateen ee aoe a med ‘Pub Sizing Papers io) ee oe 648 Tarnina Negative Sees ee 254 Two Color Process Halftone....... 278 Two Compartment Envelopes..... 624 Tying Booklets with Cord......... 698 Two Line Color Plates] = a eee on Two-Fold Envelopes............. 619 Type ln. Mid teaee e eeeeee 426 Casés. 5. 33 nie air a eee 427, 428 Facess.c 8. eines eee eee 418-421 For Lithogrmphing 2. oes 498 Orit tase ec oa ee 442 Forms to be Electrotyped .ta0ee 450 Tig Wi Res aint ac ioe 5 eee 381 Leaded ns hin at ee 414 Léad and: Ritle:Gasters2 ©)... cee 438 Matricesern > cet a ee ee 427 Printed Over'a Flat Color. o..20% 236 Set Solids... in ae eae oane eae 414 DIZES da Sia al Ee, eee ee 429 Typeset Music.26225 7 eee 610 Type Sizes and Characteristics..... 430 Types of Headings for Type Matter 412 ‘Ly pes ol. Letterheadse. 5.3 2 er 173 Typewriting for Reproduction. .... 126 Undeliverable(/Maileg>.23. 22 751, 769 Undercut Haliiones 4... ee 250 Underlays, Makeready for Printing. 457 Uniformity in Color of Wash Draw- INGS |. id eae on ae 118 Uniformity in Photographic Prints. 651 Uniformity of Size of Subjects ina Groupc soe eee ee ee 82 Unniatlable: Matters see ee Teh Unmounted Plates 74s. eee 385 Unsymmetrical Lenses............ 16 Upholstered Furniture, Photograph- ING io Hc Ape Rah eee 21 Use of Models for Photographing... 29 Uses to which Duplicate Plates are suited ; site. Renee e eee ee 343 Using Paper that Cuts with Waste. 407 Vacuum Printing Prames aay 256 Valuable Copy, Treatment of...... 327 Value:of Old: Papers. 27a eee 635 Valueiof Old: Plaicsns ee sae eee 789 Varnished Furniture, Photographing 21 Varnishing Printed Sheets. . 679 Varying Prints from the Same Nega- _tive i+ s Dee aes ee ee 37 INDEX Page Vertical Position of Pieces for Photographing Groups.......... 28 View Camera: ?\22 2 10 Views of Books) 222 aa 157 Vignetted Photographic Prints... . . 40 Vignette Halftones. 2, yen 261 Visiting Cards 2320.2 539 Wall Paper Printing Machine...... 479 Wash DRAWINGHo = ae 110 Wash Drawing on Special Surfaces. 118 Wash Drawings, How Made.. Aad" & | Washers, Pulp... 2,2) ee 623 Water Colors. 4 .:.4). ee 138 Watermarking Paper: 92) 2 eee 640 Wax ENGRAVING) 3). rere Ti: Wax Mould Electrotypes...... 346 Wax Papen, .. .29o./i222 See 661 Wax Shaving Machine, Electrotype 348 Wearing Qualities of Halftones and Line Etchingshee 5 =e 337 Wear Test for Papersa..) eee 667 Web Printing’ Presse eee 465 Wedding Announcements......! 537, 538 Wedding Invitation Forms........ 536 Weight and Size Limits of Parcels to be Mailed)..028 Sees Weight. Test for Paper se Wet Leading, Electrotyping....... What Constitutes Infringement of Copyright: (ce. ie eee 730 What May be Copyrighted....... 729 ae May be Retouched in a Photo- : raph, :. 2.4.00 oe 7 White on Black, Line Etchings.... 227 Wide-Angle Lens. 2. ae 17 Winding, Slitting and Cutting Paper 642 Window Display, Photographs..... dl Window Envelopes. 2.2. 92. 623 Window Trims, Made by Lithog- raphy ee Peete 516 Machine. .)...5. o. ee 638 Wire Stitching: 3. 2s eee 696 Woop ENGRAVING. 22. S95 ae eee 369 Wood Engraving for Posters....... 614 Wood for Paper!.2 3...) see 627 Wood Mountings. 74.) eee 384 Work and Turn Forms........... 447 Working Drawing for Machine Shading... =. ee 66, 70 Worms-eye View 2.206 2 ane 27 Wrapping Mail Matter, (32.52). 746 Wrapping Plates for Filing........ 785 Writing’ Paper. 2.22.5 654 X-Ray Photography...) see 44 X-Ray Views..7) jeu 210 Zinc Etchings. = 229 217 Zinc Halftones: |, 2). sae oe ee 246 INDEX OF PAPERS USED IN THIS EDITION OF COMMERCIAL ENGRAVING AND PRINTING Pages terete mame! Coated Book... 00.00.0000 6ccdsenccscaces 1-688, 785-840 Ll MO 5 dys 5 by snk @ oluie bao vue dw Ds Oe bao Ee we vlace. 689-696 Im MAMEPCINTIGUT OOS a5). % co oa ee ws tb had eden eda davads adeue cus 697-704 mereiereranisn: Book:........ 6... Leena Ne MRE ce AL ee aa, 713-720 OA UOT a ri a rn on i a, i nc cri 7 761-768 Ms MO, fame es Lar die as oh EES GA Sole ca soe ah dla Su wen 769-776 Os oi SS Mgua hhc oe Sa I ai oh ae ee re a on a 777-784 Made by The Champion Coated Paper Company, Hamilton, Ohio er ry Ee oe aie asd a Sivek Uy ow eve bee yaa J5=7 12 re eat esse eas wa mecdne since deb cav ew et aes Made by the Northwest Paper Company, Brainerd, Minn. Se er yee Fc fc sep oe plas sat mtu nv ws 009-912, /29+736 Made by the Allied Paper Mills, Kalamazoo, Mich. PMT ERO aoe cg cs eipiee oie cc cles ole pa one Da ee ee 737-744 Made by Valley Paper Company, Holyoke, Mass. Wistaite eilelistiniie: ails) eileite (6's) 2] "elie (ee) 8,100.6) 10, 6; ie (0; (0) 6:10 ‘S00, 0 16 je: 16, 6 (ene fo 6 © ONO, 0) 0 00. 80 oe i ew oo Made by Gilbert Paper Company, Menasha, Wis. SMM NE ans oes waldo owned ne doh ods Pete ew wee eMes 753-760 Made by Columbian Paper Company, Buena Vista, Va. Rear Ore CRON Wa. sa oes coe SGa be S84 tle de whee Insert Opposite 520 Made by Whiting Paper Company, Chicago, III. et ee ca be adie bs ed ave betes Insert Opposite 540, 548 Made by Z. & W. M. Crane, Dalton, Mass. tN sr en ee eh nc Ss nies wale waned Dee wiowss Insert Opposite 682 Made by Byron Weston Company, Dalton, Mass. ae a ey tgs sacle shies wigs ods Pwiele P44 Rade WES 489-496 Made by Crocker-McElwain Company, Holyoke, Mass. RRM CN MES Rat OME SR ex? Soon kek A «x Cal ack ds vise e ogo v ghentad ace & an Cover Made by Interlaken Mills, Providence, R. I. United States Blue Print Paper Co. 207 South Wabash Avenue Chicago, Illinois Dealers in Artists’ and Drawing Materials, Blue Print and Tracing Papers, etc. Manufacturers of SILVER PRINT PAPERS for Artists, Photo Engravers and Lithographers V. H. LOCKWOOD R. G. LOCKWOOD LOCKWOOD & LOCKWOOD Patent, Trademark and Corporation Law Telephone MAin 1103 1211 Fletcher Savings and Trust Bldg. INDIANAPOLIS, IND. 821 INTERLAKEN Book "sie" Cloth Extra Colors Common Colors Vellum de Luxe Art Vellum Art Canvas Crash Cloth Art Buckram Basket Cloth Intergzrain ‘HESE nine grades in many attractive shades and patterns used for binding General Litera- ture, Novels and Fiction, School Books, Technical Reference Books, Law Books, Business Booklets, Loose-Leaf Binders and Catalogs. Write for Samples INTERLAKEN MILLS New York Office Providence Office 18 Thomas St. Turks Head Bldg. OUR CRASH V WAS USED IN BINDING THE ENTIRE EDITION OF COMMERCIAL ENGRAVING AND PRINTING 822 ALL INKS used for the Letterpress Printing in this edition of ComMMER- CIAL ENGRAVING AND PRINTING were selected to suit the vari- ous papers and the many color combinations by PHILIP RUXTON, Incorporated Main Office: 220 West 42nd St., New York City BRANCHES 161 West Harrison St., 725 Clark Ave., Chicago, Lil. St. Louis, Mo. Merrill Park, 500 Prior Ave., Battie Creek; Mich, Si Paul Minn: 270 Congress St., Boston, Mass. FACTORIES 247 Water St., 2211 Elston Ave. Brooklyn, N. Y. Chicago, Il. Merrill Park, Battle Creek, Mich. Weak NISH RPEAND = 2211 Histon Ave, Chicago, 111. AGENCIES Denver Printers Supply Company, Southern Electrotype Company, 403 Barclay Block, Denver, Colo. 89 Hermando St., Memphis, Tenn. ieeebeurtis Company, Pratt Paper Conipany, Seecrcreot, Atianta, Ga. 100 Eighth St., Des Moines, lowa Frank Lehman Company, Dudley Paper Company, 115 Fourth Ave., Nashville, Tenn. 740 Shiawassee St., Lansing, Mich. Bush-Krebs Company, Whistler & Meyers, 408 W. Main St., Louisville, Ky. 428 Boyd St., Los Angeles, Cal. Central Michigan Paper Company 31 Market Ave., N. W., Grand Rapids, Mich. The inks used may be ordered from any of these branches, factories, offices or agencies. 823 ES RN 1909 VoTraqd CY 1924 W'S) SON WW AW Fpoat * S110 -S¢ ist Ww" ew ‘\ \ yy O \\ W'S rae” Lompany yO} WSS 5 byt ES A Since 1909 the Lino-Tabler System has ruled supreme in the slug-cast tabular field. This illustration and those shown on page 796 explain why. Advertising managers are sure of artistic and economical results on vertically-ruled catalog tabular composition if Lino-Tabler work is insisted upon, whether Linotype, Intertype or Linograph is used. Perfect ruled blank forms are preduced by the Lino-Tabler method with product of the foregoing machines and Monotype, Thompson or Elrod strip material. Note Lino-Tabler specimens in ‘“‘Manual of Linotype Typography,” pages 182, 185, 226, 244, 251 and 252. Leading trade linotypers in thiee hundred cities and towns throughout North and South America feature Lino-Tabler work, many of them displaying the emblem shown below. CHICAGO LINO-TABLER COMPANY WILLIAM C. HOLLISTER, “President 172 West Washington Street, Chicago ¥-.-Y 7. — “rm ~ wm wW Yf\ =— “Fs A Wo RULE-AND-FIGURE AND RULED-BLANK COMPOSITION RULE-AND-FIGURE AND RULED-BLANK COMPOSITION AN (XJ = 2 — - a = 824 ‘(DITTIMAN ‘PROCESS SEE DESCRIPTIVE MATTER, PAGES 799-801 IN THIS BOOK Produces Level Plates Causes No Disturbance of Present Pressroom Equipment Increases Productive Hours Improves Quality of the Printed Product Prolongs Life of Equipment Assists the Pressman in Demonstrating His Craftsmanship Saves 50% in Makeready Cost WM. A. FIELD COMPANY 638 FEDERAL STREET : CHICAGO, ILLINOIS Manufacturers of UP-TO-DATE MACHINERY AND EQUIPMENT FOR THE ELECTROTYPER AND PHOTO-ENGRAVER ROYLE BALL-BEARING ROUTER All the good points of the No. 1 Style with added features of ball-bearing in all running sections. Three times and more as easy running as the plain bearing machine. Equipped with brake for quick stopping. Also all-iron guide rail with renewable and interchangeable steel face. Exhaustive tests show running life of machine is notice- ably increased, resulting in a router of the highest ef- ficiency. Write for particulars. JOHN ROYLE & SONS PATERSON, N. J. Photo-Engravers’ Machinery Routing Cutters Saws Lining-Bevelers Micro-Edgers Cutter Grinders Ellipsograph, etc. 826 Machines for Cutting, Printing WOLD and Waxing Air Brushes, Sprayers BOTTLE CAPS and Air Compressors A high-grade piece of work requires the best tools made. We make a specialty Offs Ait Brushes and Air Com- pressors for Commer- cialsArt. Work= and Photography. Inquire about these outfits. More Milk Bottle Caps are manufactured every day on my machines than on all others She combined. WOLD AIR BRUSH |} If Interested Write for Circulars M FG. COM PANY » é 2173 N. California Ave. “LOYSTER,” Cazenovia, N.Y. | CHICAGO, ILLINOIS ae term Deny Shading Mediums For Shading and Perfecting Drawings on Cardboard, Stone, Zinc, Copper, Glass, Aluminum and other Flat Surfaces. Originally Invented by BENJAMIN DAY Approved and used for years by the leading Lithographic Artists of the World and by the Graphic Artists of Associated Crafts. Every improvement made in the Rapid Shading Mediums and the necessary equipment, is an Additional Invention. Every Invention is an Improvement. BEN DAY, inc. 118 E. 28th St., New York City Sole Proprietors and Manufacturers of the Ben Day Rapid Shading Mediums. She UNIVERSAL MODEL C ENGRAVING MACHINE WITH ZERO ADJUSTMENT For Engraving Copper ‘Plates and Steel “Dies ITH the aid of the Universal Model C Engraving Machine, the engraver can triple his output, lower the cost of production and always give his customers a uniform quality of engraving. You will be interested in our book of testimonials, which will tell you just what our users think of this machine. Write us for our easy terms. ENGRAVERS & PRINTERS MACHINERY CO. SAG HARBOR, NEW YORK HAMILTON EQUIPMENT WOOD AND STEEL Standard in the Composing Room for nearly forty years THE HAMILTON MANUFACTURING CO. Main Offices and Factories: TWO RIVERS, WIS. Eastern Office and Warehouse: RAHWAY, N. J. Hamilton Goods are carried in stock and sold by all prominent Type Founders and Dealers everywhere Steel Die Embossing, Hand Stamping Copper Plate Presses HARDENING FURNACES and COPPER CUTTERS INKS and DIE WIPING PAPER All Accessories for the Engraving Department MODERN DIE & PLATE PRESS MFG. CO. BELLEVILLE, ILLINOIS New York Chicago San Francisco MILLER HIGH-SPEED PRESS 4,000 PER HOUR Miller High-Speed Press Miller Craftsman Unit Miller 8x12, 10x15 and 12x18 Ideal Units Miller Universal and Printers Bench Saw-Trimmers Miller Accessories All Contributing Aids to Maximum Printing Production Write for “Descriptive “Matter, “Prices and Terms MILLER SAW-TRIMMER COMPANY , Pittsbureh. - U.SeAmn Atlanta, Boston, Chicago, Dallas, Detroit Los Angeles, Minneapolis, New York MILLER MILLER CRAFTS. "™@ Philadelphia, St. Louis, San Francisco | SAW-TRIMMER MAN UNIT ‘9Iq 10 dJlUy & YIM PpuUTy AuUyY jo s[ell ‘sassa1g Suissoquiyq ‘sossoig sulpuej3sg ‘s1ossoid -938W. IND OUM SOUL [Ty pue si9syey. xOg s9deqg -W0d YoOog ‘Sslapuliyn osjluy ‘Ssi9}jng JsuI0OD punoy ‘STITAL Jodeg ‘si1sydeisouiry ‘siapuiqyoog ‘sio}ulIq ‘sassalg 91q ‘SIsWIUIy, Yyoog ‘souryseP, sunins GuHAdUS SACVAL SLONdOdd VS ‘N ‘OIHO ‘NOLAVG ANVdWO() ANIHOV[L GTOPAUS 831 To select out of the great mass of existing typographic material those type faces which time has proved to be the best; To develop these faces in conform- ity with modern requirements, with- out sacrifice of the essential character andartistry of the originals, yetalways with modern needs in view; To make each face availableincom- plete type families, each withits related series of ornament — selected where possible from the original designs, created where these are lacking by recognized masters; And, finally, to make all this ma- terial available to any printer at any time for any purpose of printing, that he may employ it confidently and in- telligently as the means to the best expression of his art: This is the plan and purpose of TYPGS@RAPHY MERGENTHALER LINOTYPE COMPANY 29 Ryerson Street, Brooklyn, N. Y. SAN FRANCISCO CHICAGO NEW ORLEANS 646 Sacramento St. 1100 South Wabash Ave. 549 Baronne St. CANADIAN LINOTYPE LIMITED, 119 Adelaide St. W., TORONTO Composed entirely on the LINOTYPE in the Benedictine Series 832 The Fastest Flat Bed and Platen Presses on the Market 7,500 IMPRESSIONS PER HOUR The “New Era” Multi-Process Press is a high speed, flat bed and platen press with an intermittent web feed. Deliv- ery—Slit and cut into sheets or rewound. Attachments for perforating, punching, tag re-enforcing, eyeletting, numbering, etc. Once through the press completes the job. NEW ERA MFG. COMPANY 391 STRAIGHT STREET : PATERSON, N. J. Do You Print from Plates ? The principal items that retard press- room output are the time required for lock-up, registering, make-ready and running. Any hold-up or delay on any @ of these items may mean the differ- © ence between profit and loss on that I) particular job. Electrotype plates, used “> inconnection with Challenge Iron Sec- tional Blocks and Hooks, more than pay for themselves by reducing to a minimum the time required to handle each one of these important items. 6x6 Art Hook CHALLENGE PLATE-MOUNTING EQUIPMENT covers every possible phase of plate-mounting for book, catalog, pub- lication and commercial work, labels, folding box and specialty work. WRITE FOR ILLUSTRATED LITERATURE ON PLATE-MOUNTING The Challenge Machinery Co., Grand Haven, Mich. CHICAGO, 124 S. WELLS STREET NEW YORK, 220 W. 19th STREET 833 1. Rear view Correcting, Solidifying, and Lead Moulding Machine. 2. Front view. 3. Flat Plate Shaver with Claybourn Precision Shaving Head. 4. Precision Power Proof Press for Photo-Engravers. 5. Precision Plate Gauging Machine. LAYBOURN Precision is the essence of all the requirements for perfect printing. Progressive Photo-Engravers, Electrotypers, and Printers in ever- increasing numbers are installing Claybourn machinery and employing Claybourn Process Press Correction and Rectifying Service. See pages 461 and 801. CLAYBOURN PROCESS CORPORATION MILWAUKEE, WISCONSIN A. Curved Plate Machine (open); B, Closed; C, Curved Plate Shaver; D, Curved Plate Proof Press; E, Curved Plate Re-Former (open); F, Same machine with plate undergoing re-forming process. 834 SMicile Investment Purchasing a Miehle is just like buying a standard bond listed on the stock exchange. This is what makes the Miehle the favorite investment of printers every- where. | Because the principle is perfectly safe, in spite of the fact that the income is greater than is possible on any other press. Miehle Printing Press & Mfg. Co. Principal Office: Fourteenth and Robey Streets, Chicago Sales Offices in the United Slates: CHICAGO, ILL. - 1218 Monadnock Block DALLAS, TEX. - 312 Central Bank B‘dg. NEW YORK, N. Y., 2640 Woolworth Bldg. BOSTON, MASS. - - - - 176 Federal St. PHILADELPHIA, PA., 1015 Chestnut St. SAN FRANCISCO, CAL., 693 Mission St. ATLANTA, GA., Dodson Printers Supply Co. DISTRIBUTERS for CANADA: Toronto Type Foundry Co., Ltd., Toronto, Can. YOU NEVER HEARD OF A MIEHLE BEING SCRAPPED 835 MACBETH Photo Lamps — Camera Work and Printing POWER SPEED PENETRATION PURE WHITE LIGHT TYPE 7A PRINTING LAMP World’s Standard MACBETH ARC LAMP COMPANY ryor-r705 VINE ST., PHILADELPHIA, PA. THE LANGSTON PRESS FOR CORRUGATED BOARD AND SOLID FIBRE BOARD We build this Press in all sizes and types for use in printing shipping containers SAMUEL M. LANGSTON COMPANY, Camden, N. J. Manufacturers of COMPLETE CORRUGATED SHIPPING CASE EQUIPMENT 836 {i (©) i A ys AUOUUUAAGDUONDADAGEOUANGOUANOGOIONDSONGIOOB0DON00000N500000000DN0GROLN0000000000008000000N00L0RN0080G000800I0B0000L0181 = oe! We = a 542 S.DEARBORN STREET CHICAGO 212 E.SECOND STREET CINCINNATI 526 NEW CALL BLDG SAN FRANCISCO he Goods with a ‘National ‘Reputation COPPER, ZINC and everything in material and equipment for the manufacturing Photo-Engraver. PHOTO-ENGRAVERS: COPPER NATIONAL STEEL&COPPER PLATE CO 214 TAAFFE PLACE BROOKLYN 1101 LOCUST STREET ST. LOUIS = l l l l l C= = = = Se Se S| SS] OT TT SUUUUUUUUAUOUUUOOOUUONAUENANEAUUUOOLUANOUOEEOGLGUOCHUANUOUUOOAAAANOGLGGGOUOULONANONOOONEOEODULUOOOONANGQUUUOUUUOOQ4S0QU00NCHOUUUQ0Q0U00000000000000T0H100000000E00000000000200000000000400000,00400000000440010000000000000700010008Q000NQTHOTUNGGNNONNSOOONOONGNGOOQUOQNON0V0N0400000U090000000000070UDURUONAQNUGQQQQQQOQNOQQQQONNNOQQOQQOQQOUOUDOCOSUOONOQQUAQUUOOUOVHNONO0Q0N00107N0000000000000000000000000000 0000000000 000000NN0000000000000000000000000 Miehle Printing Press & Mfg. Co. 14th and Robey Streets - CHICAGO, ILLINOIS The Miehle-Vertical makes real the Printer’s dream of big production. It is a high-speed, extremely simple and thor- oughly automatic job press capable of producing easily the widest range of printing. It has rapidly won the unqualified approval of printers every- where. It is certain that you need a Miehle- Vertical as part of your equipment. City Office -— > 29) sae eee ee Monadnock Block New York;iNi3Y. 2 eee _.. 2640 Woolworth Bldg. Philadelphia, Pas 40m ae Jefferson Bldg., 1015 Chestnut St. Boston)! Massa ee ee ee ee 176 Federal St. San Francisco,.Calitr= 2) ee . 693 Mission St. Dallas; Dex asieevna. 0 ee Sly, 312 Central Bank Bldg. Atlanta;i'Gas (ae 294 ee ee Dodson Printers Supply Company 838 TC > "ae nd I. tae a ob fh To > pe eee oe De ee ee Ga O=O 9 BP as ~ 54 -$ 6 — oO ee ROMs OO 4 oP -6 FP FP 4 ot SEF 2-9 ee 2 degre + o~ A Oe Benn bE te BL Ate 8S RHE ene yd Ft te ae eo Rb OS ee 8-8 Be - me ~~ + oe ene eS ere? er © oO bo © cg ~ a ee" OP O-6- & wnat Se g-ee Fe ett at it Ae SF ake Fete et eta == me }i-*t- BS Fn or SAE hn Smeg ems kp ne RAB Th Or ek sp nd aus pnd OA oko get Ea k TIS re Oe Fy 0 eS eee WE oe Fr OOP AAO - BT gt 04 wen 2s wet ge bar ota oh in ne we See -@- ec ge atlis phate, Bf Ka SMTA AES te Be BEM BE COE A Og ee ys Be TE ~E~-0— BR g AGP Bt BN. 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