Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/practicalcolorisOOshel A WET DAY THE PRACTICAL COLORIST A PATHFINDER FOR THE ARTIST PRINTER 3 By FREDERICK M. SHELDON 2 BURLINGTON, VT. THE OWL PRESS I 900 PREFACE. B ELIEVING that in the heart of every printer there is a strong desire to rise above the common level, out of the lethargic indifference of the past, into the joy of the aggressive artist printer, I have assembled the matter in THE PRACTICAL COLORIST as a means to this end. This book is not a text-book on the science of light and color. Only that of vital interest to the color printer has been taken from the science of chromatics ; much of this science having been purposely omitted, that nothing should be introduced which could possibly tend to mistify or hinder. The laws governing the technique of color printing have been simply and plainly stated, and illustrated and even repeated in order to fix them indelibly upon the mind. The illustrations are most simple and plain every-day applications of color effect any one of which can be reproduced in any ordinary job office. The book treats of nothing but the simple details essential to good work, but to one who aspires to success in illumi¬ nating, these details are, of all things, most valuable. In fact, The Practical Colorist, from beginning to end, is one earnest plea, by precept and illustration, for simple, plain, neat, and readable type and color effects. Just as all music must have its key-note, so every combination of colors must have its dominant color, which gives tone and life to the combination. To do effective work one must fully understand chromatics and harmony. While he who does not somewhat under¬ stand music and its laws, is most rare, but few know anything of the laws of harmony of color, and a still smaller number, get any¬ thing like full enjoyment from all the beauties of nature’s colors which surround them. This lack of knowledge is partly due to the scarcity of text-books which treat harmony in so simple, and yet so terse a manner as to make it easy to acquire. This book aims to help along this line. The young, aspiring printer, cannot consider his education complete until he has mastered this most essential science. Reader, kindly search as for hidden treasure, holding fast and using anything good and straightway forgetting any imperfec¬ tions resulting from condensing into small space, from a wide and fascinating field. F. M. S. CONTENTS. DEFINITIONS. page Color—Primary, Secondary, Tertiary Colors—Hue—Tone—Harmony—etc. - 7 COLOR. Color Modified—Light—Wave Theory—Vibrations—Prismatic Spectrum—Disin¬ tegration—Prismatic Colors—Visibility—Absorption—Decomposition—Reflec¬ tion—Influence of Surroundings—Sunset—Standard of Color—Scientists’ Primaries—Pigment Primaries—Triangle—Secondary, Tertiary, Complemen¬ tary, Warm, and Cold Colors—l one—Hue—Scale ..... 9 HARMONY. Harmony Defined—Harmony of Relative or Analogous Colors and Subdivisions— Hatmony of Contrasting Colors and Subdivisions—Black—White—Red— Yellow— Blue—Orange—Green—Violet—Neutral Grey— Colored Grey—List of Combinations—Three-Color Combinations - - - - - -23 COLOR MODIFIED. Colors Appear to Change—Vibration—Dust in Air—Normal and Color-blind Eye— Fatigue of the Eye—Simultaneous Contrasts—List of Simultaneous Contrasts — Eight Modifies Color—List of Changes Caused by Different Lights - - 37 PRINTING. Cause and Effect—The Color Printer—Character of Work and Worker—Intelligence and Taste—A, B, C, of Color Work -------- 45 INKS. How to Select —Mixing—Tone—Tint—Hue—Red—Yellow—Blue—Two-Color Mixtures—Three-Color Mixtures—Opaque and Transparent Inks—Paper and Ink—Driers—Driers and Reducers Combined—Reducers—Printing on Coated Paper—Coat Pulls Off—Ink Piles up on Half-Pone—Mottling—Gold Size— Gold Ink—Gold Leaf—Copying Ink—Gloss Effects—To Varnish Labels— Printing on Oily Surfaces—Nickel Plated Electros.43 ROLLERS. Good Rollers—Glycerine Rollers—Care of Rollers—Choice—Cylinder Rollers —Heat and Cold—Composition ........ <;4 MAKEREADY. Economy Lockup—Packing—Underlaying—Overlaying—Spongy Overlays_ Half-Tones—Electricity. JOB WORK. Three Kinds—Every-Day Run of Work—Good but Cheap Work—Illustra¬ tions—Simplicity—Harmony—Two-Color Effects—Control the Home Field- Advertisement Writing—Lithographed Work—Half-Tone Cuts—The Camera —Electrotyping—Twenty Per Cent Profit—Good Proofs—Size of Pages— Legibility—Paper—Folders and Pamphlets—Calendars—Printing in Colors- Lockup for Color Forms—Color-Work—Samples of Perfect Printing—Refer¬ ence Cards—Private Mailing Cards—Business Cards—Blotters—Receipts— Checks—Mail Slips—Envelopes—Letter Heads and Memorandums—State¬ ments and Bill Heads—Embossing—Embossing Composition THREE-COLOR PROCESS WORK. Photo-Trichromatic Printing—How Plates are Made—Method of Printing-Ink_ Paper Press Cylinder Press—Color Work on Newspapers and Magazines - 1 ILLUSTRATIONS. Plan Explained Plain Type Effects—Rule Added-Series of Types-Rule and Ornament—Rule, Ornament, and Border—Colored Inks—Two and Three- Color Effects by One Printing—Two-Color Effects-Contrast of Complernen- taries—Simultaneous Contrasts—Contrast of Secondaries—Choice of Best Color—Contrast of Primaries—Related Colors—Contrast of Tone—Half-Tones in Two Printings—Contrast of Hue—Tints-Harmony of Dominant Color- Hues Different in Tone—Hues of Equal Intensity—Colored Paper Half- Tones Three-Color Effects—Is Color Work Profitable—Cover Designs Colored Stock and Inks—Illustrated Advertisements - - . . . i SUMMARY. DEFINITIONS. The Prismatic Spectrum is the result of disintegrating or decomposing a ray of light by passing it through a prism. Prismatic Colors are the visible elements of light which have been disintegrated by passing through a prism. Color is a sensation resulting from exciting the nerves of the retina of the eye by the action of one or more of the elements of light. Standard of Color. The colors of the rainbow or spectrum are always the same, hence they form a constant or standard of color. Primary Pigment Colors are red, yellow, and blue; primary because from them all other colors can be made. Secondary Pigment Colors are orange, green, and violet; secondary because they are made by a combination of two of the primary colors. Tertiary Pigment Colors are russet, olive, and citron ; being made by a combination of two of the secondary colors. Complementary Colors are any two colors which, when com¬ bined, produce white light; that is, when the two sensations unite they affect the eye the same as white light. Normal Colors are pure and full, the same as spectrum colors. Broken Colors are those which contain some of all the pri¬ maries. Warm Colors, also called luminous colors, are red, orange, yellow, light green, and light tones of the somber colors. 7 Cold Colors, also called somber colors, are blue, indigo, violet, dark green, and broken hues of the luminous colors. Tones of a color are the i*esult of adding white or black, in increasing proportions, to the color taken at its highest intensity. Hues of a color are the result of adding, in increasing propor¬ tions, one color to another. Tints are the light tones produced by adding a little color to white. Scale is the series of tones or hues of a color. Harmony is the result of properly applying the laws governing the mixture of colors so as to produce the correct sensation on the retina of the eye. Contrast of Colors is the effect produced when two colors, which differ widely in depth of tone or hue, are brought side by side. Related Colors are those which have 'some one color in com¬ mon in their composition. Simultaneous Contrast is the result of viewing two or more colors which are in juxtaposition, neither of the colors appearing just the same as if viewed alone, but of a color which is the result of its original color plus the complement of the other color. Decomposition of light is separating it into its elements. 8 COLOR. OLOR is a sensation resulting from exciting the nerves of the retina of the eye by the action of one or more of the elements of light. Color is a property of an object simply in the sense that a certain object is able to decompose the light falling upon it, absorbing a part and reflecting the remain¬ der. The part reflected we term the color of the object, as only the reflected color is •visible. If it reflects only those waves capable of affecting the red end-organ of the eye we say the object is red ; if it absorbs all the light it appears black ; if it reflects all it appears white because it affects all the end-organs alike. Color then has no material existence. It is an internal sensation caused by decomposed light, hence there can be no •color without light. & Light.— The principal source of light and color is the sun, hence at the outset it becomes essential that sunlight be carefully analyzed and studied. The Wave Theory of light is practically ac¬ cepted as being the only way of accurately explaining all its phe¬ nomena. This theory assumes that the molecules of luminous bodies are constantly vibraiing with great rapidity, and that the\ transmit these vibrations to the ether which is supposed to extend through all space and even to surround all molecules. This theory is clearly illustrated by throwing a pebble into the unruffled waters of a mill-pond ; the blow struck by the pebble on the water causes wave after wave to spread in every direction. Each particle of water passes the motion on and returns to its original posi¬ tion. Just so the extremely rapid vibration of the molecules of light set in motion vibrations of ether of the same wave length and speed. Each color ray vibrates many billion times a second, always the same, but each with a different rate of vibration from all others. Red vibrates four hundred and twenty-two billion times a second while violet vibrates seven hundred and ninety-nine billion times, thus 9 COLOR Vibration Prismatic Spectrum producing on the eye not only color, but harmony or discord, accord¬ ing as the vibrations are or are not in proper multiples. The scale of luminosity varies in the different colors in a similar manner, rang¬ ing down each way from yellow, which is the most luminous color. The fact that a color always vibrates at the same speed and that its wave lengths are always the same aids greatly in analyzing color. In fact, it is the power of the wave length, which vibrates four hun¬ dred and twenty-two billion times a second, to affect one of the end- organs of the eye and its inability to affect the other too perceptibly, that makes it possible to distinguish red, and in the same manner a wave of a different vibration affects the second end-organ, and still another the third. The Prismatic Spectrum is the result of disintegrating a ray of light by passing it through a prism. It has long been known that when a ray of sunlight which is colorless to the eye, passes from a rare through a more dense substance, it is refracted or bent from its straight course, but to Newton, was left the great discovery that white light could be disintegrated—divided into its elements—that, in fact, when passed through a prism, if caught on a white screen, its ele¬ ments would be spread upon the screen in their relative positions, just like the rainbow This gave to the world the prismatic spectrum. It also taught that white light is composed of many colors, which, when combined in just the proper proportions, give white. & & Prismatic Colors are the elements or colors resulting from the spectrum. Any fixed number of prismatic colors is of necessity arbitrary, for while three primal *) 7 and three secondary colors are distinctly seen, there are also hues of these colors which are more or less visible. The individual colors of the spectrum cannot be disin¬ tegrated by refraction. We learn that each color has its own angle of refraction which is always the same, but different from all others. Each color of the spectrum always occupies the same relative posi¬ tion to the others, the order being as follows :—red, orange, yellow, green, blue, violet,—red being refracted least is first, and on to violet which is refracted most. Visibility.—W hatever may be seen is visible because it is either a luminous body or capable of reflecting light. The sun, stars, and all artificial lights are luminous. A beam of light from a luminous body travels in a straight line, and when stopped causes a shadow. 10 This beam would be invisible except in its direct line of travel, when passing through a vacuum, or indeed through air deprived of dust, moisture or anything that could possibly reflect or refract its rays. Light, then, is invisible, yet it may become visible if intercepted by anything capable of irregularly reflecting it. To absorption, and the phenomena of dispersion, diffraction, and polarization are due all the glorious colors, which make the plumage of birds and the scales of fishes and insects beautiful beyond the power of man to imitate or describe. Decomposition of light by absorption when it comes in contact with natural objects is one of the laws of color. The color stopped or absorbed by a body, plus the color given off or reflected will be white. It is this absorption and reflection of light which gives to any object its appearance of color. Bodies which reflect light regularly, like a mirror or any polish¬ ed surface, simply give back an image of the source of light. Any¬ thing which reflects light irregularly , as from a minutely irregular surface, gives an image of the object which reflects it. This object, for instance a book, absorbs all the wave lengths except those capable of producing red, and these it cannot absorb hence it reflects them, thus giving the book a red appearance. Different objects then are distinguished by the color waves which they reflect and by the manner and intensity of this reflection. Surroundings and environment exert a great influence over this, as will be seen by later experiments. This is also wonderfully illustrated by the many colors of cloud and sunset sky, which often change in tone and hue with wonderful rapidity. A dense cloud often appears quite black when between the sun and the eye of the observer, as it largely intercepts the light, but the same cloud may become white or tinged with a most beautiful and fascinat¬ ing array of colors when so situated that the sun’s rays fall upon its minute particles in such a manner that they will reflect and refract the light to and from each other, breaking it up into its elements and illuminating the whole cloud with a blaze of splendor. COLOE Visibility Standard of Color Standard of Color. —The colors of the spectrum or rainbow are always the same, hence they form a good constant or a standard of color. The necessity of a standard with unvarying names for the different colors, hues, and tones, is a long felt want. For the lack of some agreement on this subject by ink manufacturers, great con¬ fusion arises, making it almost useless to give proportions of the different colors necessary to be used in mixing inks in order to secure any certain color. Each name should apply to but one definite hue. 11 COLOK Prismatic and Pigment Primaries Primary Colors. —Different scientists appear to hold widely differing opinions as to which are the primary colors. Dr. Young and some of his recent followers claim red, green, and violet as the primaries, while Chevreul and other equally noted colorists claim them to be red, yellow, and blue. In fact, no two of Young’s follow¬ ers, chose their colors from exactly the same position on the spectrum, though giving them the same name. It is even seriously claimed that no three colors are primary. This apparent diversity of opinion is due largely to misconception of the fundamental facts. Each theory being worked out and proven from a different standpoint. There is also an element of arbitrary choice which creeps in. Dr. Young’s theory that the prismatic primary colors are red, green, and violet is now generally accepted, and this theoiy is bourne out by the fact that fundamental color sensa¬ tions of the eye are received on three end-organs, one receiving red sensations, the next green, and the third violet. From various pro¬ portions of excitement of these nerves we see all the visible colors, thus proving that all colors can be secured by mixing colored light with these primaries. These are the scientist's primary colors, and he deals only with light and its colors. These then should be called Primal*}^ Spectrum colors. Primary Pigment Colors. —The artist in mixing pigment colors finds many spectrum color laws reversed, for instance, the pig¬ ment primaries are red, yellow, and blue. The result of mixing colored pigment and colored light is often just the reverse. Hence it is necessary in order to avoid* complicating and entangling the two theories, to state only the principles governing pigment colors, as this treatise has largely to do with this class of work. To go into details of both would only tend to defeat the aim of this book, which is simplicity and clearness. S & Red, Yellow, and Blue are primary or fundamental pigment colors because by the mixing of these pigments in varying proportions all other colors can be secured. Whenever in future these colors are referred to as primary it is to be understood that they are pigment primaries. The triangle seems best of all tried schemes, to bring, in simple, yet in most forceful manner to the understanding of the student the important facts, principles, relationships, and contrasts of the colors of the spectrum. Triangle No. i gives only the primary colors. The primary pigment colors harmonize well together, because 12 when pure, each has but very little of any other color in its makeup. Theoretically they should be absolutely pure, but practically there is a little red, and yellow, and blue in all. Red is at its strongest intensity at the top of the triangle, and all intermediate hues, lying between red and blue, or between red and yellow are made bv adding, in ever increasing quantities, one of the other colors to red. This principle also applies to yellow and blue just the same as to red. RED BLUE YELLOW TRIANGLE NO. 1 COLOR Triangle No.l Primary It is readily seen, that each primary is related to all colors on the two sides of the triangle which form its angle, as it enters more or less largely into the makeup of all these colors, and it is also apparent that it cannot be related to those on the third side of the triangle as it does not enter into their composition. The importance of this andi other lessons drawn from the triangle will be more apparent as the study of harmony is taken up. Each of the succeeding triangles will 13 COLOK Triangle No. 2 Secondary- further explain and illustrate the principles involved in harmony and the mixing of colors. & £ Secondary Pigment Colors —The secondary colors are orange, green, and violet. They are secondary because produced by a combination of two of the primary colors. RED TRIANGLB NO. 2 The triangle No. 2 gives the primaries and secondaries in their proper positions, showing proportions, relations, and laws governing their hues, etc., in a much more plain and impressive manner than would be possible in words. It will readily be seen that each secondary is, between the two primaries from a mixture of which it is formed—red and yellow giving orange, blue and red giving violet, yellow and blue giving green. 14 Many helpful facts may be fixed in the mind by a careful study of this triangle. Complementary colors are shown plainly and simply. For instance green, which is between blue and yellow, has practically no red in its composition, hence it offers the greatest contrast to red, and is its complementary. The same principle applied to orange or violet COLOE Triangle No. 3 Tertiary RED will show their complementary colors. The mere statement of the above facts might fail to impress themselves on the memory, but the illustration of the triangle makes it not only plain and simple, but indelibly fixes the fact on the mind. & Tertiary Pigment Colors. —Russet, olive, and citron are the three tertiary colors, so called because of the third combination, being formed by combining two secondaries. 15 OOLOE This triangle shows at a glance the whole scheme of the relation- p , shi P of the primaries, secondaries and tertiaries. It also shows that Colors ^ ^ ie teitiar y c °i° rs are formed by mixing secondary colors as follows : —orange and green give citron—green and violet give olive—violet and orange give russet. A further study of the triangle will reveal the fact that all three primaries enter, through the secondaries, into each tertiary color. For example, citron which is composed of orange and green, receives yellow from both green and orange, while it receives red only from orange, and blue only from green, hence it has twice as much yellow in its composition as of either red or blue. Using the tertiary or broken colors requires great skill when they are to be used alongside of other colors, as it is necessary to know their exact composition before choosing, so as to secure harmonious results. Yet it is by the use of these broken colors and their various tones and hues, that the most attractive effects are secured. Complementary Colors. —Complementary spectrum colors are any two colors which, when added prismatically one to the other, will form white light. It is best to state here that the pigment colors, on account of their impurity, come somewhat short of being comple¬ mentary but are more properly termed contrasting colors. Since the combination of the three primary colors produces the sensation of white light, it is evident that one of the complementaries must be of secondary formation in order to secure all the colors neces¬ sary to white. It is also evident by a glance at the triangle that complementary colors are not related—have in fact nothing in common. Thus the complement of red must contain both yellow and blue, which are the other two colors needed by red to form white. This color, it is seen from the triangle, is green, which is composed of a mixture of yellow and blue. Green then, chosen more or less distant from blue, according as the red is of a yellowish or bluish hue, will form the complement of red. Bearing the above principle in mind it is readily seen that orange is complementary to blue, and violet to yellow. With the present impurity of inks, an equal mixture of primary pigments would give a greyish black instead of white as is the result of mixing colored light. It is then evident that the color printer has not only pigments to mix, but he also has to consider the fact that he must mix his colors for the retina of the eye. In the eye the principles of prismatic colors are in full force. Becoming perfectly familiar with these little details of technique is the only means of gain¬ ing an accurate eye and good judgment. It is then apparent that a 16 thorough knowledge of both pigment mixing and scientific color mixing is absolutely essential. The principle of complementary colors can readily be tested by looking intently for a moment at the small red diamond on the page illustrating Optical Illusions, and then quickly shifting the eye on¬ to a white surface; the complement of red, which is green, will be seen in a soft, distinct tint just the same size and shape as the diamond. This can also be tested by using the colored figures on page 18. In this manner the complement of any color can readily be ascertained. This test is often of great service to one in selecting harmonious colors in printing. This peculiar phenomena becomes simple when it is understood that this result always follows fatigue of the eye. This fatigue is far reaching in its influence and is too little understood and consulted. This subject will be more fully treated later on. If complementary colors are viewed in juxtaposition eacn will throw its complement upon the other, raising its tone quite precepti- bly. If one color is largely in excess of the other, its complement, thrown on the other color, will have a most marked effect. This is mixing complementary colors in the eye. A marked illustration of this is seen on page 18, which is devoted to showing contrast of colors with white, grey and black. This influence of a large area over a color occupying a small space is important, and very far reaching in its effects and it occurs more often than any other, and is perhaps the least likely to be con¬ sidered. By looking carefully at the illustration it will be readily seen that while all three red figures were printed at one impression and with one ink, the red figure surrounded by white appears several shades deeper in tone than the red surrounded by grey or black. Had the red and black occupied the same relative space the change would have been so slight as not to have been noticeable. In the illustration of Optical Illusions it will be seen that while the solid red diamond gives a lull, strong tint of the complementary color, the little green page looses head, arms and feet in the comple¬ mentary tint, as the volume of color in these parts is mixed with much white, and is not sufficiently large in area to affect the eye sufficiently to call up the complement. This again shows the relative value of small and large areas. COLOR Warm Colors Warm Colors —The warm or luminous colors are yellow, orange, red, light green, and light hues of blue and violet. Olive, being composed of two luminous colors cannot become somber. If blue predominates in green it is cold, but if yellow predominates the 19 COLOR Cold Colors Tone green is warm. These colors will be fully treated individually later on. Illustrations of the colors, and of their combinations and influence upon each other will be found in the display pages. These illustra¬ tions contain a great number of peculiar effects both good and bad which will furnish much opportunity for study and comparison. & Cold Colors. —The cold or somber colors are blue, violet, and deep green, also deep shades of the luminous colors. It is often of advantage to use light tones of the cold colors, especially if several cold colors are to be used together, in order to relieve the somber effect as much as possible. The cold colors are at their best when contrasted by their complementaries which, being warm, add force and brightness to the effect. Tone. —The tones of a color result from adding white or black in ever increasing proportions to the color taken at its highest intensity. SCALE OF TONES ’ To add black to any of the lesser tones would at once cause it to leave its scale, and it would no longer be a tone of the same color. Tones, then, always refer to the lighter or darker shades of a color. The accompanying engraving illustrates both what a tone is and a scale of tones. Only a few of the many tones can be given in this illustration, but the engraving, starting as it does with a full color and coming down the scale, tone by tone, to a very light shade, shows in a most clear manner just what a tone is. 20 Each addition of white to a color decreases its intensity. If Tdack be added it deepens the intensity. Almost an infinite number -of tones of each color or hue are possible by careful gradation. Great confusion arises from the careless use of the words tone .and hue , as if they were synonymous terms. A careful study of their definitions as given in this book will show the difference plainly. Hence in this work the word tone will be used only to express the modifications of a color by its being lightened in tone by adding white, -or deepened in tone by adding black. A pure color cannot go out of its scale, be the tone ever so light or dark. The instant it leaves its scale it becomes a hue of the original color, not a tone. With this illustration fully fixed in the mind and coupled with the illustration of a hue which follows, there would seem to be no necessity of confusing these terms. The careful training of the eye to distinguish the multitude of tones of each color is of incalculable value. Every possible oppor¬ tunity should be improved to carefully examine works of art and the varied colors of nature in order to perfect the eye in quickly grasping and comparing the tones of a color. The importance of fully understanding all that tone implies, and being quick to perceive differences of tone, is realized by but few. Every one sees that by combining different hues or colors strong • contrasts are secured, but only the artist realizes that it is vastly more important that the tones of the colors used shall conform to the rules of harmony. It is only by the use of the harmonious contrast of tone that the soft, delicate, and most beautiful expressions in color can be ^secured. & S COLOR Tone Hue Scale Hue. —The hues of a color are the result of adding in increasing proportions one color to another. Thus, on the triangle we assume rred to be a pure color, while each color along the side toward yellow is a hue of red, made a hue, and moved thus further from red by the addition of yellow in ever increasing proportions to the red, until the yellow predominates, at which point it ceases to be a hue of red and 'becomes a hue of yellow. Thus the difference between tone and hue becomes apparent, as the hue moves along the side of the triangle, changing its hue by adding a little of some other color, while tone is simply a lighter or darker shade of the same color. Every hue of a color may have just as full a scale of tones as does the original color, by adding white or black. A color is always .a hue of the color which predominates in it. Each pure color may have an infinite number of hues. 21 COLOE Scale Scale.— The scale of a color is its series of tones from deepest,, on by a constant grade, to its lighest tone. There can be but one- scale of tone for a given color, but just as many scales of hues as it is possible to make hues of the color. Each color or hue has its own scale from which it cannot depart. The scale of color is nicely illus¬ trated by the scale of tones given on page 20. A scale of three or more tones*of a color will frequently be found among the color illustrations in the latter part of this book. In some cases the tone of the paper will make one of the tones of the scale. Quite a scale of tones of color is often, in fact usually, seen in a fine half-tone. A great deal of the beauty of a half-tone is irt its power to bring out a great variety of soft, harmonious tones. 22 HARMONY OF COLORS. HE harmony of colors is an agreeable effect produced by correctly applying the laws governing the mixture of colors for the retina of the eye. In the one little word harmony is locked up the whole sectet of successful color work. All that has been given thus far is simply to make plain and simple the laws governing harmony. It is harmony we strive for every¬ where, always, all through our lives. It is harmony of colors in dress, in the colors of decorations and furniture in our homes as well .as among our flowers. It is harmony of type faces, colors of ink and paper, and of proportions and adaptability to subject in hand in printing. Hence to be a real success anywhere it is vitally important to train the mind and eye to a true appreciation of the harmoniously beautiful. How the gaudy, flashy apparel of ignorance often offends •good taste and violates every rule of harmony. Ignorance is equally liable to violate these laws at every step in printing whether it be in •one or more colors. It is vitally important that sizes of type, style of :face and ornaments, should harmonize as well as the colors of ink. There are laws governing each, though they belong largely to the unwritten laws, which can be obtained only by persistent comparisons. The eye, ear, and mind aie wonderfully susceptible to training. They will come to instinctively act, form judgments and select the Best almost without effort, but not until they have received persistent, constant, unremitting training. Hence it is urged that in color work every detail influencing harmony be fully understood and stored away in memory’s attic, that it shall be ready at the summons of mind or eye at a moment’s notice. Harmony of colors is of necessity a somewhat flexible term, cov¬ ering as it does the whole range from the case where colors being brought close together just escape offending the eye, to those beauti¬ ful, soft harmonies which the eye feasts on with delight. There are combinations of colors which are not only disagreeable but really cause involuntary throbbing of the optic nerve. Such combinations 23 HARMONY Related Colors are not harmonious. Harmony, in its various grades of perfection',, is accepted to mean any combination not offensive to the trained eye. The minutest detail and technique of the science of color mixing- must be mastered ; must in fact become as one’s A, B, C, before har¬ mony in all its many variations and complexities can be quickly grasped and made of service. Only the artist printer will see at st- glance the reason why colors are or are not harmonious. There are two kinds of harmony. Harmony of analogous or related colors, and harmony of contrasting colors. Harmony of Related or Analogous Colors. —Harmony of related or analogous colors is the result of viewing simultaneously, two or more related colors, that is, colors each of which have some one- color which is common to all. Reference to the triangle will show that yellow, for example, is- found in varying proportions along the whole side of the triangle from yellow to red, and from yellow to blue, hence all colors lying on .these two sides are related to yellow, while the colors on the third side, having no yellow in their composition, are not related to yellow. This relationship of each of the primaries to all colors on the two- adjacent sides of the triangle varies in strength just in proportion as the hue or color moves near or far from the primary. Here again is seen the great advantage of being especially famil¬ iar with the triangle, for by its very shape it forms a natural divide, separating and illustrating related colors as could be done in no other way. It cannot be urged too strongly that at the very outset, before attempting to do color work, one should be able to give any color and hue its exact position on the triangle. In order to treat the harmonies so simply as to make them of practical use in color work, it is necessary to subdivide them into -their natural parts. Harmony of related or analogous colors may¬ be subdivided as follows :— Harmony by gradation of tone of related colors, Harmony by gradation of hue of related colors, Harmony by gradation of a dominant color, Harmony by contrast of tone of related colors, Harmony by contrast of hue of related colors. ^ j* Harmony- by Gradation of Tone of Related Colors is the- result of blending into each other two or more of the adjacent tones- 24 of one color. Pleasing results always follow careful use of this har¬ mony, as it is soft, not obtrusive and is universally pleasing. Harmony by Gradation of Hue of Related Colors is the result of blending into each other two or more related colors or hues, each gradually increasing or decreasing in hue, but of the same inten¬ sity of tone. The rainbow is a notable example of this. Strong, striking and brilliant effects can be secured by this harmony. Harmony by Gradation of the -Dominant Color is the re- v suit of so carefully selecting the colors, hues, and tones used that some one color shall so predominate as to give the impression that the whole is tinted and permeated by that color. Bv this harmony can be secured those peculiar effects which attract and hold the eye even of the indifferent. It is, in fact, the finished expression of a most complete understanding, not only of the laws of harmony but also of their practical application. Harmony by Contrast of Tone of Related Colors is the result of using two distant tones of one color, or two related colors which are widely different in tone. It will be seen by a reference to simultaneous contrasts that in contrasting tones of related colors care must be taken to see what effect simultaneous contrasts will have. Colors viewed separately and then side by side appear of very different tone. This is contrast of tone. Each tone will be moved away from the other as far as possible. Each moving about the same, if the tones are of the same intensity, but if a light and a dark tone are contrasted, the light tone is affected most. Contrast of tone, which is essentially the key to a truly beau¬ tiful combination of color, is too often entirely ignored. Harmony of Contrast of Hue of Related Colors is the result of using two or more colors or hues which are somewhat dis¬ tantly related. There are two varieties of this class :— When the hues are of about equal intensity, When one hue is very much stronger in tone than the other. The two and three color illustrative pages will furnish exam¬ ples of these different harmonies put to practical use in ornamentation. HARMONY Belated Colors, 25 HARMONY Harmony of Contrasting Colors. —This is simply harmony of unrelated colors, or those colors which have nothing in common in their composition Hence they are contrasting. Contrasts are not necessarily loud or harsh. On the contrary harmony by contrast is often the best and most beautiful possible expression of the artist’s love and joy in his work. Harmony of contrasting colors may be subdivided as follows : — Harmony by contrast of primary colors, Harmony by contrast of complementary colors, Harmony by contrast of hues equal in intensity, Harmony by contrast of hues widely different in intensity, Harmony by contrast of black with other colors. Harmony by Contrast of Primary Colors is the result of viewing simultaneously any of the primary colors. This contrast is clear and strong, and never unpleasant, as the colors are not related. Contrast of the primaries is more or less pleasing according as the operator is skilled in toning down the colors so that the particular tone in hand shall not be too glaring. It is often advisable when using one of the primaries in a full color, to reduce the tone of the other a trifle with white, this will add greatly to the smoothness of the result. Whenever it is the purpose to secure striking results that shall especially attract the eye, harmony of contrast with at least one full, strong color must be used. Harmony of the individual colors will be treated later under separate colors. Harmony by Contrast of Complementary Colors is the result of using a color with its own complementary. This is the best possible contrast, as each color helps make the other more full, and strong by throwing their complementary colors upon each other. If, as in the illustration of the initial printed in blue and orange, we place side by side these colors which are complementary, the orange •calls up blue, its complementary, which, added to the blue, in contrast makes it a stronger blue, and the blue in a like manner calls up •orange, which, added to the original orange, makes it a stronger orange. Hence* we see that a color may not, in fact is not, the same when seen alone as it is when seen side by side with another color. In harmony by contrast of complementary colors it is best to have the colors of about the same intensity of tone. Contrasting Colors 26 Harmony by Contrast of Hues of Equal Intensity is the result of using hues of unrelated colors which are of nearly the same intensity of tone. These harmonies are not apt to be as soft and subtle as those secured with contrast of tone. Harmony by Contrast of Hues which are Widely Differ¬ ent in Tone is the result, of using a light tone of one hue and a dark tone of another. This harmony gives more subdued and harmonious results than contrast of full, glaring colors. This is harmony of the tone of hues, and is especially valuable. Harmony by Contrast of Black with Other Colors is well worth careful study. Black is so commonly used that it is im¬ portant to secure all possible information concerning its actions under different conditions. The too common belief prevails that black can be used anywhere regardless of its surroundings. To illustrate : when the somber color, deep.blue, is brought into juxtaposition with black the blue throws its complementary, orange, upon the black causing it to appear dull, rusty, and weak. The ignorance of the law of simul¬ taneous contrast and its effects, and the inability to remedy the diffi¬ culty, has caused many a good printer trouble and perplexity. If orange be placed in contrast with black it adds to the black its com¬ plementary, blue, which gives the black a beautiful, deep, lustrous color. If a black must be used near a cold color and that color injures the black, add to the black ink a little blue for the necessary color to counteract the simultaneous contrast. It may be best also to change the tone of the cold color by adding white. Black placed between two luminous colors always has a good effect, causing the colors to be more bright by its sedantary effect upon the eye. It is also useful in separating colors which would not har¬ monize well, often giving better results even than white or grey for this purpose. The effect is not as pleasing when black is placed between a luminous and a somber color. Avoid using black with the cold colors, as it gives too somber effects except when used with the light tones. In harmony with black the colors should be worked full if warm, and light tones if of the cold colors. The tone of a color in contrast with black is slightly lowered. Black reflects about four per cent of white light, which tends to reduce the tone of the color adjacent. A most forceful illustration of this is seen in the illustration given on page 18 where, while all HARMONY Contrasting Colors Black 27 HARMONY Contrasting Colors White three figures were printed with one ink and at one impression, yet the figure surrounded by black appears much lighter than the one surrounded by white. Black is considered the complementary color of white. This- contrast is the lowest in complication and the highest in effect. Black produces harmony of analogy with the somber colors; with the luminous colors it is harmony of contrast. by contrast of tone, if a dark and light color are combined, the dark color becomes darker and the light color lighter. Thus we see an illustration of the fact that when two colors are in juxtaposition the tendency is to look as dissimilar as possible. A very common error is found in the belief that any red will look well with black. A purple red or rose lake red always gives a poor, unpleasant result when used with black. A brilliant or orange red will give far superior effects. Black, which to the printer is essentially a color, is the most useful in contrast and shade. It mixes but poorly with any of the other colors, but best with blue, or with white to form neutral greys. Examples of these various harmonies are shown in the latter part of this book. A careful study of tl ese illustrations will richly repay the effort, as it will train the eye to instantly recognize each- variety of harmony, and will also afford a good opportunity for deciding which harmonies give the best and most agreeable results. The examples give true representations of the different combinations of colors, whether the result be good or bad. They also contain fine illustrations of the different laws of color. White to the printer is essentially an advancing color. It re¬ flects all the rays of white light. It advances and makes any color with which it is mixed, more prominent, increasing its purity and deepening its< tone. Too often the importance of white space is underestimated in arranging a page which would have been very attractive had the light been let in freely. Too much stress cannot be placed on the impor¬ tance of using white space freely and judiciously in all tasty printing. White serves many purposes on the printed page. It separates colors which otherwise would be unharmonious. It is the complementary color for black, hence it gives contrast and life when used in suffi¬ ciently large quantities to illuminate the work. There is a simultaneous contrast though not as pronounced as when the contrast is between two other colors. For instance if you 28 look intently at the full red figure on page 36 you will see that the white around the red figure is tinted slightly with a green halo, which is the complement of red, also the red is a stronger, brighter red than it would have been if printed on a grey or black ground. This also is clearly illustrated on page 18. This illustration is referred to for the reason that so many printers fail to realize the great importance of white space, and no thinking man can study this illustration without becoming wiser, and realizing something of the power wielded even by white. p-' fyJL Red is pre-eminent among colors, being flashy, positive, bright, and powerful, and is most used of all colors except black. Red enters largely into the broken colors, being the ruling color in russet, and is subordinate in citron and olive. It also enters quite largely into maroon, the browns, greys, etc. Red gives of its warmth to all colors, but most to yellow. It. is warm and advancing when mixed with yellow but it becomes cold when combined with any considerable quantity of blue. It is warm when viewed by a strong light but deepens rapidly in a declin¬ ing light. It contrasts with white better than with black or grey. Red is a luminous color much sought after because of its wide field of usefulness. It is bright, strong, and attractive, and gives good results either when used at its fullest intensity or in any of its many hues and tones, even down to its delicate tints. Red and green give the best harmony, being complementary. If the red is pure the green should lean somewhat toward the blue. An optical test such as is given for testing complementary colors will readily show just the hue necessary. Soft and effective results are obtained also by combining the various light tones of green with red. Red and yellow harmonize fairly well but can be improved by select¬ ing a red inclined toward violet and a yellow which is somewhat of a greenish cast. Red and blue also are more harmonious if moved a little way from each other on the triangle. Red with white is deeper, purer, less bright, Red with grey becomes brighter, Red with black becomes brighter, but changes hue. Red and orange give poor effects, in fact, they injure each other. Red and violet are not satisfactory,, but if they must be brought into juxtaposition they should be separated by white or black. If red is to be combined with the broken colors it gives the strongest results with those hues lying between blue and yellow. Use as little of red as consistent with good results. Just a touch here and there of HARMONY White Eed 29 HARMONY Yellow Blue ornament, initial letter, underscore, or border, is sufficient to add life and brightness to the page. Do not have the red predominate, for if it does it will weaken instead of enrich the effect. When choosing colors take those lying just as far apart as possible on the triangle. Red is admissible in very small quantities even on a title page, but it must be used on the principle of touch but handle not. A glance at the'color illustrations, comparing a page in which red pre¬ dominates with one where a cold color is simply brightened with a touch of red will make this point self-evident. & Yellow is the primary nearest to white in luminosity hence it is a most advancing color. It has great power to reflect light. Its effects are flashy, gay, luminous, cheerful, and in large surfaces irritat¬ ing. In a dim light yellow is almost wholly lost, but it is weakened by distance less than any other color except red. Next to white, yellow contrasts black most powerfully. When yellow is used with any of the dark colors the contrast will be too great unless the dark color is somewhat reduced with white. Yellow with white is deeper and less advancing, Yellow with grey is brighter, Yellow with black is paler and brighter. Yellow contrasts fairly well with the primaries, but is improved if they are moved a trifle away from each other on the triangle. ^Its strongest, purest contrast is with violet, and it gives a most harmoni¬ ous result if the violet is a medium light tone. Yellow and orange give good harmony by gradation when proper tones are used. Yellow and green can' be used together if the colors are chosen as far apart as possible, and good judgment used in selecting tones and hues. When full colors are to be used with yellow choose light tones of those hues lying between red and blue, as these hues, not being related to yellow, will give harmony of contrast that will be agreeable. ^ & Blue being the cold primary, any color in which blue predomi¬ nates is cold. Blue with white is deepened, Blue with grey is purified, Blue with black defiles and is not agreeable. It should be used only with warm colors. It contrasts well with light tones of red, and is good with yellow. Its best contrast is with orange, its complementary color. It can often be used* with light tones of green to advantage. 30 Blue and purple, or any colors lying between them, do not har- HARMONY monize. When using a full color, choose its contrast from between red and yellow and the result will be good. Blue may be made the ruling color in almost any harmonious combination; occurring more often in combination or alone, than either of the other primaries. Blue is often added to black to give it more life and brilliancy. It often gives better effects to use a deep or bronze blue, instead of black for the dominant color, as it gives a more clear, brilliant appearance. & £ Orange is the most luminous of the secondary colors, being formed by the combining of the two luminous primaries; hence it can never be a cold color. Blue is the complementary of orange, hence its best contrast. Orange gives good contrasts with all colors between green and violet. Orange with white is deepened and leans toward red, Orange with grey is deepened and reddened, Orange with black is brighter and somewhat yellow. The contrast is better between orange and green than between orange and violet; when combined w T ith these secondaries, move them as far from each other as possible. The result of using orange and red is very poor, but orange and yellow give better results. In harmonies of analogy of tone and hue, orange will be found very useful, especially where the ruling color is blue and light tones of warm colors are needed to add life and warmth to the work. ^ & Green is the most soothing, yet effective and striking of the sec¬ ondary colors. It is the most useful secondary in contrasting colors, as it"is the complement of red, which constantly brings it into use in ever varying tone and hue. Its light tones are most restful to the eye, and give exceptionally fine results. Green in its infinite variety of sh'ades is nature’s color for foliage, while its complementary, red r is the most common in the flowers. This hint from nature is a good one to follow in proportions, much of the green, and touches here and there of the beautiful red flowers to give life and vigor. It is not as useful in compounding colors, being more apt to defile the combination. Green gives its best results of contrast when used with colors lying between violet and orange. Green with white is deepened and made purer, Green with grey becomes of bluish tint, Green with black brighter and paler. Orange Green 31 HARMONY Violet Normal Grey Colored Grey Violet lies between red and blue, and its light tones are warm while its deep tones are cold. It contrasts best with its complementary color, yellow. In fact, it is noticeable that in all harmonies of con¬ trast, whatever the color, the very best possible contrast is between the color and its complementary, or those colors slightly reduced with white. A very smooth result is secured by contrasting a color with a grey, which is tinted with the complementary of the first color, thus making it more brilliant. Violet with white gives great contrast, Violet with grey is made stronger, Violet with black injures the black, making it rusty. Violet’s best contrasts lie with those colors between orange and green. Violet is useful in adding novelty and striking results to fine work by dropping in just a touch to give tone and expression to the work. & & Neutral Grey is white to which just sufficient black has been added to give a grey tint. Its field of usefulness is almost unlimited, but its most valued service is in aiding to secure those soft, blending harmonies which can be produced only by means of colors which have been softened in tone. Colored Greys are the result of adding a sufficient quantity of a primary or secondary to a grey to tint it the color added. Grey is never tinted a warm color but with some color in which blue predominates, hence it is especially adapted to make prominent warm colors, and at the same time affords rest to the eye. Its best combinations are with light, advancing colors, and it is very valuable especially in smooth and harmonious work for backgrounds, for initial letters, panels, etc. It gives a kind, harmonious setting for striking colors, when the contrast with white would be too great. The full primary colors are made stronger and fuller if on a col¬ ored grey ground properly tinted with their complementary. In three-color combinations grey plays a large part, especially colored greys, for, being between white and black, when tinted it tends, to bring all colors out at their true intensity. There is almost no limit to the list of colors which might be giv¬ en, as in the following list, showing what degrees of harmony can be expected when the given colors are used side by side. A few of the most common colors only are given, making no attempt at an exhaus¬ tive list, as names of colors are so flexible and meaningless that at best these results can only serve as a hint or suggestion. 32 Red with Yellow Poor HARMONY Red with Blue Fail- Two-color Red with Green Good but hard Combinations Red with Yellow-Green Good but hard Red with Blue-Green Excellent Red with Green-Yellow Fair Red with Violet Poor Red with Purple Passable Red with Orange Pooi- Red with'Green-Grey Excellent Scarlet with Green-Yellow Strong Yellow with Blue Good Yellow with Violet Excellent Yellow with Indigo Good Yellow with Purple Good Yellow with Green Passable Yellow with Orange Poor Yellow with Blue-Green . Fair Yellow with Blue-Grey Excellent Blue with Green Poor Blue with Orange Excellent Blue-Green with Purple Fair Blue-Green with Crimson Fail- Blue-Green with Violet Good Blue-Green with Orange-Red Good Orange with Green . Poor Orange with Violet Fair Orange with Purple Poor Orange-Red with Yellow-Green Fair Orange with Blue-Grey Excellent Green with Orange-Red Hard Green with Scarlet Difficult Green with Purple Strong but hard Green with Violet Fair Yellow-Green with Blue Fair Violet with Orange-Red Fair Violet with Orange-Yellow . Excellent Violet with Green-Yellow . Excellent Violet with Blue-Green Good Violet with Purple . Pooi- Violet with Indigo Poor HAKMONY Three-Color Combinations Below is given a few three-color combinations which give good results. Usually two out of the three should be warm colors, but one full color being used, reducing the others somewhat with white. Bronze can often be added to these or be used in place of one of the •light colors. f Red ) Yellow ( Blue ( Orange 1 Green ( Violet Yellow-Green Rose-Grey Puce Yellow-Green Salmon Violet Cream Amber Deep Blue Green-Blue Yellow Scarlet ( Red Blue Gold C Orange-Red - Blue (_ Olive-Green Turquoise Orange Green Maroon Terra Cotta Sage Green Yellow-Green Violet O range-Y el low f Blue -j Amber (_ Crimson In a great majority of the above contrasts the result will be much more smooth and pleasing if one of the colors is reduced with white to a half tone, or tint, or even if changed to a colored grey. In fact, in case of strong, hard contrasts, this is generally advisable. Jt Harmony of colors has been defined as the result of correctly applying the laws governing the mixing of colors so as to produce the correct sensation on the retina of the eye. It is, then, a self-evident fact that to be a successful color printer one must at the very outset become familiar with the science of color mixing from its birth, when white light is broken up into colors by the prism or absorption, down through all the successive stages to the blending of the colors on the printed page or on the retina of the eye. 34 OPTICAL ILLUSIONS Cover all the figures except the one to be studied, then look steadily at it for a moment or more, when upon look¬ ing at a white surface you will see a pale tint which is the complementary of the color viewed. Look at the shield in the same manner as is described above and on looking at a white surface you will see the same shield in a tint with the colors reversed. COLOR MODIFIED. T has often been noticed by every observing person that the same object may, and in fact does, appear of a different color or tone under varying conditions and when viewed by lights of uneven intensity. These and other influences which are ever present constantly cause objects to appear widely different in color from what they would if protected from outside influence. In the following pages some of the causes which modify colors will be pointed out and explained. The fact that each color vibrates a certain number of times a second has already been mentioned. This different length of vibra¬ tion of each of the colors has proven to be of great value in many ways. Scientists have recently come to calculate and measure and ascertain facts in astronomy heretofore beyond the reach of man by the aid of these fixed laws of vibration of color rays. Photography in colors true to nature is also made possible by the application of the wave theory. Harmony or discord is also due to this. The Dust in the Air. —Very few people, of the multitude who so thoroughly enjoy the grandeur and beauty of the ever shifting colors of a sunrise or sunset, have any conception of how those colors are made possible. It is but recently that careful experiment has conclusively proven that all the colors of cloud, sky, and ocean are due to the very fine dust which floats in the air reflecting the different colors. Everyone has seen the dust in the path of a sunbeam in a somewhat darkened room, but few know of what great service this dust is. The coarser, heavier particles of dust remain near the earth’s sur¬ face, while only the minutest particles rise to great heights in the rare atmosphere a mile or more above. The sky overhead is quite blue, simply because the very fine dust reflects only the short, rapid,' blue 37 COLOR Modified Dust Clouds waves of light, but as the sun reaches the horizon, its rays pass through much more of the air, near the earth, which contains all sizes of dust, but most of the larger particles and thus reflects all colors, giving yellow or white light. It is a well recognized fact that in the spring the sky is intensely blue, while in the autumn it is yellow. This is because during the winter the snow and rain have cleared the air of much more dust than has returned from the frozen earth,—hence the clear air gives a blue sky, but by autumn the air is again so heavily charged with dust as to give a yellow hue to sky, cloud, and mountain. This fact has been proven by passing a ray of light through air confined in a glass globe from which all dust had been burned ; the ray of light seemed black as it met nothing to reflect or refract it, but when the glass globe was filled with common air it became illumined like an electric lamp. It is then apparent thal if our air were free from dust we should have no diffused light,—that is, light would be visible onlv as it was intercepted by some substance able to reflect it. The stars would be visible day and night. Our houses would get sunlight only where the direct rays of the sun fell or were reflected, making it necessary to build tire walls of windows or reflectors, as all would be dark out of the direct rays, or in the shadows. Were it not for this fine dust, steam or clouds would not be visible, and all our beautiful colors of gold-lined clouds at sunset would dis¬ appear. The moisture in the air must have something for a nucleus on which to form, and experiment proves that air without dust can bave no clouds. The immeasurable importance of even the little trifles of life is wonderfully illustrated by the many and valuable offices this despised dust, so small many times that it is invisible, plays in the economy of nature. It is the important little things in color printing which make up perfect work. Dust gives us the most valuable diffused light, the glories of the colors of sky, mountain, ocean, and nature’s scenery, and in fact, but for the dust in our air, it is a serious question if either animal or vegetable life could be long sustained upon the earth. This is one more illustration that the colors of objects are not what they seem. The Normae and the Color-blind Eve.— The person called color-blind has a complete sense of shade, tone, and hue of color, but his eye, not having the same nerves as the normal eye, receives an entirely different sensation of color from waves of light. The term color-blind is, then, in a sense, a misnomer. There are in the normal ^eye three nerves ready to receive all light waves and carry the impres¬ sion to the brain, each nerve carrying a different color sensation. One nerve carrying principally red sensations, the second carrying green and the third violet. The red nerve is excited most by viewing the red end of the spec¬ trum, and grows gradually less down through orange, yellow, green, Tlue, and violet. The same principle is true of the other two nerves, •showing that there is more or less of the three primary colors present in every color. When a strong, red light falls upon the eye the red nerve is powerfully affected, the green and violet only slightly. This has its bearing on simultaneous contrasts, which will be treated later. These nerves carry the color sensation, however they may be excited, whether by light, a blow, or electricity:> When light waves fall upon th^se nerves the waves are separated into their primary colors. If, for instance, it is a wave of white light, then it consists of equal parts of the primaries, which being separated are taken by the respective nerves to the brain, where the colored waves reunite, giving the impression of white. If the three nerves are not equally excited, then the result on the brain is a color resulting from an unequal mixture. If one of these nerves, say red, be missing from an eye, that eye is called color-blind because it fails to see red. In this case the green and Violet nerves give a complete set of colors, but very different from the normal vision. If green blind, the green nerve is missing To the green blind the spectrum is made up of red and violet with all their tones and hues. These colors are seen with a degree of clear¬ ness and strength impossible to the normal eye. The color-blind person lives in a world which the normal vision cannot enter. All nature takes on a different hue. To the green blind, the landscape is of a beautiful rose hue ; to the red blind, it is all tinted sea green. Thus it is seen at the outset that color is not wholly in the object viewed. Colors, with their numberless varieties of combinations and harmonies, are to the eye what music, in all its beauty and grandeur, is to the ear. The eye is as keenly alive to every chord or discord in color, as the ear is to the same in music. In fact, the eye, with the workings of its delicate nerves, is no small factor to be considered In choosing colors for harmonious use. The three nerves in the eve which receive and carry to the brain the waves of light and all color sensations, are governed by laws which must be understood if suc¬ cessful blending of colors is to be done. COLOR Modified Hormal and Color-blind Eye COLOR Modified fatigue of the Eye The real color reflected by an object does not change, yet it may appear to the eye widely different in color when viewed under varying circumstances. This can be fully verified by a look at the illustration where the orange initial is used. If you look steadily at the orange initial letter for a moment or more, and then turn your eye for a little upon a perfectly white sheet, you will see on the white paper a blue tint just the same shape of the orange square. This is caused partially by fatigue of the eye, for when the eye becomes weary it calls up the complementary color to relieve the strain. Simple as it may seem, fatigue of the eye is responsible for many otherwise puzzling surprises in color work. Another factor in the eye giving the complementary color (for fatigue cannot be respon¬ sible for all of it) is that colors are never pure, always reflecting some of all three primaries; a red object reflects so much of red that we do not realize that it reflects any other color, until turning the eyes away and letting them rest on white, we see that it did reflect suffi¬ cient yellow and blue to mix in the eye and form green, which with the fatigue gave the green object. You have by this test proven for yourself what is the complement of orange. In like manner the com¬ plementary of any color can be obtained with perfect accuracy. & If you look steadily at one color for a long time, or what is the same thing, at several cards all the same tone, one after the other, the tone will be perceptibly dulled, so that the last card will appear much duller than the first. This is also caused, as in the last experiment, by the eye becoming so weary that it throws some of the comple¬ mentary upon the card, which mixing with the unseen colors in the eye and a little of the color of the card gives black or grey, and that being added to the first color darkens its apparent tone. Thus we see that it is just as essential to understand the mixing of colors in the eye as on the ink slab, for it is this optical effect that governs harmony. In choosing colors to be used side by side, it is necessary to know just how the peculiar mechanism of the eye will affect them. £ Simultaneous Contrasts. —When two colors are placed side by side, the eye, in the same manner as above, throws the comple¬ ment of one upon the other, thus making it either stronger or weaker, both in color and tone, according as the colors are harmonious or not. For example: take the two complementary colors red and green as 40 shown in the shield on page 36, and by looking simultaneously at COLOR them for a little the red will cause the eye (by the law of comple- Modified mentary fatigue of the eye) to see green, which being added to the Simultaneous green beside the red, causes it to appear brighter and stronger; in the Contrasts same manner the green calls up its complementary, red, which being added to the original red causes it to seem stronger than it really is. This is simultaneous contrast. It is also nicely illustrated in the two-* color initials in the illustrative pages. Thus it is readily seen that contrast of complementary colors is the best of all contrasts, because when placed side by side they mutually strengthen and brighten eacn other. It will be just as ap¬ parent from the following example, that colors not harmoniously placed will injure each other and offend the eye. If blue and violet be placed side by side, blue would throw its complementary, orange, upon the violet, causing it to appear purple- violet, while the violet would throw its complementary, yellow, upon the blue, causing it to appear greenish blue, weakening the purity of both colors. In this case neither color will appear of its real purity or intensity ; yet by this simultaneous contrast the inferior contrast is helped in one way, as by adding complementaries the colors always appear just as dissimilar as possible, that is, just as far apart on the triangle as possible. This, then, is the law of simultaneous contrast: that when any colors are viewed simultaneously they 'will not appear of the same tone or hue as when viewed alone , but just as dissimilar as possi¬ ble; the change being caused by the adding to each the complemen¬ tary tint of the other. When the two colors juxtaposed are of the same intensity of tone and hue the result is the same on both colors. But if light and dark tones are placed side by side, then the light tone becomes much lighter and the dark tone is a little darker. Each of these laws is illustrated by practical application on the display pages instead of by the use of meaningless figures. These illustrations will repay careful study. There are, then, two changes in simultaneous contrast: first, the change of hue or color, being moved away from each other on the side of the triangle ; second, the change of tone. Thus a strip of color, in reality all one tone, when brought side by side with a different tone of its own color will appear as a scale of tones of that color beginning with a light tone, where the strips meet, and growing darker to the outer edge. This is contrast of tone. In viewing some of the two- color initial letters the solid block will seem of a lighter tone near the 41 COLOR Modified Kesult of Contrasts initial than it is at the outer edge. Hence not only color, but height: of tone must be considered in juxtaposed colors. Simultaneous con¬ trasts, then, cause one color to show another at its very best, or even- better than it really is. Names of colors vary so that this table is only an indicator, giving simply a hint of what to expect when combining colors. In all these cases much depends on the particular shade of color used whether the result be harmonious or not. The complementary color raised by simultaneous contrast is always a very light tint, not a full color, yet it is oftentimes sufficient to change the hue of adjacent colors quite perceptibly The following is a list showing the result of simultaneous contrast on some of the most common colors : — Colors in Juxtaposition Complementaries Complementary of each added to the other, moves it around triangle towarcL f Red Green Brighter Red ( Green Red Brighter Green f Red Green Violet j Yellow Violet Green j Red Green Orange { Blue Orange Green f Red Green Put pie [ Orange Blue Yellow | Red Green Orange | Violet Yellow Blue ( Blue Orange Blighter Blue ( Orange Blue Brighter Orange f Blue Orange Indigo { Yellow Violet Orange ( Blue Orange Indigo j Green Red Y'ellow { Bl,ue Orange Green | Violet Yellow Red j Yellow Violet Green ( Orange Blue Red j Yellow Violet Brighter Yellow | Violet Yellow Brighter Violet , j Orange Blue Red j Green Red Blue j Orange Blue Yellow | Violet Yellow Indigo (Green Red Yellow | Violet Yellow Purple 42 Light Modifies Color. —It is well known that a color is greatly modified by the light it is viewed in. The color printer has often tried to secure a good yellow by a poor light only to find when viewed by white light that the color was so harsh as to ruin the job in hand. Hence it is a safe rule to follow, never to attempt fine color work by a poor light. In fact, no good pressman will commence a makeready by a poor light, for it is impossible to get a good makeready or even color except by white light. What, then, is to be said of the man who buries his office in a cellar or between solid walls where white light in its full intensity never penetrates ? It is safe to say that he who values fine effects and a high grade of work will never so place his presses. But why is this ? A colored body absorbs certain color rays and reflects the rest, the reflected light being its color. If the light falling on the object is not white but colored, and that color being simply the color absorbed by the object, then it absorbs all or nearly all the light falling on it, hence it will appear black. Thus the color of a body will be modi¬ fied by the light in which it is seen. For instance, if a red flower be exposed to a light which is passed through a green glass, the flower will appear black, for the glass , has stopped all the red and orange light which the flower could reflect and has thrown upon it only those rays which it absorbs. In the following table we give some effects of the same color when viewed by a strong, moderate, or dim light: for instance, a red object seen by a strong light becomes scarlet, while if the light is gradually decreased it becomes normal red, then, as the light becomes- dim, it seems of a purplish hue : — Hormal Color Strong Light Dim Light Red becomes Scarlet Purplish Scarlet 11 Orange Red Orange i i Yellow Brown Yellow i i Paler Greenish Yellow-Green “ Yellower Greener Blue-Green More Blue Greener Blue Brighter More Violet Violet 11 More Blue Purple Purple 4 i More Red Violet To test this and see how gr eat the change, take strips of strong rs and so hold as to have one half in the sun and the other half in the shadow. After doing this you will no longer doubt that light affects the apparent color of an object. COLOK Modified By Light 43 OOLOK Modified By Light Green gives an entirely different tone when seen by the following different lights : white light, diffused light, and electric light, while viewed by gas light it changes its hue rapidly towards yellow. Yellow almost fades from view in a dim or gas light. Pink by gas light looks scarlet. Blue viewed by yellow gas light has a green hue. Hence in doing fine color work it becomes necessary to consider in what light the work in hand will be used. For instance, a fancy pro¬ gramme, score card, or ball card would require a different coloring if for evening use from what would give delicate, harmonious effects if used by daylight. 44 PRINTING. HE first part of this treatise aims to give and explain the laws which are the cause underly¬ ing the effect. Tj'he remainder of the work will be devoted to developing some of the best, simplest, and most effective methods of applying these laws in an endeavor to secure the highest possible grade of illumination of the printed page. It will at once be evident that this is a broad field ; a most important one ; and one which is being studied more and more by the trade the world over. Looked at as shrouded by great complexity and no small difficulty by those ignorant of its laws, but as one comes to see and know more fully the detail of the work, he can but i*ecognize the same master hand, the same ruling law and inevitable fact, which underly all the beauties of nature— cause and effect. In fact, simple as it may seem, there is no lesson so important to be learned as that there can be no effect without a cause. To see a beautiful effect should impel one to at once search diligently for the cause. The day is approaching when almost every job will have at least a touch of color added to give it life and forcefulness. The old type faces, the old ideas, methods, styles, etc., are dropping away one by one, and new and more harmonious methods and styles are replacing the m. The color printer is to be the coming man, but he must possess skill and experience that shall enable him to decide every detail of a work of art, from the appropriate choice of color for stock, the best harmonies, distribution of the masses, style of composition, orna¬ mentation, etc., down to the most trifling detail, with judgment, accuracy, and dispatch. In fact, he must have become possessed by a purpose to excel in his own profession to such an extent that he is willing to make any sacrifice to become as good as the best. Purpose, •study, and observation are valueless unless their achievements are so 45 PRINTING- Ink fixed upon the mind as to become expressed in laws, which shall be acted upon faithfully. At the outset the color printer may make errors of judgment which discourage; such as crowding too many and too full colors into a job ; forgetting that the first rule of good color work is legibility y and the second is to use just as few colors as shall give the most per¬ fect results ; but gradually he will learn that each colored paper calls for a different shade of ink, that certain colors, and tones, and hues produce harmonies, while others do not. He will awaken to the fact that just before him is one of the most fascinating fields for experi¬ ment and study that science holds out to man. Positions are open in the large cities for men who are in every sense artists in color work. Men who know how to employ colors scientifically, harmoniously, forcefully, and at the least possible cost, yet in a manner to give the greatest value of publicity to the printed page. He must be able to map out the job in hand with intelligence and taste, choosing his type faces and ornaments to correspond with the inks decided on. He will know that an ink of delicate color calls for a heavy impression, while black ink, as a rule, calls for a lighter face type. When these and a multitude of details have been mastered, he awakens to the fact that he knows only the A, B, C, of color work. It is necessary first to become thoroughly acquainted with the laws governing light and color, then study practical harmony, which can only be secured in its tender blendings by much study and pains¬ taking experience and observation. The following pages may aid the careful seeker somewhat. It is safe to assume, when viewing an especially beautiful print, which is soft, harmonious, and fascinating, that it was not by accident, nor by magic, that the artist printer was enabled to produce so completely harmonious results. Careful, per¬ sistent study of all the fundamental principles, and of every seemingly trifling detail, had prepared the mind and eye to grasp quickly and accurately everything necessary to secure just the desired effect. It was simply the working out of the law of cause and effect. The workman must first become perfectly familiar with the tools and material that must be used. Inks command our attention first, as skill in their use gives great pleasure and profit. This subject cannot be lightly passed by. Below are a few of the many things which must be taken into account in choosing the ink to be used upon a job. 46 Color and character of paper; smooth or rough, Character of form ; half-tones or type; light or fullface type; amount of free space in form, Light the job is to be viewed by ; day or night, Appropriateness of color for subject, or occasion, Kind of harmony ; contrast or analogy, Dominant color; cold or warm, Height of tone and strength of hue of the secondary colors, Character of ink distribution on press to be used, If complementary colors can be used, what effect the com¬ plementary of each color will have on the others, that is, simultaneous contrasts. These and many other questions demand attention, and they can¬ not be settled with instant precision and accuracy unless one is inti¬ mately acquainted with chromatics. To one who really desires to excel in this and be able to act both quickly and wisely in choosing inks and colors, the following pages will contain something of more than passing interest. INK Choosing There is a considerable yearning on the part of many printers to dabble in inks; a constant call for formulas for the manufacture of inks at home. A laudable purpose to economize prompts this; but is there true economy in this course? For a few experienced colorists it may be of advantage, but many thus inclined use comparatively little ink in a year, and have no conception of the mechanical appli¬ ances and chemical knowledge necessary to success. In fact, the absolutely essential, fundamental principles underlying and governing color work are unknown to them. If a man be practical, painstaking and possessed of infinite patience and perseverence he may, after many expensive failures, make a fairly good ink, but only to discover that his ink bill is larger, including costly failures, than it would have been had he bought the ink from the manufacturers. The few men who are experts in ink making have devoted a lifetime to study and practice and have traveled the world over in search of all possible knowledge bearing on the subject. Yet, with our present great diversity of stock from cheap news to coated and bond papers, made of so widely differing material, which must be printed on with such a variety of type, engravings, half-tones, and three-color process plates, it often puts the experts to their wits’ ends to secure the necessary variety to supply all the demands of the trade. The advancement in printing and printers’ materials has been so 47 INK Mixing marked in recent years, adding so many changeable quantities in the way of stock, plates, color work, character of rollers, and even quality of distribution that if one is sure of perfect effect it is neces¬ sary to use a somewhat different ink on almost every job ; in fact, a different ink on the same job if it is to be run on, say, a four-roller cylinder from what would be used if to be printed on a platen press with its inferior distribution. It is readily perceived, then, that if the progressive printer, who desires to both excel and to be truly eco¬ nomical, turns to the study of the fundamental color principles, inks, half-tones, stock, rollers, presses, distribution, and other influences bearing directly upon perfect ink effects, he will find a surprisingly wide field for study, and that study and investigation will bear much fruit, in more perfect, harmonious, neat, and well-executed printing, as well as in great financial gains which are sure to follow intelligent work. How, then, is one to get inks just adapted to each job? If the run is to be a long one and also one requiring the careful use of ink, it is well to remember that the reputable ink manufacturers have an expert who is ready and competent to council on all doubtful points. Send to the ink manufacturers a proof of the job to be worked, together with sample of paper on which it is to be printed, naming the kind of press to be used and they will usually send an ink which will do the work without one drop of doctoring, either with drier or varnish. Mixing Inks. —Very often a small job will require an ink of a shade or quality not at hand ; at such times it becomes necessary to carefully and understanding^ mix two or more inks, driers, reducers, or varnishes," as the case may require. Hence, in this treatise is given the necessary fundamental knowl¬ edge together with many useful hints and suggestions, and oft-tried formulas for aiding in the mixing and use of inks. Names of inks are so arbitrary ; different people lining the same name to indicate different hues of the same color, that it is, at best only a sort of guide, by no means a safe rule to follow, to say, for instance, that five parts of vellow mixed with one part of blue will give green. While that may have proven true in one experiment it does not follow that it will give true results when some one else takes down the blue and vellow he may chance to have in stock and tries with these same proportions to make green. This fact must be borne in mind, as any suggestions in this line can only be approximate. It is well, however, for one who keeps in stock const.in:ly 48 standard colors of ink, to make careful note of quantities and propor¬ tions used in such combinations for they will not onl> be convenient but save much valuable time. Where the same inks are constantly kept in stock, proportions once secured should be accurately followed. Allow no guesswork in mixing inks. Where uniform success is essential at every trial, the first thing necessary is a careful knowledge of the relation of the different colors; what effects to expect when certain colors are combined, etc. Hence it is taken for granted that before attempting to mix inks the operator has familiarized himself with the preceding fundamentals, primaries, secondaries, tertiaries, and the rules governing mixing theiiyvarious hues, as shown on the preceding charts, as well as the meaning of the terms hue, tone, tint, etc. INK Mixing Tone Absolute cleanliness is essential. The spatula, stone, hands, and, in fact, everything to be used about the ink should be scrupulously clean, and in changing from one color to another the last particle of the first must be cleared oft' before starting anew. The presence of just the little foreign color which may have been carelessly left on the knife or ink slab will explain fully why an experiment failed to give the color expected. It is simply, as has been said elsewhere, that where all three primaries are mixed in equal proportions they form black. So, what little there may be in a mixture of all three primaries forms a little black or grey, thus defiling the whole and baffling otherwise careful work. Great perseverance is necessary to properly combine the tints, and the same is true when adding any of the driers, reducers, or varnishes to ink. They must be thoroughly worked together with the spatula or in the ink mill, else they will separate and mottle when used. In fact the two principal ingredients to be used in mixing inks are muscle and brains. & Tone. —The first change from the normal colors to be considered is the making of the various tones. From every color or hue can be produced a complete scale of tones by proper mixing of that color with white or black in ever increasing proportions. The color must always be taken at its fullest intensity for this work. If a lighter tone, or a series of tones, of a color are desired add a little color to white the same as for tints only in increasing quantities of color. If deep tones or shades of a color are desired add just a little black to the color, remembering that a little black goes a long way. 49 A Tint is one of the light tones of a color. Tints are made by adding just the least trifle of a color to white, care being taken not to add too much as a little color will tint a much larger body of white than one would expect. It is by the aid of the delicate tints of the luminous colors and of the greys that the colorist secures many especially fine harmonies. Tints are very useful in ornamental and fancy color printing. There is almost no end to ways and places where a workman of a suggestive turn can use tints to good advantage. To make a tint take a spatula and place a quantity of white ink on the slab, then with another spatula add just the least trifle of the color desired for the tint, and if, after thoroughly mixing, it proves too light add and work in a little more color. When the tint is to be worked over another color, which should not be obscured, use mag¬ nesia white ink for the body and the result will be a transparent tint that can be worked over any desired color. This transparent tint often gives fine gloss effects to a job which otherwise would have been weak in effect. If a grey tint is wanted, take an opaque white and add just a lit¬ tle black, working it into the white well, and if the grey is not dark enough, add a little more black. A very little of any dark color will tint a large amount of white. If a colored grey is needed, add a little of the desired color to the grey already made. These colored greys form fine backgrounds on which to work deep tones of the same color or complementary colors. The following familiar tints can be secured by adding a little color to white, as named below : — Pink, add a little red to white, Salmon, add a little orange-red to white, Buff, add a little orange to white, Cream, add a little orange-yellow to white, Straw, add a little yellow to white, Pea green, add a little green to white, Sea green, add a little blue-green to white, Azure, add a little blue, to white, Lavender, add a little violet to white, Heliotrope, add a little purple to white, Magenta, add a little purple-red to white. A Hue is the result of adding a little of one color to another. It is a hue of the color predominating in the mixture. For instance: if INK Mixing Tint Hne 50 one part of blue be added to twenty parts of yellow the result is a INK hue of. yellow, as the instant ever so little of a second color is added it ceases to be a pure color and becomes a hue. By successively add- ing, two, three, four, five, six, or more, parts of blue to yellow a great number of hues of yellow are secured. When the proportion has so changed that there is most of blue in the mixture it becomes a hue of blue. In mixing colors to secure hues, full, pure colors must be taken. In mixing hues it is well to keep the complete triangle chart before the operator. Have a large triangle drawn on a card and the colors written in their proper places and keep it hanging near the ink cupboard. It will be found of great assistance in choosing colors for mixing as well as determining contrasts, whether colors will har¬ monize or not, etc. Hues having been obtained by mixing full colors, can be treated the same as any color and can be lightened by the addition of white or darkened by adding black, producing tones of the hues. In a three or more color combination, where it seems best to use only one full color, and the hues give too loud a contrast it may be necessary to reduce the tone of the hue by adding sufficient white to secure the desired harmonious tone. Red Ink. —True red is nearly blood color, being a happy medium between orange-red and purple-red, that is, as free from both ns possible. The moment any blue is adcied it becomes a hue of red. It defiles quickly with blue. In a general sense, however, red includes many hues, such as orange-red, brilliant-red, Vermillion, scarlet, and crimson ; orange-red being the lightest hue and Vermil¬ lion the darkest. Red has a wide field of usefulness in mixing inks. The differ¬ ent hues of red are capable of so many different combinations and can be added in various quantities to so many of the warm colors and hues, that, when properly placed, their usefulness is almost unlimited. Yet if used in ignorance the results are far from pleasing. Red for half-tones must be firm, full body, but not tacky, covering the form evenly, and letting go of it with ease. For three-color work, red must be a pure, spectrum color, and made transparent in order to secure the full benefit of the blending of overlapping colors. It is also essential that it be of a full color and tone, of good quality, so that it can be carried as light as possible on the rollers, and with £s little quick drier as the proper drying of the ink will allow. 51 INK Mixing Yellow Bine Two-Color Mixtures For a red to mix with the other primaries take a pure spectrum red if to be used with yellow. If to be used with blue it may some¬ times be necessary to take a red which leans to purple, somewhat. Do not complain to the manufacturer that he gave too firm, full- bodied a red. Firmness and full color are prime essentials in red ink. If the ink is too tacky, or refuses to let go readily, carefully add a little vasreline or better, hog’s lard, thoroughly incorporating it into the ink. Yellow is the most luminous color and is tarnished by the slightest addition of another color. Lemon-yellow is the purest and nearest to spectrum yellow; hence it should be used for compounding colors; also in all three-color work. When it is impossible to secure a perfect yellow that is transparent it is best to print the yellow first in three-color work. Yellow is most useful in adding warmth to colors with which it is mixed. Mixtures will be dull or bright, just in proportion as the primaries from which they are mixed are pure; hence too great care in selecting pure spectrum colors cannot be takeiu From red and yellow in varying proportions can be made all their hues lying between yellow and red on the side of the triangle. In mixing, place upon the ink slab first the lighter color and little by little add the darker one until the desired hue is obtained. This- method should always be followed, as it is not easy to rectify the error if the color is made too dark at first. Blue being a cold color mixes well with other colors when properly handled. It should be taken in medium or light pure tones. But little is required, as it darkens a much larger quantity than one would expect. A medium, ultra marine blue is nearly the same a& spectrum blue, being practically free from violet or' green. Bronze blue added to black gives a fine blue-black, or a black with a gloss and lustre much sought after. If a black is dull or rusty, or is. worked beside a color whose complementary injures it, the adding of bronze blue to it will rectify the trouble and give fine results. & Two-Color Mixtures. —In mixing secondary colors from two primaries pure colors are imperative. Red and yellow will give orange or hues of red or yellow, just as the colors are proportioned. In judging the proper proportions keep the triangle handy for refer¬ ence ; it will solve many a trying question. Yellow and blue will give green in its various hues. 52 n Only with the purest of ink and careful proportions can one secure violet from blue and red. If trying to do this use a crimson and a blue somewhat inclined toward indigo and the results will be more satisfactory. This difficulty^ of securing a good violet or purple mixture is due to the fact, that each primary color contains some of the other two primaries, so that when red and blue are mixed to form violet, the little unseen yellow in their composition combines with the red and blue forming black, which so defiles the mixture as to spoil the violet. This impurity of colors above referred to will account for many vexing failures. Moral! Choose pure colors, if moved at all from purity move toward each other on the side of the triangle, for then they will contain less of the third primary. If the third primary gets into a two-color mixture and defiles it, nothing will remedy it; the black remains, however much of the pure color may be added. There, then, is nothing to be done but to commence over, profiting by the failure and avoiding the impurities. Three-Color Mixtures. —These broken hues, that is, colors which have more or less of all three primaries in their composition, which are sometimes called tertiary colors, because of the third com¬ bination, can be made by mixing in various proportions the secondary color, but often a more direct way will be by adding varying pro¬ portions of grey to a primary or secondary. The broken colors are less luminous than the primaries or secondaries, hence they give soft and pleasing effects in combination. The following colors can be secured by adding grey in varying proportions to the pure colors named Maroon, by adding grey to red, Terra Cotta, by adding grey to orange-red, Citron, by adding grey to yellow, Russet, by adding grey to orange-red, Brown, by adding grey to red-orange, Myrtle, by adding grey to blue-green, Olive, by adding grey to yellow-green,' Sage, by adding grey to green, Slate, by adding grey to violet, Plum, by adding grey to purple, Navy blue, by adding grey to blue. The above list of colors comprises only a few of the many com¬ binations which become possible by the addition of black, white, or 55 INK Three-Color Mixtures INK Opaque Transparent Paper and Ink grey, to the colors named. In fact, in most of the above cases it is best to tone the colors down in order to secure the most perfect har¬ mony between the different colors used and the ground on which they are to be printed. Many other tones, tints, and greys can be added to them, multiplying still further their possibilities. The necessity of having warm colors predominate when two or more colors are used together is apparent when it is realized that the warm colors exhaust the nerve power of the eye less than the cold. It is best to make some one color strong, bright, and contrasting, so that it will be the predominating feature of the group. This can be done either by strength of color or by means of a large area of one color. & Opaque and Transparent Inks. —Inks, as usually received from the manufacturers, are opaque, and for most uses this is best and even necessary to secure satisfactory results. Yet, the time has come when the great variety of work requires also transparent inks, making it necessary to specify when ordering just what the ink is intended for, and that a transparent ink is desired. Tints can often be left to the last impression by using a transparent tint, which is very advantageous for several reasons. The whole job can be run with fewer delays for ink to dry, and when the tint is put on last it adds a fine gloss and lustre to type or half-tones over which it is printed In three-color work the success of the whole job lies largely in using transparent inks, which will readily give desired results. Also when printing the same half-tone or cut first in one color and then in another right over the first, the transparent ink is necessary. Paper and Ink. —There is a simultaneous contrast between the color of ink and paper on which it is printed, which causes them to .appear as dissimilar as possible. The color of the paper, which occupies a larger area than the ink, throws its complement upon the ink, thus either strengthening or weakening its tone and intensity. This must always be considered in choosing the best color and tone of ink for a given color of paper. If the ink is injured by this contrast, a different ink must be used, Dr sufficient ink of the necessary color added to counteract the simul¬ taneous contrast. For example : — If green ink is printed on a blue ground, orange, the complement of the ground, is thrown on the green, causing it to appear yellowish, 56 hence sufficient blue ink must be added to the green to counteract the effect of the orange by moving the green away from yellow toward blue. This is one instance among many where what to the inex¬ perienced would prove an insurmountable difficulty becomes only a trifling incident to the expert colorist. Driers for Ink.— It is often essential that ink should dry quickly after printing. Considerable skill and judgment are neces¬ sary in using exactly the proper quantity of drier on so widely differ¬ ing grades of stock and work and at the same time retain the full strength and beauty of the ink. Hence in long runs it is always best to order ink made especially adapted to cuts, stock, etc., to be used on the job in hand, for then the ink will require no addition of drier or reducer, as the manufac¬ turer will have made it short in its strength of varnish, of full color, finely ground, and properly fixed for drying and on coated paper, if so desired. Yet, there are constantly coming up small jobs calling for an infinite variety of inks, each one needing more or less drier than the ink at hand contains, so that one must not only be familiar with the composition of inks, but also equally familiar with driers and their effects upon different inks. In light-colored inks a dark-colored drier must not be used. Nor can a thin drier be used where the ink is already too weak. It is necessary, then, for every office to have on hand driers suited for the different inks in stock, but labeled : “ To be used sparingly.” , In case of labels or any work on coated or gloss stock, on which it is desired to get a brilliant, glossy effect, and yet essential that the ink shall dry quickly, use a quick-drier gloss varnish, mixed with .a firm, quick-drying ink. The following hints maybe of interest to some who cannot easily get driers from the manufacturers :— Balsam of copaiba, damar or copal varnish will act as a drier without injuring the quality of the ink perceptibly. If the ink in hand is firm, with too much drier, and yet to add a reducer would so thin it as to impoverish the quality of color, carefully mix in a little news ink which will sufficiently reduce it without injuring its quality. A little vaseline or lard will decrease the strength of the varnish fused in the ink and in case the drier causes the ink to pick the INK Driers 57 INK Driers Eeclucers paper, it is necessary to thoroughly incorporate a little into the ink.. Quick-drying ink must not be run too heavy color lest it cause offset. Yet, when run in just the proper quantity to do tfie work perfectly y it is not as apt to offset as an ink which drys too slowly. A good, strong impression is necessary to set the ink firmly m the stock.. If the addition of a drier causes the sheets to stick together as if o glued after printing, it shows that too much drier was used. A little vaseline will prevent the sticking. It is evident, then, that the careful pressman will not take a can of ink at random and use it regardless of. results, but will, before choosing it, carefully consider the following points :— Form to be printed, Light or fullface type, With or without half-tones, Character of stock, The effect desired, Press to be used, Used with what other inks, When the job must be dry to deliver. Thus it is evident that even in the every-day run of job work judgment is the best possible ingredient to mix with inks before using. •j* «£* Drier and Reducer Combined.— At times when the ink requires both drier and reducer, damar or copal varnish can be used to advantage. For use in small offices where but little drier or reducer is used, yet must be kept on hand, the following will be found useful, as its ingredients can be secured from any drug store. Mix together in a bottle : — 2 sills boiled oil, i gill damar varnish, q drams oil of cloves. When thoroughly shaken it is ready for use. It will act both as- a mild drier and a reducer, and should be added sparingly and thor¬ oughly incorporated into the ink. It will cause the ink to work smoothly. An equal mixture of boiled oil and copal varnish is also good as a reducer and the varnish somewhat aids the drying. Reducers. —It is not infrequent that ink taken from the com¬ mon stock gives great annoyance, and possibly retards the work in hand, in many ways, sometimes most preplexing to a good press- 58 man. Many different things may be responsible for this trouble, and the pressman cannot be too familiar with their causes. One stock requires full body, firm ink, while cheap stock works best with thin news ink. The temperature, humidity, press used, cuts in form, and quality of distribution as well as many other causes come in to make necessary a different ink cm each class of work. In humid weather, if using fine, stiff inks which fail to give gpod results, first get as firm rollers as possible and then add a little soft news ink and vaseline. This will soften the ink, causing it to give good results and will not impoverish it as reducers will. Cheap news ink, when a trifle firm for use, can be reduced nicely Ty adding boiled oil in small quantities. INK On Coated Paper Coat Pulls Off Printing on Coated Paper.— Many difficulties confront the printer when working on coated paper, and the most skilled of press¬ men cannot do good work, however good quality of ink and coated • stock he mav-have unless he has a good press, with good rollers and superior distribution. The rollers must be suited to the w 7 eather as well as to the especial grade of ink to be used. For a firm, tacky ink ■or gold size a new roller maybe no better suited than an old soft one. It should be a well-seasoned, moderately firm, yet very elastic roller, ^capable of taking up and quickly letting go of very full-bodied inks. S & Coat Pulls Off. —It is often impossible to print on coated •stock without pulling off' the coating in little spots. The difficulty may lay in the paper or it may be in the ink. If the glue used in the coating was of inferior quality and has become rotten then there is no help for the trouble except in securing good stock. It is a simple matter to determine if the coat is strong and right. Just wet the thumb and finger and press the paper between them, then let go and if the coat lets go the paper and remains on the finger the paper is poor. If the ink is too strong in varnish, making it tacky, it will then pull the coat badly. If this occurs in cold weather, get the press, ink, etc., thoroughly warm, and. then if it still pulls the coating reduce the tackiness of the ink by thoroughly incorporating into it vaseline or lard, only adding a sufficient amount to stop the pulling, as if rfeduced more than necessary, the ink will be so impoverished a.s to injure its.strength and brilliancy. It will be necessary to use a firmer, better ink on the same job if 59 INK Piles Up On Half-tones Mottling to be run on a platen press than would be required were it to be printed upon a four-roller cylinder press", for the .distribution is not so good on the platen press as on the cylinder. One has but to watch and. study this point of distribution carefully for a short time to learn how many times when rollers, ink, or pressman have been blamed for poor work, while the real trouble was in defective distribution. Some¬ times this cannot be remedied, but usually, when there are several presses, a little judgment in placing the work on the proper machines will be of great profit. Hence if there are different presses to choose from, place work requiring firm inks, or half-tone work on machines having the largest and best roller capacity. Then carefully set the ink fountain to feed neither too little nor too much ink. Good distri¬ bution allows of carrying much less ink, thus avoiding filling up of fine lines and giving a much clearer and more distinct print. When using colored inks, especially of a firm qiiality, on good stock, it will be necessary to use a trifle firmer impression than when- using black, as the makeup of the colored inks will not permit them to cling to the paper as readily as black. In fact, each colored ink has its peculiarities which must be learned by careful observation,, and, having been Learned, these peculiarities must be taken into con¬ sideration. ^ & Ink Piles Up on Half-Tones. —When a half-tone has been, made too shallow it may cause the ink to pile up on the shallow por¬ tions. The remedy is to buy onlv first-class cuts. When the mis¬ take of using too cheap or inappropriate inks on half-tones has been made, the ink often piles up on the forms, the body of the ink being separated from the varnish. If this occurs a better grade of ink must be used. For half-tones it is best to use an ink with little tack, full of color, and of medium drying qualities. It may be necessary to add a trifle of drier, and when the ink proves too tacky reduce carefully with a little vaseline. With a firm ink less color can be carried and yet good, clean, and bright results be secured without danger of offset which must inevitably follow the use of inferior inks. The half-tone requires the very best of distribution. Mottling is a most trying experience to the printer, but, like every trial which perplexes, it yields to the inevitable law of “cause and effect.” Remember, always, there is no effect without a cause. Several different things may cause ink to mottle. If the rollers are set too low so as to drag on the form the ink may mottle even A 60 when a fairly good ink is being used ; rollers should be so set as to just kiss the form. Soft, mushy rollers in humid weather, or nard, shrunken rollers in cold weather may cause mottling. Cheap ink is always liable to mottle if not scientifically ground or if ground in poor varnish or oil, as the body will separate from the varnish and remain on the form. To avoid ink mottling on good stock buy good ink, of heavy body, full color, which will leave the rollers and stock readily. If practical, send sample of stock when ordering the ink. Then, if the ink mottles, which will seldom occur, the manufacturer will replace the ink with a better quality. Use ink full strength if stock will permit, reducing as little as possible, for by so doing you can get best results and carry less ink. Sometimes mottling can be prevented by adding to the ink a few drops of sperm oil, vaseline, or powdered castile soap. Gold Size. —It will be readily seen that different grades of stock require very different qualities of size for bronzing, and careful atten¬ tion and good judgment is necessary to decide this point. Coated paper requires much more size than a cheaper grade as the paper absorbs a oreat deal of the size into its coating. The essential point is to choose a grade of size that, after having given the stock all it will absorb, shall still have sufficient strength left to hold the bronze firmly. Only in case of a rush job is it necessary to use a quick-drying size'. It may take from six to ten hours for the size that has been bronzed to dry, but that is all right if, when dry , it holds the bronze firmly. Strong tenacity is absolutely essential; hence if a varnish must be added it should be extra strong, and if it fails to hold the bronze add a few drops of copal varnish or liquid drier. To test paper on which a bronze job is to be run, print the size on a sheet and lay away for ten minutes, and if it then takes and holds the bronze it is all right, for were the paper such as to absorb the varnish and spoil the holding quality of the size it would have developed in ten minutes. It is sometimes necessary on fine work to print a coat of size and let it fill the stock, and when dry print size once more over the first, when bronze will hold firmly and give fine lustre. Feeding the job through the press without rollers, after the bronze is dry, to the same forms as when sizing, presses the bronze smooth and close together,., giving a fine, brilliant lustre. INK Gold Size 61 INK Gold Ink -Gold Leaf Copying Ink Gloss Gold Ink will not give as bright and satisfactory a lustre as size and bronze for fullface type or fine ornamentation. Yet, on cheap work, and as a background on which to print borders, ofnaments, and initial letters where a little glitter gives good results, it is very effective and much cheaper than bronze, as it requires comparatively little labor in putting on. To secure satisfactory results, it must be used when freshly made. Gold Leaf may be put on in the usual manner, with the form printed first in size, then lay the gold leaf carefully on and press down by laying a sheet of enameled paper over the leaf and carefully press¬ ing, and, when partly dry, it can again be passed through the press with same form, without rollers, as was used to put on t’ e size, which will give it a fine gloss. Copying Ink. —Patience and experience are necessary in the proper use of copying ink. Sufficient ink must be carried to do the copying plainly and completely, yet, if too much is used the copy¬ ing effect is very poor. Copying ink is commonly made of glycerine .and aniline dyes; hence the usual methods of treating ink will not answer. Varnishes, reducers, benzine, etc., have no effect upon it. If it runs too thin it is because it contains too much glycerine. If it is so thick as to dry quickly on rollers and disc mix in just a little glycerine as a reducer ; this properly done will cause it to work nicely. When dry on the ink disc just a few drops of water will give temporary relief. Copying ink is readily soluble in water, so that to cleanse the rollers one has only to take them to the sink, quickly sponge off' the ink with water and wipe them dry with a cloth, which will leave them in prime condition. It copying ink is to be used in humid weather, when much water will injure the rollers, first wipe off all the ink possible, and then with a damp cloth clean off what remains, wiping dry as soon as possible. Copying ink is always thinner in summer than in winter. In summer it should be kept in a cool, dry place, and it should always he thoroughly stirred in the can, letting the spatula go well to the bottom, before using. A good glue and molasses roller, or a firm, moderately hard roller, is best for copying ink. & To Get Gloss Effects. —A good, glossy ink is most essential in fine job work. To secure this effect several things are necessary : 62 the ink should be suited to the stock, as firm, full body as the stock will permit; run the ink full color and have a distribution capable of carrying a large amount of ink with smooth results; the make- ready must be well executed, firm, and quite hard. The cuts must be so leveled up as to take the ink evenly in all parts. If the gloss is not sufficient in the ink, carefully add a little gloss varnish, Venice turpentine, or copal varnish ; these must be thoroughly worked into the ink. They also tend to cause it to dry quickly. INK Varnish Labels Oily Surfaces Hickel Electros To Varnish Labels. —It is sometimes desirous to give a gloss to the whole label and this can be done by printing a very thin coat of gloss varnish over the label with a tint'block. The gloss varnish, if used alone, would be liable to prove too thin ; if so, thoroughly work into it finely powdered magnesia, which, being transparent, will give body to the varnish and not injure the appearance of the job. A fine effect can be secured by printing over a label or other job with a large tint block and an ink made of magnesia tinted a little with an appropriate color and to which considerable gloss varnish has been added. Printing on Oily Surfaces. —Ordinary ink and oily surfaces, waxed papers, etc., make a very poor combination. Yet, if fully understood, they need give the printer little trouble. Use a firm, good quality of quick-drying ink and, if necessary, add more drier to it. Carry just as little ink as possible to do the work well and do not pile the printed sheets too high. Mix only sufficient ink for the job in hand, and, if leaving the press for many minutes, clean off the form, rollers, and disc, as the ink hardens rapidly. For parafined or heavily oiled stock, add to a strong ink the following mixture in the proportion of eight drops to a cubic inch of ink : copal or damar varnish and Venice turpentine in equal pro¬ portions, well shaken. With little of this ink carried on the rollers, a sufficiently firm impression to force the ink well into the stock, and the press kept constantly moving good results, may be expected. & & Nickel-Plated Electros. —Nickel-plated electros wear much longer than those without nickeling. If red ink, or, in fact, any ink in which chemicals that eat away the fine lines are to be used the plates must be nickeled. 63 INK Electros Rollers Most red ink contains mercury which, many times, will destroy the face of electros in a few hours. Hence for long runs nickeling in these cases becomes imperative. Rollers. —The most perfect skill on composition, presswork, color mixing, etc., will avail little unless the ink rollers are adapted to the work in hand. It is only with good rollers that first-class work is possible. Good rollers do not always mean new rollers. The very fact that rollers are new may unfit them for use on certain work. It is absolutely necessary, then, to understand not only the special care necessary for different grades of rollers but also just what rollers give best effects on different grades of work. For instance, vermillion red, peacock blue and some shades of green are difficult colors to distrib¬ ute evenlyj except when handled understandingly. For this work a thoroughly seasoned, dry, elastic, and not top tacky roller is very essen¬ tial. To use a new, tacky, and soft roller on such work would be to invite failure. In many places the glycerine roller gives good satis¬ faction while on such work as above and on copying ink, gold size, etc., glue and molasses rollers are best. The glue and molasses rol¬ lers require very different treatment from those made with glycerine; molasses rollers, when good and tacky, should be protected by a coat of cheap ink when not in use to keep the air from them, and, if they are becoming too hard, they should be sponged off with water before using, and at night the ink cleaned off and roller put in sweat-box until it regains its life and tack. By carefully watching the condition of rollers it is possible to double the length of their life. If a glycerine roller becomes hard and lifeless it may be neces¬ sary to first clean thoroughly at night, and then give them a coat of glycerine, which must be thoroughly cleaned off in the morning. The roller that works perfectly in winter will be so soft as to melt on the first hot day in June; hence for economy’s sake as well as in the interest of clean printing, one must have summer and winter rollers. If these rollers were made new, say, one month before time for use in the autumn so they are well seasoned, and have been intelligently cared for during the winter, they will be in good condition when the weather becomes too hot for a soft roller and can be thoroughly cleaned, given a coat of oil to protect from the air, and put away care¬ fully, ready for use once more the following autumn. While had they 64 been put at once into use \yhen made without seasoning and given only ordinary care they would have been ruined in one season. In their place bring out the last year’s summer rollers which were carefully put away in the autumn and you have a hard, well seasoned, and yet sufficiently tacky roller that will carry you through the hot and humid summer weather without trouble, while a roller just cast even from summer composition would likely have failed during those days of terrible humidity and heat. A great amount of annoyance, trouble, and expense is saved by proper forethought in providing rollers in advance and then caring for them according as conditions of roller and weather require. These well seasoned rollers also often come in nicely for a job requiring a good, firm roller with little tack. When possible, a different roller should be used for each color, but, if this is not possible, then the roller must be thoroughly cleaned ; •especially on the ends and in any cracks containing ink, as the least particle of old ink will defile and ruin a light color. In case of a light tint it is often necessary to clean up rollers and disc two or three times before rollers are ready to give true color. Generally in sum¬ mer if rollers are too soft and mushy it is best to clean ink off and leave the rollers exposed to a cool, dry air over night, but this must not be done blindly; first, be sure the roller is too soft. If a soft roller is exposed to a blast of cold air it will tend to harden and fit it for use in humid weather, but when too soft and sticky and the cold air blast is not possible a light coat of finely powdered alum rubbed over the surface of the roller and then brushed off will give it a fine, soft, velvet surface. This remedy will need to be repeated day after day, as often as roller becomes too tacky. jt & In winter or when a roller is inclined to become too hard the treatment must be just the reverse. Protect the rollers from the air, clean ink off just before using in morning, or coat over night with cheap ink, oil, or glycerine, according to the kind of roller. If the ink to be left on the roller is inclined to harden during the night, just distribute oil on the rollers and disc thoroughly and sufficiently to saturate the ink, then clean up the disc and press and in the morning the ink and oil on the rollers will clean off with surprising ease. Always clean the rollers and note their condition before putting them into the press. ROLLERS 65 ROLLERS Composition Rollers on a cylinder press give unexperienced pressmen much trouble by cracking on the unused end. When the form only uses,, say, one half of the length of the roller, if the ink, possibly quick dry¬ ing, is distributed over the whole length of the rollers it soon accumu¬ lates, hardens, then tears and ruins the unused ends. To avoid this too common trouble it is only necessary to divide the fountain and put news ink reduced with boiled linseed oil in the unused- end and shut off the flow of ink as closely as possible. This ink will not harden or tear the rollers. Never partition off the fountain and run the end of the rollers- without any ink, for that also will ruin them. Oil or thin, cheap ink without any drier causes them to run smoothly without friction or wear- Heat and cold affect ink, rollers, and machines, and must be carefully noted. Cold, hard rollers will not take up cold ink, nor distribute it on iron ink plate as freely or as well as if all the parts- are warm and properly cared for. Just so the contracting of the iron of the fountain by cold prevents as large a flow as will come when the machine becomes warm. It is necessary, then, to see that the office does not become sufficiently cold at night to cause rollers, press,, and ink to hinder the work in the morning. Unless this is carefully attended to, an hour or more will be wasted every morning in winter. Judgment is also necessary in the simple matter of cleaning rollers. Many different materials are used. If the roller is old. hard, and covered with copying ink a copious bath of water will do it good, but if it is already too soft it is best to sponge off with a little water and then wipe dry. Benzine is not as injurious to rollers as is often claimed, but its quick evaporation tends to harden the surface. Tur¬ pentine and kerosene oil clean rollers nicely and leave them in prime condition, when wiped clean. Nothing removes the ink from a roller quite so neatly and easily as distributing kerosene or machine oil on rollers thoroughly, and after it has stood for a little wipe off with a dry cloth. The condition of rollers, ink, etc., must determine which method shall be used. & & Roller Composition. —As a rule, ready-made roller composi¬ tion is just as cheap as home-made, besides saving much inconvenience and many trials. And it will in many instances make a more lasting and serviceable roller. Yet there are times and cases when the character of the work is- 66 such as to require a first-class glue and molasses roller; when, in fact, the desired results cannot be secured without such a roller. Hence below is given instructions for making a good glue and molasses roller composition. ROLLERS Composition Makeready Composition for Rollers. —To seven pounds of melted glue add one gallon of sugar-house molasses, one half pint of glycerine and just a little Venice turpentine. These proportions are for a medium temperature. For very hot or very cold weather a slight change is necessary. The glue must be clear and brittle. Moisten the glue in water until it has soaked half through, then drain oft all the extra water and melt, adding molasses and cooking thoroughly, not quite boiling, watching carefully to see that it does not burn. Finally add the other ingredients and let it cool fifteen minutes before skimming and pouring. & & Economy in Makeready.— That in many offices much more time is consumed on makeready than is necessary is a well known fact. This gives many a careful employing printer great annoyance. It goes without saying that Elbert Hubbard, the writer of the following lines is a printer of much experience, and has tried in vain to find faithful assistants. In “A Message to Garcia” he writes: No man, who has endeavored to carry out an enterprise where many hands were needed, but has been well nigh appalled at times by the imbecility of the average man—the inability or unwillingness to concentrate on a thing and do it.” But few men have sufficient ambition and purpose to take one thing to do and do that one thing well. Too many men are pressmen today who never devote an hour to study and if asked to study would stare in open amazement and ask you : “ Study what ?” It is not that pressmen are willfully wasteful of time, but habit and a dislike to change from their own way and unwillingness to make the effort to think even, causes many otherwise good pressmen to putter and con¬ sume three or four times as much time on a makeready as is necessary. In the first place, many pressmen neglect to even up the impression at the very start; hence practically doing by an hour’s makeready what ought to have been done with the impression screws in a moment’s time. The following hints on the method of makeready are in no sense a detailed instruction, but simply an outline of the vital points which must be followed in order to secure the best makeready in the shortest possible time. 67 MAKE- READY Packing Underlaying Overlaying See that the form, if possible, is locked up just a trifle below the centre of the chase. Place the chase always firmly to the left side of the press, simply to form the habit of always putting it just the same, so that the register shall not vary. & Packing. —Use one thickness of card or press board next the iron, with three sheets of packing beneath the two tympan sheets. In case it is a heavy card to be printed, the press board in tympan can be omitted. If the job is an envelope or on some coarse, rough stock or a very large plate form, more soft packing will be required. Judgment should be added with the packing. But on all open work, rule w r ork, close register work and any¬ thing on which clear, firm work is required, the less packing used the better the result. Keep close to the iron and then be careful of your impression. v Before doing any makeready level up the platten with the screws, getting just as perfect an impression as possible, as by so doing hours of makeready can be saved on every job. On all small, short runs, nearly all the makeready should be done by leveling up either by the screws or by underlays. Underlaying. —When the form, either plate or type, has been properly leveled up with the impression screws, then underlay to first make sure that it is sufficiently high to give the ink rollers a good ink¬ ing impression. Then underlay judiciously to raise any low spots in the form, so that the surface may be as even as possible before com¬ mencing overlay. Never use tissue paper for underlays. Always use a hard paper, and as few thicknesses as possible to avoid springing of form. It is often best to place the underlays between the plate and base, being careful to do it accurately. Thus by once underlaying, the form is already underlayed for future runs. Never let underlays project out¬ side of base of form. j* jt Overlaying. —Having carefully leveled up the form and raised the low places, pull a good, well-inked proof on its own paper, and if any low places remain carefully mark out and overlay on the proof which has previously been printed on second tympan sheet. 68 Do not build up a spongy, tissue overlay. It is not workmanlike. MAKE- Carefully cut out and paste on one, two, or three overlays as is neces- READY sary with a sheet of tissue, ten pound folio, and the stock of the job in hand if it is a hard stock. Electricity If the form contains a half-tone, you now have a proof which can be used intelligently for makeready. Do not paste the different overlays onto different sheets of the packing. Carefully cut out the high lights from one overlay and the deep shades from another and the medium ones from the third, and accurately paste together, and then paste securely over the proof of the cut on the tympan. If necessary, cut out light parts from tympan. Time is money, and by following these instructions one will shortly learn to save much valuable time. There are many pieces of work which require a different treat¬ ment in packing, makeready, and cutout overlays from the above. For the general run of every-day work these hints will be found most helpful. Electricity. —One of the most prolific sources of trouble in the pressroom has been electricity in the paper. Printers the world over have tried in vain to overcome this difficulty. Electricity in the stock makes it impossible to jog the paper accurately from the fly, besides it causes offset and smut on work which would otherwise run all right. All the attempts have been to either keep the electricity out of the paper or else to take it out before it reaches the jogger. But it mat¬ ters little how many rows of needles, connected with a ground wire, the paper passes over, or how much damp paper or cloth may be used around the press, still it is there. Only one method will effect¬ ually overcome this. It is, of course, essential to completely surround the sheet with some good conductor which shall carry away the electricity from it as it leaves the cylinder, while in the air on the tapes. If there is a steam pipe in the room it becomes easy. If not, boil water in a large, open dish, over a hot fire in the press¬ room and sprinkle the floor round the press with hot water. The writer heats the pressroom by a circulation of hot air, and when elec¬ tricity troubles it is simply necessary to turn a steam valve letting live steam into the hot air pipes and soon the air of the pressroom is so- charged with moisture that the electricity silently steals away. To a great extent, the paper mills are responsible for the elec¬ tricity in stock. Hence if paper is received which, when cut up 69 ELEC¬ TRICITY and exposed to the air, instantly curls up, rolls, and refuses to lay flat it is well to hold the mills responsible, in order that they shall use more care in making the paper as free as possible from electricity. Such paper is a means of great expense and loss of time. It is noticeable that paper brought in from a cold stock room is more apt to be charged with electricity. The same paper if kept in an even, hot air for a few days will give little trouble. Hence it is advisable to bring the stock into the warm pressroom as long before using as possible. Coating the cylinder with oil or patent annihilators will also aid in reducing the generation of electricity while printing. In some espec¬ ially stubborn cases it will be necessary to resort to a combination of all the above methods in order to wholly overcome the difficulty. 70 v JOB WORK. HERE are three classes of printing: first, work where everything is sacrificed to cheap¬ ness, regardless of quality ; second, the every¬ day run of job work, which must be fairly well done, yet is desired to be rushed and gotten out almost as cheaply as the inferior work; the third kind, is work where cost is considered last, and quality of stock, work¬ manship, inks, harmony, and effect are the first great considerations. This treatise has nothing in common with the first grade of printing, unless, perchance, by reference to the sec¬ ond grade and a plea for a higher standard all along the line that it may tend to lift cheap work out of its deep rut of carelessness, ignor¬ ance, and indifference. It is not cheaper except in quality; it is poorer, simply by neglect, hurry, and habit. The Every-day Run of Job Work is the work which the customer expects to look clean, neat, and tasty; often wants it quickly, and always just as cheaply as some one else did it for the last time; and is, in fact, the work which employs most of the time of the average printer. It is in the interest of this class of work that it is purposed in this book to bring out and combine in practical forms, different suggestions and helps whereby the every-day work shall be produced just as cheaply as at present, and yet much more perfectly and in a more satisfactory manner than in the past. Not one in a hundred realizes why it is that a certain piece of printing is so pleasing to the eye, yet everyone admires it. Why ? It is the simple rule of cause and effect; no accident! The printer thoroughly understood both harmony of types, and colors, and ornaments; hence* the work was good, and good work always tells. Had the same work been done by an equally willing, energetic printer who was ignorant of the laws of harmony, there 71 JOB WORK Comparisons would have been such confusion of fancy and plain faces, ornaments,- colors, etc., that while much more work had been bestowed upon it r yet simplicity and harmony being lacking, it would fail to please, not only those of good taste, but even the untrained eye which could not" distinguish the why of its inferiority. an aHAUsfivt sfuoy mMmmm fimizmmm wmx&mm “fl little ly?ou;lnt otnbiob. 3to icmo bo mm i tm not otcvnb niono. eJ|> toJhon inbo- p onbont thoiz zoicitlon to ocicti ; B V i : oi'hoz Sc in ic^nozcvnco o| tho in- 'mmmmm ^inonco oomo othoz invo i4tatj- mmmmm oocozt oooz thorn. thon rniii \nio- mrnMM i ii y 7 0 ionb. hzonb, oochonotivc otnb-ij o| ovczzj' botcvii io moot oooontini to onccooo. l mmmimm. mmmmi 1 ® Above is given an example of fancy, difficult effects as compared' with simplicity; the first example is read with extreme difficulty while the second is read with perfect ease. Several other important points are also illustrated. Note the two-settings; the difference in the headlines, also the effect of whiting out both around the body of the- type, in the omitting of sufficient ornaments to let in the light. This first setting is a trifle overdrawn in order to show plainly the contrast between plain and fancy type faces. Comparisons always result in favor of simplicity, less ornament, and more white space. Com¬ parison is a great educator. An Exhaustive Study WHICH ? WiXW Pj 9. y& 'A little knowledge is a dangerous thing.” The Practical Colorist is not to be read but studied* Its laws do not stand alone. If taken independent of their relation to each other and in ignorance of the influence some other law may exert over them, they will mis¬ lead* An exhaustive study of every detail is essential* Good but Cheap Work, then, can be produced at a less cost than the average poor work, if only the operator is expert; knows at a glance the how and what, so that at the first trial just the proper harmonies of both composition and colors are secured. Such a com¬ positor and pressman will spend less than half the time on a given JOB WORK Good but Cheap Work 73 JOB WORK Simplicity job than an inferior workman will require, and yet he will give effects far beyond the possibilities of the unskilled workman. Nothing is truer than the remark of an employing printer: “I do not care what wages he may demand so he is worth it.” It is, then, by fully mastering the fundamentals and becoming familiar with putting them into every-day use, that one can produce a high grade of work, and yet have the cost no more than that of inferior work. A little better paper, more tasty display, less variety of type, appropriate ornamentation, a brilliant, fine ink, and possibly a touch of a second color in ornament, underscore, or rule to illuminate the page will cost little or no more"; it will not only give the printer self- respect, but it will so please the customer that ever after his work will come to the man who succeeded in so pleasing him. One may spend money lavishly in advertising, and if he does inferior work either in composition or presswork it will not hold trade. But the investment of an hour’s time, a few cents’ worth of good ink, and a thorough knowledge of the business will keep one’s shop crowded with the best class of work. Simplicity is too often lost sight of in the attempt to secure striking effects. Simplicity in composition and illumination must be the rule; is the rule of the artist printer. It is neither rules, orna¬ ments, nor fancy, illegible types that are to be read, but the plain, neatly printed type page. So, then, give a wide berth to all types that cannot be read at the first glance. They do not advertise, cannot; the world has no time to waste on puzzles. A great deal of so-called decorative printing is actually painful to the eye of the artist printer, for it is simply the result of one’s strug¬ gling in ignorance of how to attain the marvelous beauties of real har¬ mony and striving for effect without realizing the cause. Many pieces of otherwise careful work fail for want of simplicity, harmony, and appropriateness- Just as one type face is appropriate for one class of work and not at all so for another, so it is with inks and their various tones, hues, and tints. It is readily seen that neither a script type nor a light tint of ink should be used on a poster. Admitting this, you see the fundamental principle, suitableness, or fitness of type and inks for the job in hand. It becomes necessary, then, to educate the taste by carefully studying every sample of printing that comes in your path. Not only admiring, but analyzing for the cause of the effect. Why are the ink effects so 74 harmonious ? What law governed the selection of the inks ? Why did the compositor confine himself strictly to one series of types ? Why did he put the border and cross rule, or tint, beneath the initial letter, or the ornament and underscore in red, instead of doing so with the most important display line ? There are so many questions arising as we carefully study each job, and so much maybe learned in this way, and the eye trained to such a delicate perception ; all of which are of such infinite value to the printer that the importance of studying the work of artist printers cannot be urged too strongly. £ Harmony goes hand in hand with simplicity ; the work must be plain and simple that it may not interfere with the telling of its story so plainly that he who runs may read ; it must be harmonious that it may not only not offend, but that it may so attract and please as-to command the attention even of the indifferent. The purpose of using ornaments or colors is simply to make the printed page more attractive, forceful, and valuable. The true artist does not strive to see how much ornamentation or how many colors he can crowd into a job, but rather how few can be used and make it most simple and effective. Even when printing in but one color, he never adds a second, unless by so doing force and character can be secured. Tust a touch of color properly placed illuminates the page admirably if the colors are harmoniously chosen. Oftentimes pleasing results are obtained by the application of the law of harmony of analogy or contrast between paper and ink, even apparently securing two-color effects. The first two-color effect, then, is obtained from the color of ink . and paper. This is well illustrated on the display pages. White, the complement of black by contrast, brings it out in its fullest intensity, making it not only more striking in its effect upon the eye than when printed on any other color, but the most effectual of all. It is no accident that black on white is used more than all else. Here, then, is the “why” the prominent display line should be printed in black instead of red, as black affects the eye most. If red is to be used, it may better be a red underscore to make even more forceful the black line. By printing on a tinted, colored paper, with an ink of a deep tone or hue of the same color many pleasing, restful, yet most attractive results may be obtained. Strik¬ ing illustrations of these are given in the initial pages. JOB WORK Harmony Color 75 JOB WOKE Control the Home Held Ad Writing When using a tinted paper with only one or two harmonious colors one is sure to get results far more pleasing than are commonly secured by three or four-color combinations. The two-color illustrations, which are given later, give striking proof of these facts, which are referred to more fully in these illus¬ trations. Control the Home Field. —The aim of every energetic printer should be to control the home field as completely as possible. To do this it is necessary to anticipate the needs of all possible customers. This can be done only by frequently taking an hour for perfect, unin¬ terrupted thought, when the busy world is at rest, and go over in detail the individual needs of the various business interests in your locality. It is only by an acute, bold grasp of the whole field, and letting the public realize that you are always ready with new, attrac¬ tive, and forceful methods of securing publicity that success in its high¬ est form is possible. Use these methods in informing customers of your willingness not only to do the printing but to originate style, etc. Do not attempt to go out of your own line of business, at least until you have fully improved all its possibilities. But be sure the whole field is occupied. If possible, give your customers such tasty, perfect printing, with up-to-date methods and colors, that they will not go away from home, not even for engraved or lithographed work. Control all the work even that like the engraved cards which must be ordered from away. Be so obliging and universally anxious to please that everyone will come for you to order for them whatever they want in your line. Develop the field. It has by far more possibilities than one realizes. If work is being sent away there is a reason for it; find that reason and remove it. & Advertisement Writing. —Every office should number on its staff one man who makes a study of advertising, its writing, arrang¬ ing, and display by means of which the largest possible publicity can be secured. Many business men have not the time or ability to write pulling advertising. In fact, they thoroughly appreciate the man who drops in regularly; seems to have the interest of their business at heart, and always is able to suggest some new arrangement for bring¬ ing their goods to public notice. The “ad man” should not only know how to write and design advertisements but he must also be a social, gen¬ ial solictor, one who is always welcomed wherever business takes him. 76 In this one point of fitness to meet business men on their own level a great deal depends; then it becomes a comparatively easy matter .after dexterously learning of a desire for some new feature, to suggest a novelty in a folder, a private mailing card, or a tasty two or three¬ -color bit of dainty printing just to appeal to the better class of trade. In a familiar way, talking over the details, he learns more of his cus¬ tomer’s needs and is able before his next call to carefully elaborate a plan or piece of advertising that shall so please and profit the cus¬ tomer as to win praise, gratitude, and much future patronage. All this means systematic study, daily and hourly, in fact, it means that one must be so in love with his work that one customer or another is constantly in his thoughts. This is a broad field, it requires a broad mind. The mind that follows it honestly will broaden most rapidly. There is nothing like this constant touching of elbows in a business way. It is one of the successful methods of laying a founda¬ tion for a thoroughly prosperous business. It insures a uniformly busy office with no dull times. Lithographed Work.— There are many business firms which believe that their checks, drafts, letter heads, statements, etc., must be lithographed. Always give a customer what he wants, unless it can be made plain to him that something else is for his .advantage. So, if he insists, procure the lithographed work from some firm which will give a reasonable commission on orders. ’ By a little -explanation it will often be possible to convince customers that you can exactly duplicate his lithographed work. If so, take one of his letter heads (a perfect, unfolded sheet) and send to your engraver and he will make you a process plate from which you can print, using bright blue black ink, securing surprisingly fine results, rivaling the lithograph, yet costing but a small fraction as much. For this work use good quality of stock, one which is adapted to the fine, -delicate lines of the process plate. Take exceptional care in getting -a good makeready which shall reproduce every light and shade, just as they appeared in the original. To do this a hard packing will be necessary. Use the very best blue black ink on a press giving good distribution, that as little ink as possible shall be carried. Half-tone Cuts. —Printing has been changed and it has taken tremendous strides in advance within ten or fifteen years by the intro¬ duction of the half-tone. The half-tone has come to stay. It is a .factor of no small importance in both the job arid newspaper depart- « 77 JOB WORK Lithographed Work Half-tone Outs 78 ment. In fact, the office which has in stock a large number of half- JOB WORK tones of prominent people, buildings, and scenes of local interest is „ « . ^ r r . . . Half-tone Cuts sure to secure much work which otherwise would most likely go elsewhere. The merchant wants a half-tone with which to attract the attention of his patrons to some piece of advertising, but he can¬ not afford the expense of one for so small a job. He knows that you have a good assortment which is always at the disposal of your patrons, hence he comes of necessity to you and you are able to please him and, as a result, he comes again and again. It may be argued that a good assortment of half-tones costs mon¬ ey. Yes, but how is this expense to be met? Let us see what a little planning will do. Assuming that you run a newspaper and job office combined, you must in some way make your paper of real, material value to those people from whom you have a right to expect support. It must be intensely alive and interesting in a local way. Nothing will accomplish this so cheaply or so effectually as a strong, bold campaign to boom the business of the town. One very successful method of accomplishing this is to run for a few months a series of interesting sketches of the local institutions of learning, of the churches, of the different lines of industry, manufacturing, etc. This series of articles should be liberally illustrated with half-tones, the larger the number of cuts used the greater will be the satisfaction of the public, and the greater your reward. The prosperous business houses will pay well for the space devoted to their business, which will •cover all the expense for half-tones. Thus, in a year this course will have gained for you the reputation of being heart and soul in earnest to build up your town ; it will have added many subscribers to your list; it will have bought for you a handsome collection of cuts which 79 JOB WOEK Half-tone Outs Camera will earn many dollars on job work in the future ; and, if the sketches and business notices have been properly handled for revenue, it will have netted a handsome surplus. This course will boom the paper and the job department far more than one would think possible. Try it! but first carefully plan out every detail for the year’s campaign. Start your series of articles with business in which representative men are interested for they will not hesitate to put money into booming the town and their own busi¬ ness. The first thing needed is a good camera. Get only the best and most reliable as it must be ready for instant use. 80 See to it that several of your staff are familiar with the use of the camera, that no sudden opportunity may be lost. As quickly as pos¬ sible secure and file away in alphabetical order a good photograph of public buildings, principal stores, factories, and fine residences, as well as the influential people in your locality. Then in case of a sud¬ den death, fire, accident, or crime, you are forearmed with a photo¬ graph, which just then, is of great interest to the public yet cannot be secured, for the building is burned or the man is dead. Send this photograph at once to your engraver and he will do the rest. In a few hours you have a fine half-tone ready to illustrate the startling event which is on every tongue. Select some thoroughly reliable engraving company from whom you are sure of both prompt service and first-class work and arrange all details of price, method of shipping, date of publication, etc., so to avoid all possible delay or hindrance. Such enterprise as coming out just after the burning of a promi¬ nent building with a picture of the building before and another after or during the fire, also with a picture of its owner, is a great credit to a paper. Many opportunities will arise for using these half-tones on job work. First pages of all kinds require something attractive, full of life and animation. The half-tone gives it. It will add character to the job work. Remember that every really good, meritorious job brings two more. The cut can be worked in a great variety of ways and with a great many colors of ink. A job surrounded with a rule or border at one time, or if the subject matter is printed in one color and cut in another, will appear enough more finished and attractive to repay the cost. Or the cut JOB WORK Half-tone Engraver 81 JOB WORK Half-tones Electrotyping can be handled in some one of the ways with two colors of ink as shown in the illustration pages. All this may seem difficult and to you almost impossible, yet it is perfectly feasible, in fact, is being done by many good printers. You have only to take one step at a time and after a few trials you will be surprised to see how simple, easy, and profitable it is. Electrotyping. —When within a reasonable distance from an electrotyper it will be found a great means of economy, as well as a great help in many ways, to have electrotypes made of all forms that must go to press for long runs. It keeps the type new, saving the wear of its fine lines on the press. It leaves the type free for use while the job is still running, avoiding the necessity of buying in as large quantities as one must if the type is to go to press. It makes possible, by securing two, four, eight or moie plates, the running of large forms, thus reducing the cost of presswork quite materially. In fact, a good margin of profit can thus be secured and you can still bid as low or lower than your neighbor. Electrotypes are also of great importance when two or more colors are to be printed, as they reduce the complications of register to a large extent. Hence whenever practicable, use electrotypes for color work. A saving in composition can be made in this way on work which comes regularly, by having electrotypes made, thus avoiding all future 82 composition, proofreading, possibilities of errors, pieing of forms, working up of spaces, etc. Always have electrotypes which are to be printed with red ink nickel-plated. It will treble the wear. This is fully treated under red ink. Twenty Ter Cent Profit.— Is it worth while to add twenty per cent to the profits of an office and with no more outlay and, in fact, less labor? It is claimed that it makes at least twenty per cent difference Subject* Simultaneous Contrasts. TITLE OF BOOK. vol. PAGE. The Practical Colorist 19 it i t 36 it ii 40 t i t c 56 Chevreul’s Harmony of Color 13 123 t i < ( (iff The Color Printer 1 31 Colour, by Church 99 REFERENCE CARD whether the help in an office are aware that work is a little slack and that they must all kill time or someone will be discharged, or whether every hand knows that business is pushing and in order to get the work out in time, and in order to keep the work unclogged, each man must individually do his very best, and all together work like one machine. This is true in each department. In the composing room in many offices distribution of dead type is left for a dull time, then all hands take hold, not to really distribute, but to go to the case with a few lines of type and visit and kill time until more work comes in. When the work does come it finds the dead type still waiting, necessita.ting the extra expense of pulling for sorts, setting from empty cases, and JOB WORK Twenty per cent Profit 83 JOB WORK Good Proofs causing great delay, inconvenience, and needless expense. Is not this all too true ? The same is true in pressroom or bindery. There is but one way to do work economically and that is by having barely enough help to do each job, whether it be setting, distributing, or printing, when it should be, not some other more convenient time. It is a good plan to have one hand do all the distributing as far as possible and select not the “devil” but the most careful and accu¬ rate workman available. Careful, conscientious distribution means many dollars to an office every year. It should be easier to save than to ea n. Economy of time, strength, and labor is the foundation of a successful business. The honest enforcement of the principle of economy in no way implies grinding an unreasonable amount of work from the help, it is simply insisting on each hand doing the work he is paid to do. PRIVATE MAILING CARD. United States of America. Authorized by act of Congress May 19. J898. THIS SIDE IS FOR THE ADDRESS ONLY. Put One-Cent Stamp Here The International Monthly, Burlington, Vermont. LEGAL SIZE 3^x5^ INCHES Send Good Proofs. —It is only a small per cent of printers, even, who can see from a galley proof how a job will look when fin¬ ished. Yet many a printer pounds the type almost through a proof and thoughtlessly sends it to a customer for his approval and then won¬ ders and storms because he does not consider it a work of art; in fact, is by no means pleased with it and demands expensive changes. Had fine press proofs been submitted the chances are it would have suited the customer perfectly. A good hand-press is invaluable in every office, for on this proofs can be secured as good and even better than from the average job press. 84 It mav seem expensive to stop for press proofs. Yet long years of experience have shown conclusively that it is the only way of suit¬ ing fastidious customers. In fact, it avoids expense and change so often that it much more than balances the expense, besides, it gives an office the reputation of being able to do the righYthing the first time. The job which does not please the first time will seldom ever be quite satisfactory as first impressions are very lasting. Hence it is wise to count no effort too great, that makes the job in hand so complete and attractive that when the customer first looks at the proof he is not only pleased but grateful for what seems to him to be your especial effort for him. JOB WORK Size of Pages SPECiALTlES NEAT TASTY ATTRACTIVE HARMONIOUS FORCEFUL AS YOU WANT IT ¥¥¥¥¥¥ A. COMPOSER P. FEEDER The Robertson Co* PRINTING and BINDING £ 71 West St*, MANILA* BUSINESS CARD Size of Pages. —There is a craving the world over for novelty and change. The time was in the earliest period of book-making that the printer must use just such a size and shape of page ; he had no choice. Today, with unlimited variety in stock and material of all sizes, it rests wholly with the creative genius of the printer what vari¬ ations and novelt es shall enrich our bookshelves. In choosing novel shapes for books and magazines, which may eventually be bound in volumes, care must be taken to secure a form which will be harmonious and convenient on the shelf among other books. The excessively long, narrow form which is neat and attrac¬ tive in small pamphlets is by no means suited for magazines which many subscribers will surely wish to bind. 85 JOB WOKE Legibility By means of novelties in shape and fold a fertile mind can secure great variety in page and form of books, circulars, and pamphlets, which will greatly add to the character and reputation of the office. Then, by carefully selecting chaste rule effects to support and dignify the type page a great step forward can be taken. These advance steps come only by careful, quiet thought and study, they are no acci¬ dent ; yet, no research or application will give better results than those which create new and attractive and valuable novelties. The grotesque, meaningless, unreadable muddle does not come in this class. It is no improvement. If you doubt this, just try an experiment. First set a job, using ornaments quite freely, and, after pulling a few first-class proofs, lay two proofs side by side and cover up most of the ornaments with bits of white paper and you will be surprised to learn that really, in many cases, the work is stronger without the ornaments. It is well to use this test on every ornament of which you feel any doubt as to the advisability of using. CHORUS MUSICAL VERMONT MUSICAL FESTIVAL. Burlington High School TUESDAY EVE., 8 P. M„ JUNE 5. ADMISSION TICKET ^ JL‘- p; Legibility is a prime requisite of good printing. Whatever advantages it may have besides this are rendered of no avail, by odd, unreadable types and mottled paper. Paper to look well when printed upon with black ink should be luminous ; that is, the paper should be in white, red, or yellow, or their mixtures, or such compounds of the warm colors as shall leave the predominance with the brighter ones. A job or pamphlet is not intended primarily for a work of art, it is designed to give information ; art is secondary. To do this, it should be printed in such a way as to be read hastily. Tf a certain job would 86 require ten minutes’ reading on pink paper, and on dark green sixteen or eighteen, the object of the writer is defeated if the latter be used. Every device is tried, at the present day, to induce buyers to read what is put before them. Three quarters of everything sent out is unread. If, by attention to beauty of printing and legibility, twenty per cent more is read, the same effect is produced as by an addition of one half the edition. Mottled, fancy, and dark papers are particularly objectionable for pamphlet work. The highest legibility is on white. The greatest contrast is white and black. The other colors are to be used for giving life and attractiveness. It is legibility first, last, and always. Burlington, Vt. r Received of $ . soo For . . Signed ■.. RECEIPT BLANK Paper. —Reference has just been made to the best paper to use, and the subject being an important one will bear careful thought. Black ink is at its best on white paper. The dull, somewhat rough surface, as compared with that which is highly polished with a glossy surface, is by far preferable, as far as the reader is con¬ cerned A coated or glazed surface is trying to the eye if one is to read for any length of time. Yet, circumstances often force the printer to use coated papers; in fact, where half-tone and three-color process work is to be done the printer has no choice. In a great majority of cases a “natural” tint is far preferable to a pure white. It will not soil so easily in handling; hence it holds its fresh, new appearance much longer. Judgment is necessary even in selecting the paper for the great variety of job work which comes daily to an office. With the present wide diversity of kinds, grades, and colors of paper there is ample latitude in choosing that which is most appropriate. By watching JOB WORK Paper 87 JOB WORK the market a job printer can secure small lots of deckle-edge, laid, and fancy colored cover papers which, while costing no more than ordinary stock, will enable him to turn out exceptionally neat and showy work that would otherwise appear so cheap and plain as never to have been read. Antique laid and hand-made papers are decidedly the best for small book and pamphlet work where something just correct is desired. From scraps of these same papers can be secured the stock for much of the small job work, such as programmes, invita¬ tions, leaflets, folders, mail slips, etc. ; this stock will add character to the work. $. Burlington , / /... i go NATIONAL BANK Pay to or order . Dollars. 100 No . . BANK CHECK The light tones of warm colors, then, are most desirable in fancy papers, and a harmonious combination of colored paper and one or two different darker tones of the same color of ink will richly repay the added expense. Use the brilliant inks on this work, for while they will add but a penny or two to the cost, they will double the value of the ink effect. In using colored paper, unless one has become expert in color printing, it is a safe rule to use only one or two colors, being careful to determine by experiment whether the ink and paper are wholly harmonious. Many of the illustrations in this book were printed on colored stock that a good opportunity might be afforded for comparing and choosing the most appropriate combinations of paper and ink. 88 JOB WORK TEN PER CENT YOU CAN SAVE IT. WHY NOT DO SO ? Folders and Pamphlets MAILING SLIP Folders and Pamphlets. —In folders, two or more page cir¬ culars, booklets, etc., strive to put the striking, attractive effects of ornament and colors upon the first page, keeping the page simple but just as striking and attractive as possible, so as to catch the eye, and harmonious in type and color effect in order to hold the eye once it is attracted. The rest of the circular will then be read even if only one color is used, providing it is well printed with plain, legible types which do not require special effort to read. Books are bought to get the thoughts of the author; advertise- 89 JOB WORK Calendars merits are printed to convey thought and conviction, and this can be accomplished only by employing the best* plainest, and simplest of type faces; by making of secondary importance ornamentation and that which does not add to the strength of the text. The time is fast passing when anything eccentric, striking, or difficult is good print¬ ing; and simple, harmonious effects, which are so free and acci¬ dental as to appear almost as having just chanced to drop into their present positions is rapidly superseding them. This unconscious grace is the highest form of harmony ; it is the effect, and the cause is careful study and training. Compliments of . . . C. H. VANDERWATER DRUGGIST We carry a full line of medicines, toilet ar= tides, stationery, etc. We sell the great nerve medicine, Paine’s Celery Compound. 16 CHURCH ST., ATHOL, HO. CALENDAR BLOTTER FEBRUARY 1899. s M T w T F s * ¥ ¥ 1 9 0 0 4 5 6 7 8 9 !0 11 12 13 14 15 16 17 18 19 20 21 09 iW fW 23 24 25 26 27 28 ¥ ¥ ¥ ¥ Calendars. —Every one likes a pretty calendar. There is a much wider field for the job printer in this line than is generally sup¬ posed. The calendar field will bear careful cultivating. If they are properly illuminated the most prosperous merchants in your town and those in the neighboring towns would use several hundred every win¬ ter if their advertisements were neatly printed on them. A calendar is of value to the advertiser only when it has some striking, unusual feature. Hence search out with camera or brain something which will give definite value and force to it. Pictures of prominent buildings and especially beautiful and rare scenes taken right at home always have a strong local interest, and great variety can be added to a series, different pictures being used for each customer. Two or more colors should always be used on the calendar, and this is a case where strong, bold effects often prove of value. Two- color plates can be secured from the engraver which will give a perfect, finished tone to the work. 90 SUTLIFF & LIVINGSTON, DRUGGISTS, 82 River Street, CANAJOHARIE, N. Y. Drugs, Perfumes, Stationery, Paints, etc. Prescript tions filled accurately, promptly. January. 1 2 3 41 5 ...L.L. 6 7 8 9 10 1112 3 4 5| 6| 7 13 14 15 16 17 1819 10 11 121314 20 21 22 23 24 2526 17 18 192021 2728 29 30 31 “T 24 25 262728 April. 1 2 3 4 51 6 7 8 9 10 11 1213 14 15 16 17 18 1920 21 22 23 24 25 26,27 2829 30 February. 11 2 8 9 1516 2223 May. qrrrari 7 8 dlull 1411516 17|l8 21j22 232425 28!29 3031j... March. __I... i_I li 2 4| h\ 6 7! 8| 9 1112131141516 1819 20;21'22 ( 23 2526 27 l 28|2930 June. | I 1 2 3 4 5 6 7 8 9110 11 12 13 14 15 1617 18 19 20 21 22 2324 30.. 25 26 27 28 29 91 JOB WORK Color Work Lock-up Three-color work, showing in original life-like colors beautiful” floral or fruit pieces, pictures of children, or animals, etc., give mar¬ velous value to the calendar. There is possibly no other held which offers so wide and remunerative possibilities for three-color printing, such works of art often retailing for from twenty-five to fifty cents*- Prescriptions carefully compounded, i JOHN KENT & CO., ^ DRUGS Medicines, Toilet Articles, Stationery* - A Complete Stock of Paints, Oils, etc* MONTREAL, P, Q, BLOTTER Printing in Colors. —Nowhere, in printing, does the consci¬ entious attention to all the little details and technique become of such* vital importance as in color printing. The responsibility begins with the compositor, who must justify each line just alike, must know that each letter is free from black lead or dirt that might crowd it out of its place, and must accurately space out the page with leads and slugs, using no wood or cardboard. Lockup for Color Form.— Having decided what part of the form is to be run in each color, take as many chases as there are to be colors, and make up metal furniture ; wood will not do. Set the form into one of these chases, take from this form, one line at a time, the color lines, replacing each with a line of quads of the same size. Set the color lines removed into their own form, filling in above with just the same number of points of metal furniture as there were points o£ 92 leads and type above the lines in the original form. Prove this work step by step, to avoid any possible error. By following this method with each line removed, absolutely accurate register can be secured. JOB WOEK Color Printing CHARLES WILLIAMS, 76 WILLIAMS ST., WILLIAMS, MASS. ENVELOPE CARD Printing. —Always put the chase to the left side of the press and wedge so it cannot move, then use as little packing as possible so to keep close to the iron. Take great pains to fasten the tympan tightly and smoothly to avoid any spring, if necessary gluing its sides down to the iron. Never use patent gauge pins on color work, but glue quads to the packing and a piece of reglet below them to avoid their moving. THE OWL PRESS & ^ PRINTERS & BURLINGTON, VT. ENVELOPE CARD Two or more colors can be printed at once on a cylinder or job press with long fountain and good distribution, though this is advis¬ able only in special cases. For instance, take a form of four long, narrow pages; by dividing the fountain and putting three different colors of ink in it the lower part of the left-hand pages will be printed in one color and the lower part of those on the right will have a dif¬ ferent color, while the tops of each page will receive a third color. 93 JOB WORK Color Work Thus at one impression it is possible to add a touch of ornament in two different colors to each page which had previously been printed in black. Another novelty in printing which is available only on cheap dodgers, etc., is to first set up the form, then make up for two col¬ ors, dividing the type about equally between the two, and lock up in the chase side by side with the heads in opposite directions. Feed the paper once through, then clean up the press and, putting on a different color of ink, turn the paper and feed through a second time. In this way five thousand cheap dodgers can be run in two colors with only five thousand impressions. H. J. BROWN, Pres. W. B. HIGGINS, Vice-Pres. ABE. LINCOLN, Treas. THE BOSTON STORE. THE LARGEST DRY GOODS STORE IN NEW ENGLAND* Albany >, N. H., LETTER HEAD I Color Work. —A great deal of the work going out of every office will bear just a touch, at least, of color. All business men are somewhat insistent on having their stationery neat and of first quality, however cheaply they may accept the rest of their printing. A letter head, bill head, or statement, will each be much more attractive and pleasing to customers if a trifle of a bright color is added to a neat panel or rule or ornament. Here, also, simplicity must be urged. Keep the types down small, group for effects, using series of types, leaving much free space. Here, also, the fancy colored and bronze inks play a prominent part in assisting the printer to give pleasing results with no extra expense. 94 There are some houses which want nothing but the best; these are JOB WORK the people who will not only appreciate any attempt on the part of the ^ (J 0 l ors printer to illuminate their work with colors, but they will be ready to pay liberally for the extra cost. Those desiring fancy cards, ball cards, and programmes, will usually pay for fine color and embossed effects, provided the printer has samples of his work to show that please. It is by far better and cheaper than using the costly cards which are bought already embossed and colored, for it keeps the work at home and then, too, the work and designs can be more appropriate to the occasion than when choosing from a small stock of samples. Catalogues, business announcements, and circulars, can be doubled in value by enlivening the first page and adding an occa¬ sional initial letter and ornament in some warm, bright color which offers contrast to the solid type page. More people will notice and read the advertising and that is the vital point. THE BURLINGTON PRESS, PRINTERS AND PUBLISHERS. Color Work a Specialty. Burlington , Vt., .1900 LETTER HEAD The colored initial or a tint beneath an initial adds greatly to a page of solid reading. It changes the whole character of the work. Today fancy and, in some cases, fabulous prices are paid for books simply because the initial letters are hand-painted, in imitation of the work of illuminating initials as executed in the early days of the art preservative. It is possible, by two or three printings, to secure strong rivals of these hand-painted initials. It is not only possible, but it is extremely profitable on work which is being done for people who count nothing too costly that is beautiful. 95 JOB WOEK In Colors Use a little color here and there, and gradually one becomes- accustomed to using and suggesting its use to his best customers, until shortly it will come to fill its real position in the printing office. In the illustrative pages which follow, a considerable variety of style of initial, panel, tint, head and tail pieces, ornaments, and rules,, are printed in a great variety of colors, hues, tones, and tints. Oftentimes the same combination of ornaments is used repeatedly but always with different inks, that as large a variety as possible can be had from which to select the best and most harmonious results. In these illustrations, in order to show all the different combinations,, many colors have necessarily been incorrectly used side by side that all may see the result of poor as well as good combinations. MEMORANDUM* From GEO* LIVINGSTON , 16 Union St* Burlington, Vt. To MEMORANDUM HEAD The absence of page after page with only pretty ornaments* and illustrations is no accident, it having been deemed more service¬ able and to make the work more valuable if the illustrations be com¬ bined as naturally as circumstances would permit in regular type pages for ornamentation. Hence in the study of this work, there can be found illustrated in practical use the laws and principles laid down in its definitions and explanations of color and harmony. In order to secure the necessary type effect, there have been woven into these illustrated pages many suggestions and helpful facts, that, while in many instances, they may be repetitions of what ha& been already said and is well known to many, will, after all, be emphasized and be borne in on the minds of some who would not otherwise have grasped and profited by them. 96 A careful study of these pages will enable one to choose intelli¬ gently what colors and ornaments and types are best fitted to be used together in practical, every-day, simple printing. JOB WORK Samples Burlington, Vt. 1900 m To THE OWL PRESS, Dr. When You Want It Artistic Printing , . . In All Grades STATEMENT. Samples of Perfect Printing. —There are always sample books galore of the most perfect, beautiful, and effective printing, which printers are tempted to purchase. These books contain much of value; every piece of work in them is wonderfully executed. Yet, the average printer who purchases such a sample book, studies it, is thoroughly possessed by a desire to do better things, longs—yes, even determines to do likewise, and then awakens to the fact that, with his limited means, utensils, and skill, there is not even one sample which he can possibly imitate or be benefited by. The question arises, 44 Why is this ? ” The work is executed by the best and most skilled printers in the land, and is done with all the latest material, most improved machines and apparatus for this class of work. The average printer has none of these machines, material, or experienced help. Hence the samples, help only by educating the taste for the beautiful. 97 JOB WORK Samples The above variety of samples is becoming obsolete, and more modern and helpful samples are being shown, such as “ The Printer’s Art,” by Alexander A. Stewart, and those now on sale by The Inland Printer . It is the samples which inspire one with new and helpful suggestions, which are valuable, not necessarily difficult, possibly very simple, yet new and helpful. Burlington, Vi, 1900 M. To THE OWL PRESS, Dr. When 2^ou Want It. ARTISTIC PRINTING IN ALL GRADES In the samples and illustrations which follow there has been used nothing but what shall be found in the average office, much of it old, well-worn material, printed on ordinary presses which have run from ten to fifteen hours a day for years, and with the aid of help, averag¬ ing not over two dollars a day. This statement is made to show that any of this work can be matched—yes, excelled in hundreds of country offices. Many of the samples will lack the perfect harmony and beauty you will expect; in fact, they violate the very rules laid down in this work, have been forced to do so, in order to show faithfully many points that could not possibly have been done in any other way. 98 PROGRAM 1. Mattinata, Tosti Miss Lulah Austin 2. a. Prelude, Rachmaninoff b. Meditation, Chaminade Mr. G. H. Livermore 3. Lend Me Your Aid, Mr. W. J. Cota Gounod 4. a. May Morning, Denza b. Rosary, Nevin Miss Minnie Trombley 5. The Two Grenadiers, Schumann Mr. C. E. Johnson 6. Piano Solo, Hungarian Rhapsody No. 2, Liszt Mr. A. B. Rupert (Pianist to H. R. H. Princess Marguerite of Cambridge.) 7. Even Bravest Heart May Swell, Gounod Mr. G. W. H. Isham 8. Aria from Magic Flute, Mozart Miss Mamie McGettrick 99 JOB WOKK Cards Private Mailing Artistic composition and harmonious color work must be thought out. They are not the result of haphazard work, without method or purpose; there must be a reason for every act. Up-to-date printing is an art and is deserving of systematic thought. The designs of various jobs on the preceding pages are purposely done in black because they afford the best form for analysis and systematic study. Spend time liberally on this analysis and criticism. These samples are not perfect, they will bear honest criticism and no one will be offended, while you will be sure to be benefited. Having carefully examined them and decided on several different ways of resetting and bettering each one, the attention can be turned to the most effectual methods of adding a little of a second color to give more life and force to them. On these small runs, for which a fairly good price is paid, the adding of a second color does not increase the cost materially, and it is time and money better spent than in hit-or-miss advertising, for in this case it is sure to bring the customer to you for his next work. Reference Card. —The reference card on page 83 is a most valuable aid in securing knowledge and in keeping it within reach for instant use when wanted. The ruling can also be placed upon the back of the card, thus giving it a large capacity. It should be filled in with pen or typewriter and kept in a convenient alphabetical file. Then, whenever one comes across a bit of valuable information it is a simple matter to take the proper card and record where the fact can be found. It is surprising how often when reading occasions will come for using these cards. In a few months one will have accumulated a reference file of more value than an encyclopedia. & Private Mailing Card. —Many are under the impression that any large card is a “private mailing card,” hence on page 84 is given a private mailing card showing the style and giving the legal size. When the card is kept to this size writing upon the reverse side is admissible, but all larger sizes and odd shapes are the same as any unsealed adver¬ tising, and are not postal cards. Business Cards should be so displayed that the firm name and business can be read at a glance, making the firm name most promi- 100 nent. Do not attempt to fill up all the white space but rather group the prominent features in small type, making prominent by whiting out liberally. The same is equally applicable to tickets, blotters, and desk cal¬ endars. All are to be read at close range, and should have none of the bold features of the poster. Small, neat groupings will give the hest results. Use as little ornamentation as possible on this small work, and when ornaments are used, first test by comparing with and without, to be sure they are a real help. This class of work affords admirable opportunities for brightening up with colors, by VERY FITTING Expresses it exactly when referring to AD" AMS” CLOTHING. It is made to fit STOUT men and TALL men as well as the “regulars.” We deem it MOST FITTING that you ex¬ amine OUR LINE of THIS CLOTHING before deciding to pay vour tailor TWICE AS MUCH for the SAME THING. CHAS. M. HARDRICSON, CLOTHIER AND FURNISHER. CORNER CHURCH AND MAIN STS. Open every evening. Sample of the way some people dictate style of composition to their , printer. using a tint beneath a panel, or underscore, etc. In the case of the calendar blotter if using a' second color it is well to print the holidays in it. Where the product advertised is suitable, it is advantageous to reproduce it with half-tone cut in a light tint of the same ink used upon the job. JOB WORK 101 JOB WORK Blotters Calendars Beceipts Checks Mail Slips Envelopes Letter Heads In Blotters, Calendars, Etc., where half-tones are used y either print the half-tones in one color and the body of the type in a second, or print the half-tone in both colors as is explained under half-tones. On Receipts, Checks, and legal documents, take great pains that no error shall creep in which in case of controversy should cause loss to the user. Color work can be used in the form of tints on this class of work. ^ & Mail Slips are either single sheets or pamphlets so folded as to slip into one’s mail with bills, invoices, etc., advertising goods or special offers. The first page should have more than one color to attract the eye and should also contain some striking cash propositions, that must so interest and touch one’s pocket book as to command careful reading. Little type matter, well displayed and illuminated on the first page will more than double the per cent of readers for the mail slips. & Envelope Corner Card. —The first purpose of an envelope corner card is to inform the postmaster who the sender of the letter is, in case he is required to return it. It is worse than useless to ask the postmaster to “Return in ten days”; the law requires that of him. What is wanted is the name and address printed in small, plain type. Then, if desired, one’s business can be added, thus securing an adver¬ tisement. If desired, quite an extensive ad can be placed upon the envelope, and, by thought, a very attractive ad in colors is often secured, which will attract the eye. & Letter Heads and Memorandums require somewhat different treatment according to the business represented. In all the firm name is to be most prominent with the business a close second, and all else grouped in small type above the main statement. Very small, neat and tasty effects are required for doctors, lawyers, and all professional business, while the commercial head gives more latitude, as it is often used to advertise the goods. Do not attempt to cover the whole white space allowed for the head ; either group or panel off the adver¬ tising, using just a touch of color to give life and vigor. 102 Statements and Bill Heads require treatment very similar to the letter head. They are made much stronger by grouping and carefully using the white space to its best advantage. In the sample on page 98 the ornaments at each end of “Artistic Printing” were purposely made a trifle too heavy in order to illustrate the method of comparisons. By placing a small square of white paper over each, one will at once see that they, being blacker than the type, overshadow it and detract from its force. A lighter faced ornament should have been used in this place. By this method of comparison and study many changes in these samples and in your regular work will be suggested which cannot help broadening the zone of one’s usefulness. JOB WORK Statements Bill Heads Embossing Embossing.— The following suggestions on embossing are espec¬ ially for the purpose of making plain and simple, methods within the reach of all, but more particularly for those without the especial appliances which, until recently, were absolutely essential for good embossing. The time has come when any pressman, with a fairly strong press, can secure fine embossed effects without any outside aid, or by securing a female die from some engraver, he can do as good work as anyone, if he will simply be careful to carry out the detail just as instructed. Embossing lends character and style to a job as almost nothing else can, hence it should be the aim of every printer to be fully conver¬ sant with this method of beautifying his work. There are a great many pieces of work which will suggest themselves to one familiar with embossing as especially appropriate subjects for this work. First pages of folders, covers, cards, letter heads, bill heads, etc., will all admit of the simplest of all forms of embossing, the panel. This can be done as follows: Transfer the design of some pretty panel to a piece of pressboard, or any hard-finished cardboard, about five ply. Holding a sharp knife slightly inclined away from the centre, cut carefully around edge of the panel, being careful not to injure either the panel or the surrounding board. Mount the outside card with glue on a solid base, lock up in chase and put in the press. Fit the panel into the card on the press, first having covered the face of panel with mucilage and then close the press, and when you open it the panel will be firmly fastened to the platen in such a position as to exactly fit the female die. It is best, in order to secure accurate regis¬ ter, before doing this to prepare the press as follows : Strip all the packing from the press, wipe the platen clean and then fasten a piece of tagboard onto the iron with mucilage (use commercial mucilage, as 105 JOB WORK .Embossing it will peal off the iron better than anything else). To this tagboard fasten the panels as before described. Glue eighteen-point quads onto the iron to feed to and you have avoided all trouble of inaccuracy arising from bagging and moving of packing. Every sheet will be fed just alike. This is the only means of securing accurate register on embossing, and without it embossing is a failure. When this is fully dry the panel can be embossed with ease, and it will add much to the beauty of the work in hand. Many other forms of cardboard embossing, such as cutting out ornaments and large-sized letters, borders, etc., will suggest them¬ selves to the thoughtful workman, thus adding much variety to his work, simply by this easiest of all methods. Many would be sur¬ prised to learn how large a per cent of the embossing is the result of clever cardboard manipulation. For small type and fine ornaments, etc., other means must be employed. Here, then, a metal female die becomes necessary. You have simply to send a clean, unfolded, black proof of form to be embossed to your engraver and he will give you either a steel, brass, or zinc female die, and at moderate cost. In choosing type for embossing, a moderately heavy face is best. Always put a space between letters, a card is sufficient if small type is used, but for large type a two-point lead is none too much. Have the form electrotyped to avoid possible change by loosening of quoins while printing. Choice of stock is essential, for it must be of a quality which will stretch nicely without breaking the surface. Bristolboard, manilla, linen, bond, writing, and high-grade medium usually give satisfac¬ tory results as also do most of the fancy cover stocks. A smooth sur¬ face stock will not stand as deep embossing as a rough surface. Always use the best of brilliant inks on embossing. Nothing will give better results than a form printed in bronze and then embossed, as the pressure on the bronze causes it to be smooth and very brilliant, much more so than when not embossed. Use gold freely in this work. Having printed the form to be embossed, lock the female die in the chase and put the chase in the press so firmly that it cannot move. Having prepared the press as before described by fastening a manilla card to the platen, make the male embossing die as follows : With a brush spread an even coat of embossing composition over the manilla card on the platen, and over this evenly spread a piece of tissue paper ; oil the female die with kerosene oil and then take an impression. Repeat this coat of composition and tissue until male die is of sufficient 106 •strength, when, with a sharp knife, cut away the rough edges, leaving JOB WORK only a square just large enough to protect the die. Take a large manilla card, cut out of the centre a place the size of the die and Embossing fasten a card onto the platen around the die, thus getting a smooth Composition surface on which to feed and still keeping close to the iron. Glue cpiads to the iron for gauges and let the form harden, and you have only to register the forms printed and go on with the embossing. The Embossing Composition. —There are many compositions on the market, but here is one anyone can secure for a few cents. Take a covered dish and put into it two ounces of water, add a piece of French gelatine two inches square, and melt. Add kalsomine until of required thickness, then add a teaspoonful of melted fish glue and thoroughly mix. Take no substitutes for these ingredients. The male die can also be made from various other substances, as papier-mache, leather, blotting-paper, etc. Novel effects can be secured with coarse sand-paper, using blotting-paper for the male die. In using these dies it is necessary to close the impression and let them harden and the water with which they were dampened dry out thor¬ oughly. A piece of new belting can be glued firmly to the iron, the surface well moistened with water, and the press closed upon the female die, leaving it over night to harden, when a very firm, durable male die will have been made from the leather. The beginner will secure the best results from the lighter, smaller grades of work. It does not require as much impression as is gener¬ ally supposed. Start with a light impression and gradually increase until it is sufficient. Usually, the beginner attempts to emboss too deeply. Nice, accurate work all the way is essential. Accurate feeding, not too hard so to cause the stock to bound back from the gauges, but to just put it clear there is the best. Do not use nippers if they can be avoided, as they are almost sure to move the sheet slightly. Neat female embossing dies can be secured by using appropriate wood or metal borders, a great variety of which are easily obtained. In this case use composition for the male die, or by putting the job on the press at night, use wet blotting-paper, bringing the press together with firm impression and letting it harden over night. A neat female die for embossing a card or paper is made by tak¬ ing fancy cover papers, like alligator, or imitation leather, and put¬ ting it in the casting box and pouring hot metal over it. If it is a card in imitation of alligator skin, first print with a tint block the size the card is to be with brown ink, when dry emboss the tinted part with die made and a fine result is secured. 107 MENU Blue Points Horse-Radish Clear Green Turtle Cream of Asparagus Queen Olives Celery Sliced Tomatoes Baked Halibut, Sauce Genoise Potatoes Princesse Boiled Turkey, Parsley Sauce Leg of Mutton, Caper Sauce Filet de Boeuf, aux Champignons Cotelettes de Volatile, a la Bechamel Beignets Souffles, au Chartreuse Roman Punch Roast Ribs of Beef, Dish Gravy Spring Lamb, Mint Sauce Green Goose, Apple Sauce Boiled Potatoes Mashed Potatoes Green Peas String Beans Asparagus Broiled Quail on Toast Guava Jelly Chicken Salad Lobster Salad Steamed Fruit Pudding, Hard Sauce Lemon Cream Pie Apple Pie Orange Jelly Lady Fingers Angel Cake Vanilla Ice Cream Fruit Cake Oranges Bananas Apples Plums Nuts Raisins Figs Dates American, Roquefort, Pineapple and Edam Cheese Water Wafers Soda Crackers Tea Coffee The Greenwood , August //, ipoo. 108 Three-color plates furnished by The Austin Engraving Co. t Albany, THREE-COLOR PROCESS WORK. N history of printing is a succession of changes and improvements all along its course. It is an instructive and fascinating history. The art times. So, that today, to successfully com¬ pete and to satisfy customers, one must make use of every improvement which will make possible more effective and pleasing effects on the printed page. No longer will your fastidious customers accept simply one color, even when used to its very best advantage. The use of color in type forms has already been considered. Now, we take up the most fascinating branch of all, three-color, or photo- chromatic color work. To be able with three printings to reproduce in colors exactly true and like the original, any and every article of merchandise, from a roll of sausage to a picture, or even nature herself, with all her wealth of shade, tone, and variety of color, is an achievement of greater value even than is yet fully realized by the business advertiser. The meat, fruit, flower, or picture advertisement, which reproduces the goods for sale so like nature as to seem almost real has a pulling power far in excess of its increased cost. Advertisers are not slow to realize this, and avail themselves of it whenever they have a progres¬ sive printer to execute the work. The newness, mystery, and uncer¬ tainty of the process keeps many printers from attempting three-color work. Yet, in a way, it is not so difficult after all, if one understands his business. He must be familiar with the laws governing colors. This book gives one much general preliminary information along these lines. It is also necessary for one to be a thoroughly competent printer, that he may correctly comprehend the details of the work, and the vital influence and value of different material. Then one must avail himself of all possible information showing the experience of others along this line. preservative has kept pace with the looking backward, one realizes that the 111 THREE- COLOR PROCESS The Plates It is not possible for anyone to give ironclad rules to govern eacb emergency. The conditions are almost never twice alike. The con¬ stant improvement, change, and advance in this new field, make rules impossible. In fact, one person’s experience often apparently contradicts another’s. For instance, it is often said, by good authority, that the color effect all lies in the plate, or that to get good results there must be a press for each color, so as to run the colors before the ink becomes too dry and hard. Yet, experience shows that while there is some truth in both statements, there is also much error. Take them all and compare with your own experience and see what fits. We give below many useful hints, but they will not always apply to the work in hand. The underlying principle of three-color work is the one governing the mixing of the primary colors to secure all other colors. So that when two or more colors are mixed in the eye or in pigments, the result is different from what it would have been had each been viewed separately. From proper combinations and in dif¬ ferent proportions of the three primary pigmentary colors, all other colors can be made. Not until photography came to our aid, was this possible in printing. How the Plates are Made.— Whatever the object may be to be reproduced, it matters little what or how many colors may be visible, as any and all owe their origin to the three primary colors. Hence the photographer places the especially-arranged camera before the object, arranges the three light filters and makes the negatives. Each light filter, which is interposed between its sensitive plate and the lens, excludes all the color rays except one, thus as the three filters are different the three negatives differ, each being made by one color ray only. When placed one before the other and light passed through the three there is a perfect reproduction of the original. Or when electros have been made from the three negatives, one will print only the yellow part of the picture, the next will print only the red part, and the last only the blue, then by the overlapping and crossing of the fine half-tone lines, will be formed color mixtures, both pigmentary and optical. It is well known that half-tones are made up of various sizes of fine dots, the larger ones giving the deep shades and the fine, small ones the various lighter tones and tints. These pigmentary mixtures of color are produced wherever a dot of one color is laid upon a dot of another, the mixture being almost perfect, producing a new color; the optical mixture comes where two dif¬ ferent colored dots are side by side, thus sending, say, a yellow and 112 blue ray of light to the eye at the same time, which mix in the eye, forming green. So it is seen, that by either pigmentary or optical mixtures of the primaries all colors, shades, and tones become not only possible, but simple and easy to secure by the use of the three- color half-tone plates. & Method of Printing. —The yellow plate is to be printed first, great care being taken that it prints clear and distinct, in a pure, bright, primary yellow. The artist puts many of the fine effects into the yellow plate, and, as the red and blue must be printed upon it, care must be taken to secure perfect results. This is a case simply of good workmanship. The register and half-tone work must be perfect, as it is simply a selection of the perfect sheets at the end ; hence the final cost is best kept at a low figure by accurate feeding. When sufficiently dry (from four to eight hours) print from the red form, registering directly over the yellow, using as bright and thin a coat of ink as possible. Then print the blue over all. There, then, is nothing unusual or especially difficult about the work to a good work¬ man. True, there are many little details which are most essential, but nothing so important as accuracy. First, let us consider the selection of a subject. More failures arise from the lack of care and judgment in this than all else. Any mixture of a mass of colors will give good results. In choosing, avoid any design full of fine lettering, as the variation in register of one of the forms will ruin the job, wherever fine, small letters must be built up by laying one line above the other. Study the subject well and, before deciding, become convinced that it really is well adapted for three-impression work. Having chosen the subject, send it to a reputable house of three-color plate makers and they will return your plates and proofs ready to print from. Ink. —In three-color work, the correct chromatic effect is obtained only by using pure prismatic or primary colors. These colors must be complementary to the colors of the color-filters used in photograph¬ ing ; hence they cannot be selected at random but must exactly match the colors used in the original proofs. The three inks must be abso¬ lutely pure, of equal intensity, and used in the order of yellow, red, blue, for to reverse blue and red would make it impossible to secure a good violet. The ink for a single job must be all from one manufac¬ turer, as no two houses give three-color inks alike. One of the underlying principles of three-color work is trans¬ parency of the ink. The inks are laid one upon the other, in thin, THREE- COLOR PROCESS Printing Ink 113 THREE- COLOR PROCESS Paper Press Cylinder transparent layers, in ever varying tones and heights of color; the upper colors letting through them some of the color of the under ones just as light shines through colored glass; hence the necessity not only of pure but transparent color. Yellow is run first simply because it is not easy to secure it sufficiently transparent. Paper. —Three-color work is expensive, for it not only consumes much time but requires the best of stock; yet use the best of coated paper for once, regardless of cost, or your work will not be satisfac¬ tory. Good stock tells in the beauty of the finished product. A part of the accompanying three-color illustrations are printed on coated paper and part on gqod S. S. & C. In this three-color illustration the successive stages are given in detail, that nothing may be left to be guessed at. An advertising design has been chosen for this, as it is for advertising purposes the work is largely to be used. A much more perfect and beautiful result could have been secured from a less difficult subject, such as the frontispiece, but such a subject would not have shown the full commercial value of the work in reproducing articles of merchandise. However, some of the most beautiful three- color pictures have been the reproductions, direct from the original, of paintings of the great artists, giving every detail with the utmost fidelity even to color, tone, and hue. £ Presses. —Almost any good machine will do. It must be strong to handle large, half-tone blocks, must be capable of registering every time alike, and of giving good ink distribution. The form, if prop¬ erly locked up with only metal furniture, will avoid shifting of plates. If a job press, put the chase always to the left side of the press, and once placed, if possible, leave in the press until the job is run, as it is extremely difficult to replace without interfering with the register. Make ready as smoothly and evenly as possible, fastening the gauges so that slipping is impossible. The jobbers allow of very accurate register but only few makes give a sufficient ink distribution to give the best possible results. If using a different press for each color the sheets should dry for several hours, but it gives better results when the ink is not allowed to become very hard. This applies most to cases where ah ink with too much drier has been used. If either the ink distribution, or paper, or rollers are poor, there is little hope of securing perfect work. Cylinder Press. —Three-color work upon a cylinder press is a different proposition. It has its advantages and disadvantages. The 114 distribution is infinitely better than on a jobber. A more even color can be carried, which gives a much more perfect, even result. Many of the manufacturers have yet to make a cylinder which will allow of no variation of sheet or machine. But, with our present machines, kept in perfect repair , almost like new, good results can be secured. It is not best to try to run too large forms, as it multiplies difficulties of register. The first thing is to put the press in perfect order, which means to go all over it and completely overhaul and repair, and, if necessary, refit, so there shall be no lost motion or chance to vary. See that the cylinder rests properly on the bearers. See that all the presses to be used on the work are packed alike,—neither more nor less,—nearly alike is not enough. Adjust the cylinder and bed-racks and see that all bolts, nuts, and set-screws are right and tight. Adjust the bed-guards (one at each corner, with set-screw, hold¬ ing against ways) just as accurately as possible. Bend the bars the guages rest on as low as possible to the cylin¬ der, for even then the paper will wrinkle so it may be necessary to ease up on the end grippers so the paper can straighten out when free to do so. Set the cam on the rod which raises the gauges so the weight of the gauges will rest on the pin, not on the gauge rest, else the rest will spring back when relieved and move the paper. Set the gauges to lift just as late as possible and clear the cylin¬ der as, at best, there is a second between the gauge letting go and the grippers taking hold when the jar of the press can move the paper. See that no roughness is at the end of the gauges so that they will lift and shove the sheet when they rise. Also, that they are so bent as not to kick or lift the sheet when lifted. Carefully bend the grippers all to one pattern, so that they will touch just as they did when new; on end, not dragging flat. With all the grippers set firmly together, file the ends so that all will be pre¬ cisely alike, then they must hit the paper together if finally set alike. Otherwise, some one will touch the paper sooner than the rest, shov¬ ing it this way or that, and make accurate register impossible. In case of any inaccuracy of register first test the cylinder to determine if the trouble is in the bed or cylinder, let the form print on the packing several times, and if it shows no variation, you may know that it lies in the gauges, grippers, or paper. Glue the packing firmly at the head and lay smooth and tight. All this carefully done should insure perfect register. THREE- COLOR PROCESS Cylinder Press 125 THREE- COLOR PROCESS Newspapers Many trials will be met along the way of three-color work. The slightest change in form, quoins loosening, or plate becoming unfastened from the block so it can shift, yielding furniture, or even the effect of cold or heat, which contracts or expands both paper and cuts, all combine to try one’s patience and skill at overcoming difficulties as in no other branch of printing. Change of temperature from night to morning will make it necessary to tighten a quoin here and there before starting in order to secure accurate register. But the finished product is well worth the labor bestowed. It at first seems expensive and it is the most expensive printing and at the same time the most valuable, commercially. Where three-color work is liable to replace lithography, in many instances, it becomes a means of great economy. The field of usefulness for three-color process work is rapidly widening. It gives the most attractive, beautiful, and serviceable cover possible for pamphlets, magazines, etc., for by it it is possible to put upon the cover just the appropriate picture of scenery, animal, bird, flower, or whatever may be desired, and in its natural colors, so that even a child wdll readily recognize it. It also makes possible the illustrating of books as was never possible before. The stores now contain books which have nearly every other page illustrated with three-color pictures of all the different birds or flowers in their true colors. How much this adds to the value of a book is realized by no one until lie takes, for instance, one of those illustrated botanies and goes for a stroll through wood and field some bright spring day, and as fast as he comes to a different flower just searches it out in the illustrations. In general advertising this work is of incalculable value. The goods for sale maybe labeled and done up in wrappers printed in just as many colors as one chooses; in fact, the labels can be three-color reproductions of the goods, and the advertising can reproduce both package and label in every detail of color and tone. Oftentimes it would require many pages of type explanations to make plain what could be shown in detail by the colored illustration. Yet all this, which, in the past, had to be done by lithography, one color at a time, is now done on ordinary presses by any careful workman and with only the cost of three impressions against from eight to twelve, which were required by the old method. Color Work on Newspapers. —Color work on newspapers and magazines is coming to be a distinctive feature. The newspaper may often use only two colors to give good effects or- the fourth 126 or key plate may be added to give detail and distinctness. The large THREE- number of papers using colors in one way or another, proves that it COLOR has come to stay. In magazine work, where there is plenty of time PROCESS for careful work, the color work for cover designs and illustrations is almost invaluable. Covers for magazines and for many booklets can be made just as attractive as by lithography and at a much smaller expense, and besides all the work be done at home. There is no field where three-color work is destined to be more used than in magazine work. But if one has nothing but a rickety news press, it is folly to attempt anything requiring accurate register. The editor of the weekly is feeling strongly that one thing is lacking. The city papers and magazines, Sunday editions and holi¬ day numbers, are now illuminated with colors giving them life and new expression, and, in fact, increasing their sale materially. This, he realizes, is of great value ; would be of value to his paper; but it seems beyond his possibility. So it would be were it necessary to have a multi-color press, high-priced help to operate it, and expensive color plates and materials to print from. This is not necessary. No large outlay or expense is absolutely necessary. It may be to advantage to have engraved color plates or laurel borders with which to enrich the first page, but it is by no means necessary. Simply use the material at hand. The old press possibly-would not be capable of doing process work, but it will do color work with effective results. By putting color in the underscores, large letters, borders, cuts, and half-tones, pleasing results may be obtained and yet use onlv the material in the office. Possibly, the greatest obstacle in some offices would lie in the fact that neither the “devil” nor pressman have ever cleaned up rollers and fountain of the cylinder ready for a colored ink, but there must be a first time. Let us take account of stock : There is necessary a cylinder press which is at liberty; the average newspaper press is idle over one half the time, so there is no lack on this score. Colored news ink is not at all expensive and the regular office help can be trained in a short time to do the color work as well as the regular run. It comes down, then, practically to simply the expense of one or two extra printings of the first form of the paper. This, on a limited edition, is small. It is, then, necessary to first meet this cost. If the last page of the paper is printed in colors, tastily illumi¬ nating the ads with a touch of color, the advertising space will become enough more valuable to meet all extra expense. It may be advisable to begin first by getting out a colored holiday edition, securing ads 127 THREE- COLOR PROCESS Newspapers andjwriteups and cuts especially for this color work. Take great pains with this issue, make it neat and attractive, using not too much color but just enough to give life and attract the eye, keeping to harmonious contrasts of color. This first venture will so please the public and advertisers that a large number of extras will be sold, and a demand for a continuation or occasional repetition will result and be found profitable. All this and much more can be done by simply tastefully using the material in the office. It will not do itself, but a carefully laid plan, every detail of which has been arranged in advance, is sure to bring financial gain. This is a plea for excellence in appearance. The eye must be attracted and gratified before the intellect is reached. This fact is vital to advertisers ; hence they appreciate color in adver¬ tising. Shall the printer be outdone by the manufacturer? He does his merchandise up in as tasty, fancy colored a wrapper as can be procured. If he did not his goods would not sell, for people would fail to notice them. We print for profit, profit comes from pleasing the public, and it is the public eye which must be caught first. The paper must be neat, chaste, simple, printed only with type which is easily read, not crowded, with plain, bold headlines, well illustrated, and if after combining these excellent qualities a touch of red or some bright, warm color can be added in rule, ornament, or underscore, the comparison between this and the old way will be great. There are other ways of using colors to advantage in the news¬ paper office. A colored cover can be gotten up for the paper once a month, printed on good paper in an attractive manner with colored inks, each time using as a frontispiece a half-tone of some public building, mill, or of some prominent person. The cut can at times be printed in two colors, as brown or green over black, black over red, etc. Or a colored single-sheet supplement can be issued occasionally with profit. Why should a printer, for he is a manufacturer, buy his pre¬ miums? Better buy a few half-tones of local interest and print, say, in two colors, a neat illustrated souvenir of the town, using a bright three-color design for the first page. This will make a pre¬ mium which all will be eager to secure, many buying several extra copies to send away to friends and old townsmen. It will build up your reputation as a first-class printer; is, in fact, your best ad; it will enlarge your subscription list; and yet, will cost less than any pre¬ mium that could have been bought. Just one thing is absolutely essential, and that is, do your very best, and to secure live, interest¬ ing matter, fine, attractive cuts and the best of printing. Do not hesitate at an extra impression for second color, it will amply repay. 128 ILLUSTRATIONS. CH of the following illustrative pages is complete in itself. Truths of more or less interest to the printer are emphasized and brought out in a variety of ways by different styles of composition and by color work. The aim has been to build by means of a progressive series; setting first simply a small, compact body of type, then adding first rule, then ornament, color, etc., show¬ ing the possibilities of growth and improvement. Note the appear¬ ance of pages 130-138 inclusive, and then turn to the rule pages and find similar display surrounded by rule and it will aid in deciding what ■class of work is most benefited bv being thus enclosed. The one great point urged by this book is comparison . The whole series of illustrations is arranged with this in view. These pages will tend to dispel the delusion that strong, striking effects can only be secured by the use of bold display type. Many of these display pages are done in roman type in its various sizes in order to show what can be done in any office with the types at hand. By the addition of a little color to these first pages they can be brightened up and made very attractive and neat. This addition of color will be found, in many cases, among the color illustrations. While these illustrations are most instructive and useful, as helps, guides, and incentives they must not be simply imitated, but rather studied ; selecting some one good point from one page and another from the next, and by their happy combination results new and of real merit will be secured. The best and most practical educator is not the college, nor the books, good as they are in their place. It is the training from constant observation, impelled by a great longing and desire to see and assimilate everything of value which may come within one’s reach. Nowhere is this more true than in the education of the artist printer, either in composition or color work. In this, then, lies the value of the following samples. 129 Care in keeping down each little item of expense, that is, Economy must be the principal source of profit in these times of sharp competition. 130 LABEL YOUR MEMORY H OW often we hear or read interesting and valuable facts that could we remember them would be very valuable. He is most fortunate who early in life formed the habit of tucking these bits of in¬ formation away in a labeled pigeon hole in his memory. Everyone can¬ not do this; memory has not been trained, but such unfortunates can, by careful use of the reference card on page 83, secure all this informa¬ tion and file it away in a thoroughly systematic manner. OBSERVING EYE VITALLY IMPORTANT RESULT OF TRAINING. HERE are some men who might as well go through life blind, for they do not see. They are usually preoccupied with unim¬ portant things, and totally oblivious of those things which relate either to their personal or business welfare. ^ ^ ^ Too much importance cannot be placed upon the necessity of cultiva¬ ting the habit and faculty of observ¬ ing, and especially does this apply to the color printer. Observation is a faculty and it is capable of wide cultivation. Knowledge is valuable to the colorist but the observant eye is the mainstay, the one great, all important factor in harmonious color WOrk. ^ 132 KNOWLEDGE IS POWER It by no means follows that good, neat work costs more than the cheap, inferior, and unsatisfactory. The unskilled workman is constant¬ ly stopping to consider and thus looses much valuable time. KNOWLEDGE IS ECONOMY A workman who knows his busi¬ ness and is faithful , will turn out first-class work in very much less time than an ordinary hand will require to do inferior work. EMPLOY ONLY THE BEST 133 WHITE SPACE AND ITS influence upon the ease and distinctness with which pages can be read may be discerned by care¬ ful comparisons of the following pages. Proper whiting of a job is ten-fold more important than you realize. RULE EFFECT'S ADD MUCH to the chaste, neat appearance of a page, yet they must be used with judgment. Comparisons will show what are the best methods; never use rule, ORNAMENTS, BORDERS OR colors, unless by so doing the work can be strengthened. In some of these illustrations it would have been better had certain ornaments been omitted. Yet they were used to illustrate points which would have been impossible otherwise. COLOR TVORK.—THE COLOR samples are so combined with type, ornaments, and initial letters as to show a wide variety and afford ample opportunity of selecting the best when one is about to choose colors for the work in hand. DISPLAY AD VE RT/SE ME NTS are also included as a large per cent of a printer’s work is along this line. These samples will often afford some helpful suggestion. 134 DON’T LEAN ON ANY ONE- For the encouragement of the beginner, who is just coming into possession of the ambitions, hopes, fears, and biases which he has in a great measure inherited, let it be said that “ Heaven helps those who help them¬ selves.” While youth is most ambitious, full of desire and determination, it too often looks to chance or some influential friend to open the way for it to the realization of fond aspirations. Hence it is urged to stand alone; have a definite purposestrive only for the best, to excel in all things. Help from without is enfeebling, but help from within is invigorating; gives confidence and self respect. OiTtside helps, teachers, and friends, at best can only guide and leave one free to help himself. Every man is governed from within. The following samples will prove most helpful; you need their inspiration but do not attempt to blindly follow them. MAKE YOUR OWN DESTINY. 135 A Manufacturers Method of Illustrat¬ ing the How of Buying a Press. 3 u Don’t you remember that the first time you went to a circus your admission ticket simply admitted you to a lot of assorted temptation ? The red lemonade, pea¬ nuts, popcorn, candy, gingerbread, side shows, concerts, and extras, cost you more than the admission. “The show man doesn’t always do business under tents. He’s in the printing business, too; makes a great show ; talks eloquently to loud presto music ; and gets fat on credulity. Beware of alluring u bargain ” presses on which a low price makes more noise and attracts more attention than the vital questions of quality and production. “Admission to the circus is not merely the cost of the ticket. It is the sum of all you spend in the circus. So the price you pay for a printing press is the sum of all it costs you in stoppages, delays, and repairs during the first year. “You remember the man who reaped a fortune by making watches for $6 and selling them for $5. People wondered how he did it—until they saw the size of his repair department. “ Look first to the construction, durability, and product as well as the price of a printing press before you buy.” MORE TRUTH THAN POETRY 136 TRUSTWORTHINESS. O W literally true the quotation from Mr. Stewart, given herewith is, can be fully appreciated only by those who have passed through the trials of practical experience. In color work more than in any other branch of printing, are the highest qualifications of vital importance. The perfect pressman is he who, however carefully he may have set his fountain, is constantly lifting a sheet from the fly that any change in color or accident to the form shall be detected before serious loss is incurred. He will never lift these sheets with smutty hands, for he realizes that while one sheet is only a trifle, yet the accumulation of waste sheets from one or more presses is fully aware that by care keep this expense down what the careless work- This is but one instance be given where it is workman to reduce the one half. The young rise and come into posi- sibility can learn from lesson. Be neat, waste- material nor time. No ciated than the hand who thinks his employer worth while to strive for nomical, and the approval assignment of work, stepping-stone to promo- ing on time, not five or ten ness in executing an order, ALEXANDER A. STEWART says: quite an item, and he is and forethought he can to less than one half man would make it. out of many which might possible for the careful expenses of an office fully printer who wishes to tions of trust and respon- this a most valuable ful in nothing, neither one is more fully appre- studies to do work as he would want it. It is the best, the most eco- of superiors in each little Promptness, also, is a tion ; promptness in arriv- minutes late, and prompt- instead of postponing it Elbert Hubbard says: u My heart goes “ Order and cleanlU ness are imperative. The pressman who does not keep his press in good order, or take proper care of the rollers, or handle inks neatly, or who neglects to keep himself reason= ably clean, cannot be depended upon to turn out work that is of good and even color, accurate in register, and free from finger marks and similar charac= teristics.” until possibly it may be forgotten, out to the man who does his work when the ‘boss’ is away, as well as when he is at home. * * * Civilization is one long, anxious search for just such individuals. Anything such a man asks shall be granted; his kind is so rare that no employer can afford to let him go. He is wanted in every city, town, and village * * * . The world cries out for such ; he is needed * * * badly.” 137 THI5 WAY TO FAILURE. Rush ! Almost is good enough. Never reset a line. The ink on the press is near enough. Why should the customer want ink to rnatch sample? Commence to make ready and p^tch the first proof taken. Use lots of waste and benzine in cleaning up, a little waste won’t cost much. Forget to set the fountain until four hundred are run, then throw them away, the customer will never miss them. Stop and ta-lk bicycle and base ball with the man next you every time you get a new lift of paper. Never mind staying ten minutes over time to finish the job when prom¬ ised, the customer just thinks he wants it ton ight. Don’t clean the rollers, it injures them. Don’t put the cover on the ink can, it takes valuable time. Don’t fuss to push down quads that show, it would make the job cost too much to stop to lock the form up over. When laying new type, tumble it into the case any old way. Never bother to plane down the form, the pressman will make it ready. Take work at any price, you must keep the help busy. Push the fire and open the windows, wood is cheap. Never mind the leaky faucet, it’s a bother to fix it. Never lace a belt until it breaks. Let the “ devil ” run the office and go to all the ball games, you have only one life to live. Don’t trouble to cover the finished work, a little dust won’t hurt; the customer may never pay for it, anyway. Run lots of ink, it is easier than to make ready. Never mind if the job does offset. Never sort out'spoiled sheets. Never use offset sheets, its an expensive habit. 138 THIS WAY TO SUCCESS. Be satisfied with nothing but the best. Find out just what a customer wants. Always do a little better than you promise. Never fail to deliver work when promised. Please the customer, not yourself. Never disappoint. Give liberal measure. Use only good stock. Use brilliant inks. Never discard a piece of waste while it is still serviceable ; it costs little, but to use two pieces instead of one doubles that item of expense. Let customers learn to always expect to find you in. Form the habit of wiping the stone before laying a form on it, and of wiping the bottom of a form before putting it in the press. Distribute dead type promptly and accurately. Reset the part you are not satisfied with. Remember poor work drives customers away. Good, neat work is your best advertisement. Time is money. Save steps by having everything as convenient and handy as possible. Study to so know your business as to be able to do it right the first time trying. See to it that valuable time is not wasted in shiftless makeready. Insist on the help commencing work promptly on time every day. You will then need one man less. Superintend your own work. Watch the little details yourself. Compare different jobs at every opportunity. In these two pages is illustrated the difference between a page with and without a rule border. Does the border give the second page a more finished appearance? 139 What’s the Perfect Form for Display ? Is it all display ? Is it all head ? Is it only rule forms ? Is it all ornamentation ? Is it always the square effect ? Is it all capital letters ? Is it all roman ? Is it always fancy type ? Is it always the latest style of type ? Yes, it is all of these, some of the time, but no one of them all of the time. The true artist is not one-sided; he is gov¬ erned by suitability and fitness in his choice. He is not con¬ trolled by style, but rather controls the style. He fully appre¬ ciates each of the different methods of display, gives to each its proper position, and, when an occasion arises, he uses the method best suited to the particular work in hand. Quite a variety of rule illustrations are given in the follow¬ ing pages, showing a wide possibilitv in this line, yet it does not follow that this book endorses only rule work. It is by intelligent, harmonious combinations of these methods that the “ perfect form ” is secured. The style, which may be perfect in one instance, may be far from appro¬ priate for the very next piece of work. 140 MEDIUM HEAVY RULE HAVE YOU NOTICED THE CHANGE? OW THE FAD OF FANCY AND BENT RULE RAGED FOR A TIME! It has gone; so have many other fads, and they have left the firm, straight rule in full control. A page of type, at first so unfinished, becomes forceful, strong, even striking, when enclosed with, for instance, simply a two-point black face rule, or cut into panels, underscored, etc. No other form of decora¬ tion is now more universally used on the best class of display. With its almost limitless possibilities of change, it is equally forceful either for one, two, or more color work. On the following pages will be given a variety of different styles for using rules for borders and decoration. This series commences with simply plain rules and type effects. Then, taking many of the same rules and by adding, first ornaments, then borders, and finally colors, a progressive series of illustrations is secured which will suggest almost limitless possibilities to the mind of an observing printer. Nothing exhaustive is attempted, but rather to simply show the great possibilities of variety and beauty which may be obtained with only small means and where but a few styles are possible. 141 SIMPLICITY IS DIRECTNESS and is too often conspicuous by its absence. Display must be so strong and effective that it will not mar, but add strength to the work, and so plain and frank as not to be misunderstood. Simplicity here means to reduce printing effects to their lowest terms; to use nothing that shall obscure or make difficult the grasp¬ ing of the full meaning of the author’s thought. The following pages will often lack this simplicity as the pages are arranged, not only for type effects, but to show different combinations and methods of using orna¬ ments and color. 142 ARE SERIES OF TYPES ADVISABLE? MMMM TWO POINTS HAVE BEEN SETTLED IN THE MINDS OF CAREFUL PRINTERS. Y IS ONE FONT JL, I of a series is worth having, it is wisclom and economy to have the whole series. If a font of type is worth having, get enough to answer all reasonable demands. H aving the series will often result in securing more attrac¬ tive setting, enabling the choosing of the line which fits the place best. Having sufficient is a great means of economy of time. It prevents the most expensive of lux¬ uries, a constant hunt for sorts. Once possessing a complete series with good, full cases, strive to keep the type in the cases ready for instant use. 148 Nothing so Vtaluable as Time THE HOW OF SUCCESS To every true artist, time is of all things the most valuable’ hence none should be wasted. Everyone should secure as complete a library as possible , composed of books and papers bearing upon his trade. Keep paid of this library at home , part at his place of business , and part always about his person , then, whenever circumstances force an idle half-hour , he is sure of interesting and profit¬ able reading and study. 144 145 THE FIRST AIM IN DISPLAY IS TO CATCH THE EYE AND HOLD THE ATTENTION . . . . A LWAYS make the principal, im¬ portant fact in the matter to be displayed most prominent and striking; subordinate wording and orna¬ ment should be secondary and retiring to add force to the main facts, and all so harmoniously connected as to be but one single whole when read. The per¬ son’s attention must be challenged then if it proves a matter of real interest to him the desired result is assured. BLACK IS MOST PROMINENT OF ALL COLORS RED UNDERSCORES CHALLENGE ATTENTION SETTING THE WHOLE AD IN ONE SERIES OF TYPE, GIVES SOFT, SMOOTH EFFECTS THAT PLEASE THE ARTISTIC EYE ^ UP TO DATE TYPE DISPLAY It may be charged that ** they are beautiful, but do not advertise , >f yet it is safe to assume that some of the time the eye desires soft, blending beauty in the printed page, as well as loud, striking contrasts* These attrac¬ tive harmonies can be secured by the use of a series of type. In fact, consid¬ erable contrast and emphasis may be secured by the use of the different sizes, capitals or capitals and lower case of the series. When combined with plain, chaste rule effects, the result be¬ comes noticeably excellent. By this it is not meant to invari¬ ably use nothing but series, or to choose some one series and use that to the exclusion of all others, but rather with taste and much thought, to select the series and style most suited to the work in hand, and having made it, cling to it to the end of the job. 147 A FEW VITAL FACTS So Why is it so difficult for one to do what is so simple to another? With what ease we eat, walk and talk; doing daily many things with Easy ! such familiarity that we are not even conscious of them. Yet it took babv many months of coo¬ ing, stammering and trying to learn to talk. Yet How skillfully, easily and almost unconciously the artist paints, or the sculptor cuts and hues So the great rough boulder until the beautiful pic¬ ture or statue is secured. What marvelous Hard beauty is wrought by the skilled, deft hands of the artist printer. So difficult, yet so simple ! Learn There is a science of life, of printing, of color, the of light, and of everything that is to be well done. Study to know the science if you would be the artist; it is so easy—when you have Science learned. Live There is an art of living, an art of doing. Art is the expression of one’s familiarity with the science. The life or the work that fails, lacks simply knowledge of the science. The artist loves that one thing more than all else, hence Art he will do easily the beautiful, the artistic, the truly great and valuable. 148 HAVING GI VEN... a few illustrations of plain rule work we now take just one step more. It is only by taking one step at a time that we learn anything well, hence first practice doing one thing until it becomes easy, then take just one more step and continue the growth in knowledge and experience. The next eight pages become a little more decorative, relieving the severe plain¬ ness by adding a little ornamentation. Here one’s taste comes well into play. a It IV ill Never Do & & & expect perfect work if the rol¬ lers are hard or unfitted for the work in hand, is unreasonable. Distribution is never quite as good as might be desired, in oth¬ er words, almost any job would be better, cleaner, and more perfect, had the distribution been more complete. What, then, can be expected when the rollers refuse to carry or handle the ink? Care for and protect the ink rollers as tenderly as the explorer does his compass. Good rollers are priceless. 150 ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ Printing ft ART OF ARTS -JZ 4 ^ ■Jt Jt S ■JZ ■jZ ^Z jZ ■J& J& jZ -jZ -jZ need not be the DULL ROU¬ TINE affair it too often seems to the average printer. In fact, it is the art of arts to the true printer. He sees not only the importance of true economy and good business principles, but the various artistic elements and possibilities involved. It ceases to be a struggle to se¬ cure the largest amount of work for the smallest amount of money, and comes to be the highest artistic effect and high¬ est commercial value. i i i 1 4 V i G ood printers ARE SCARCE... Only 5% will avail themselves of a help such as this book, even when offered almost as a gift* Why is this? Few boys or men are willing to give the earnest application neces¬ sary to become proficient in any line of work. Many a printer has a natural aptitude for designing and executing fine, tasteful work, but yet only a few are willing to apply themselves to the detail of the technique necessary to become both accurate and quick in think¬ ing and executing at one time. Good, careful, and accurate work¬ men are so scarce as to always be in demand, and able to command good wages. HE WHO WOULD SUCCEED MUST THROW HIS WHOLE SOUL INTO IT AND MAKE IT THE RULING THOUGHT OF HIS LIFE. & 152 So don’t fail to give your customer credit for knowing good work when he sees it. It will please him, and that is profitable, for by pleasing, future work is secured and business is never “ dull.” He Is Looking at You 153 ORIGINALITY BE YOUR- Strive to be original, SELF strive, study, think, work. The habit of carefully ex¬ amining the work of artists a is most beneficial. It * * broadens one’s field of possibilities, it trains the mind and eye to a higher taste. It must not be al¬ # * lowed, however, to lead one into the slavish habit of copying instead of orig¬ 1 4 inating. Let the beau¬ * tiful stimulate, but by all means dt BE ORIGINAL ,* B ■ 154 jurrurjur r\ON'T attempt to be funny or AV too striking , for as the well- dressed man is the man whose dress one does not notice at all , so printing that gives valu- able publicity must be so simple and perfect in its harmonies that the reader shall see , not the print¬ ing , blit the thought that gives it life. Symmetry enters most subtly into the appeal of the printedpage , hence seemingly careless , yet chaste effects , are most effective. 155 TAKE YOUR OWN... MEDICINE ADVERTISE! The first and vital point even for a printer is to advertise, and keep everlastingly at it. Judiciously done it pays. Do not do it blindly. Yet it will avail little to attract customers by finely written ads, unless their work is executed even better than they expected. Always do more and bet¬ ter than you agree. It is your best ad; the customers then come again. GOOD GOODS ADVERTISE 156 *> *> *> STEP BY STEP STRIVE TO KNOW AND TO DO THE SIMPLEST FORM WELL BEFORE AT¬ TEMPTING THE MORE COMPLICATED <« <« <* <« c« *> *> *> The following pages take on one more effect, combining rule, border, and orna¬ ment, in ways which will be suggestive and helpful to the careful student. It has appeared advisable to go into the de¬ tails on this one-color series, as for many printers they will prove most helpful and will be more readily grasped than the work later on. Besides, having by study, com¬ parison, and much practice, become famil¬ iar with the one-color work, it is easier to at¬ tempt the more difficult. The artistic taste is not acquired in a day, but is the result of precept upon precept acquired by study, diligent searching after the true, the best, and is literally step by step; never by leaps or bounds. * <« 157 I Pardon the Suggestion BH I Don't attempt fancy, ornamental work un- mi til you are thoroughly familiar with all the little details of plain one-color work . . . COPYRIGHT, 1900, THE MALTED CEREALS COMPANY BE THOROUGHLY l FAMILIAR WITH EVERY DETAIL. \ 158 Proofs For Engravers, If at any time it is desir¬ ed to secure fac-similes of a letter, proofs of an engraving, type form or anything requiring a change or reproduction from the original in some way, send to the engraver as perfect a deep, black proof as possible. Do not use colored inks. Mail proofs flat, between cards. Do not fold or crease. & & & 160 Is the printer who is mak¬ ing a first class success. He does not consider it beneath him to solicit either job work or advertising. He not only hustles early and late in the office, but he hustles out of the office, even out of the city into the tributary towns, and makes business friends of all who admire a hustling business man. RESULTS TELL . . THE STORY.. 161 HOW TO GET OUT OF THE RUT THIS IS A VITAL QUESTION* FIRST DECIDE THAT COST WHAT IT MAY, YOU MUST, YES, WILL, GET OUT OF THE RUTS OF CARE¬ LESSNESS, INDIFFERENCE AND IGNORANCE* It will be nothing less than a revolution to many but the reward is great. It means not only suc¬ cess but self-respect and confidence ; so, armed with an unlimited quantity of courage and push as your capital, just commence now, not tomor¬ row. Study, experiment; and, yes, you will fail sometimes but with good courage it will surprise you to see how different the work seems, how much more pride you feel in doing it right and how it mortifies you, if by chance the “devil” almost spoils the job by his heedlessness. The work and life even will take on an entirely new and fascinating appearance once carelessness and indifference have been banished, and one is led to throw his whole soul into seeking for the knowledge which alone has the power to transform mere existence into real living. 163 ^¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥^ "Thai is the question." Who is Running Your Business? Some one person must be authority, must control and direct a business in order for economy and success. This one must keep his hands off the work, thus leaving his mind free and at liberty to act quickly and intelligently in making the many important decisions which arise hourly in a busy office. He must decide every question and doubt, and no man can do this properly and at the same time have his mind occupied with the details of a small job. If there is just one supreme authority, and he is alive to his position, he can almost double the output of an office. 164 TWO-COLOR EFFECTS With One Impression ^HESE pages give illus¬ trations of two-color effects by one printing, simply by using col¬ ored paper and the ap¬ propriate color of ink* Harmony of related colors, between ink and paper will amply repay one for much careful study and labor* It will beautify your work be¬ yond what one would expect and yet cost nothing extra. Nothing is of more importance, all things considered, than har¬ mony of paper and ink* When a firm is constantly send¬ ing out advertising it is desirable that each piece in a series shall appear different from the last that it may attract attention. 105 This may be secured in different ‘ways . * GOOD WORK IS NEVER DEAR * FIRSTS PAGE EFFECT STRIKING. ATTRACTIVE. O N pamphlets and folders always aim to make the front page as strong and attractive as possible, that it may catch the eye. To the color printer many oppor¬ tunities are open along this line. A touch of red ornament, border, rule, etc., will add great¬ ly to the life and vigor of the page. Where but one color is to be used all depends upon the skill of the operator in securing striking contrasts by type effects, borders, and ornaments. The half-tone also affords much assistance in this as a nicely executed half-tone always demands considerable attention. With the first page properly displayed the remain¬ der of the pamphlet will be read even if set in straight roman, thus increasing the number that are read many fold, for where the first page is meaningless or unattractive very few people will take the interest or trouble to give it even a passing glance. If it is worth doing at all, do it well. Make it striking. 167 HE above celery bunch illustrates one of many excellent effects which can be cheaply secured with one or more printings. The cut can be printed on a green tinted paper, with deep green ink, and by means of con¬ trast between tone of cut and paper get good two-color effects, or it can be printed in a rule and ornament form in yellow, then printed again,—the type form in blue,—thus getting a natural green celery bunch, with blue, yellow, and tone of paper, all at two printings. 168 ♦ ♦ ^ ^jxmTjmnjxnjxruTJiJTJTJxriJTJijxrij^^ ^ Three-Color Effects | from One Printing j | ♦ ♦ 'jTJTJTJTJTJTJTJXriJTJTJlJTJTJTJTJTJTJTJTJTJTJT^^ ^ * ♦ i! ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ : ♦ ♦ jAN’T be done! Let’s see. Choose a colored paper, then an ink which will give pleasing gradations, and then by contrast of faces in type, rule, and ornament it is possible to secure three, or even more, color effects. The contrast between a border giving the effect of about a half tone and a full color of type or orna¬ ment adds greatly. Always carefully consider the contrast of faces in com¬ posing ornamental work. iirUTJTJTJXriJTJTJT^^ ♦♦♦«♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦$ 169 Remember . . . THAT LIGHT, ORNAMENTAL TYPE FACES SHOULD BE DONE IN COLD OR BLACK COLORS . Good judgment in selecting type is one of the chief factors in secur¬ ing color effects, in which are combined harmony, force, and beauty. THAT 170 JSote the ■pact . . . That contrast of tone is se¬ cured not only by placing side by side colors varying in intensity of tone, but just as truly by using light and dark faces of type and ornament side by side, or by using deep tones and half tones. Often¬ times the contrast between the heavy and light tones which are put into the half¬ tone picture by the engraver is just what gives it its pecul¬ iar life and attractiveness. m 172 LJTnJTJTJTJTJTJTJTJTJTJTJlJlJmjmJlJlJTJTr^ nJTJT.JTJTJTrUXTU^ CONTRAST OF COMPLEMENTARY COLORS |N this combination of colors is illus¬ trated, harmony of contrast of complementary.colors used at their fullest intensity. This com¬ bination might have been made less striking and more tasty by reducing the green somewhat with white, or better yet, by reversing the colors, using # red for the block initial, and green for the body. The colors are used as they are, simply because this series is arranged to illustrate and give the material for proving by means of the ornamentation some of the laws governing harmony and simultaneous contrasts. Notice how vividly the initial stands out of the green back¬ ground, being made stronger, purer, and more strik¬ ing by the simultaneous contrast. No other sample in this series will give so strong a contrast of color in ornamentation, hence it is evident that when properly reduced and scientifically handled, red and green are admirably adapted for use where especially catchy, bold effects are desired. They will be found equally good in securing more subdued effects when sufficiently toned down. Patrons Expect Perfect Work GET THERE ^ 4 4 Oh! that is good enough " will not go in color work or in first class job work. The hery best of ink, stock, presses, cuts , etc*, avail nothing if the pressman has not fully learned the lesson of getting there e'bery time* Better by far that the careless feeder never try anything but a one-color job. Poor feeding not only spoils the job in hand r , but it also brands the office as being capable of only poor work* Get clear there in composi¬ tion, in makeready, in matching ink, in using appropnate stock, and in feeding; and stay there until the work in hand is delivered, where and just when it is promised. No job is unimportant; it is fatally im¬ portant to do the best possible on e'bery job going out of the office if one is to receive another from the same people* .* EVERY TIME.* 174 7M- CONTRAST OF COM PLE HE NT ARIES IN this initial we have a striking illus¬ tration of contrast of complementary colors. It also affords a good opportunity of testing (for seeing is believing) the truth of the principle of simultaneous contrasts. Take a large sheet of white paper, cut out of it a square the size of the initial block, and place the sheet so that you can see only the blue initial and orange block surrounding it. Then look steadily at this block for some time without winking, holding it some twelve or fifteen inches from the eyes, then shift the eyes upon the white paper and look steadily at one spot for a moment, and you see an orange initial letter surrounded by a blue tint, just the reverse of the original colors. Thus it is evident that each color strengthens the other. A repetition of this upon the red and green initial will give strong results. Had this initial block been somewhat open instead of solid, the simultaneous contrast would not have been nearly so marked, showing that strength of color modifies this contrast. y ^¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥ Wt ^¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥*^ C P I COLORS ON THE OPPOSITE SIDES OF THE TRIANGLE CONTRAST BEST. ^ ^ & ONTRASTS.. M m m f 'ft sr In two-color combinations it is safe to assume that a color will harmonize well, giving good contrasts, when used with any color on the opposite side of the triangle* It is essential to be¬ come so familiar with the colors on the triangle as to be able to instantly locate them at will* The complementary colors are always made stronger by simul¬ taneous contrast, when brought into Juxtaposition* In fact, si¬ multaneous contrasts will always cause colors to appear different from what they really are* These illustrations fully show this. Do not fail to take this into account when choosing colors. fi'**********#*****^**************^^**^^*** 1715 CONTRAST OF SECONDARIES. N this we have contrast of two secondaries. This would have been improved had the colors been chosen more widely apart. Search to find the different changes that would have improved these pages. A little study of books, and of fine work, thought out and executed by good workmen; searching as for hidden treasures, for the cause of the soft, blending, and attractive effect, is the way the eye is trained to first see, then appreciate, and then to dictate and execute. It is no more of an effort for the trained eye to distin¬ guish between harmonies and discords, than it is for the untrained eye to look blankly into space, seeing and yet blind. The saddest of facts is that people look upon all nature’s marvelous beauty, and see it not. Why ? They have not discovered that not only life is kn art, but that seeing, thinking, acting, are . each arts and the science of each must be fully learned before one becomes an artist in his line, and before he gets true enjoyment from it. 177 A ROUND PLUG ( fits a round hole better than a square plug. Where there is a choice always take the best. A tone or hue of ink which looks well in orna¬ mentation may not be as well suited for the body of the page and its strong lines. This page illustrates this by comparison. Study it carefully, intelligently, and decide for yourself which is best suited for ornament, border, etc., and which for body type. The Deep Tones of the cold colors and black will give stronger type effects than the warm colors. The light, warm colors used in borders, underscores, or¬ naments, and tints add life, beauty and force to the work. It requires not only choice of ink but choice of type faces as well. No one would think of using a script and bold=face gothic side by side =—t h i s admitted and you have the essential principle of appropriateness of type faces to their'surroundings. CONTRAST OF SECONDARIES. N this page we see an illustra¬ tion of two full toned second¬ aries used together. The contrast would have been more harmonious had the orange been moved more around the triangle towards red and the green towards blue. For this illustration the secondary colors were taken without toning or softening, that the student may take this as a starting point and move experimentally, from this to the best possible hues. It is Well when using these colors to keep this rule in mind, always choose colors or hues as widely apart on the triangle as possible. The reason for this is that the simulta¬ neous contrast may be as favorable as possible for the harmony. This and other vital points have been mentioned in the text but so important are they that they are not only repeated for emphasis but illus¬ trated where it seems best. By careful consideration and comparison of these pages, one soon comes to more easily select the tones and colors which will give the very best of harmony. 170 ,* HIT OR MISS at at FEEDING at THE REGISTER DIDN'T HIT BUT THEY DID FINELY. ^ ACCURATE REGISTER IS ABSOLUTELY ESSENTIAL. ^ BELOW IS AN EXAMPLE OF POOR FEEDING. GOOD FEEDING IS A HABIT. * * ACQUIRE THE HABIT. 180 CONTRAST OF PRIMARIES N this combination of colors is illustrated the contrast of the primary colors, red and blue. Being primary and chosen as nearly pure as possible, they work together fairly well, though they are not as perfectly harmonious and pleasing as they would have been had a hue or lighter tone of one been used. Theo¬ retically, primary colors are pure, but practi¬ cally, although we may not sense it, each color has a small per cent of all three primaries in its composition, sufficient in fact so that when two are used side by side, they mix in the eye and form white, which lightens the tone and inten¬ sity of each color. This can be seen readily by looking at the initial letter on thfs page, the color block around the initial letter appearing of a lighter tone than the outer edges of the block. Hence when mixing primary colors, in the eye , if it is desired to deepen the tone, choose colors leaning toward each other a trifle thus shutting out the third primary ; to lighten the tone, select colors as different as possible. 18 ! ,* NOVELTIES.* IN the line of novelties there are some pretty and attractive effects which can be secured by printing appropriate landscape cuts, etc., first in black, then with the same cut and register, print over the black with a ligfht, transparent green ink. The black-green effects are wonderfully true to nature, pleasing: and restful to the eye, and add largely to the value of the picture • Good results are also obtained if brown be substituted for black. A novel effect can be secured by printing: a picture, say cabinet size, with orna¬ mental border in brown, then print over the picture in the green. 182 HELPFUL HINTS CONTRAST OF TONE OF RELATED COLORS ONTRAST of tone of distantly related colors is illustrated on this page. This full, rich tone of violet is useful for bold, catchy effects. It is best suited for bold-face types. When about to run two or more colors on a cylinder press, test your register at the very outset, before making ready. To do this, print on the packing three or four successive impressions with the press running full speed. If it prints as if only one im¬ pression had been taken, go ahead with makeready. If the printings yary, the bed and cylinder do not register, and the lost motion must be found and corrected before accurate work can be done. In two- color work take no chances; several times a day the pressman should take four sheets from the delivery and run them through a second time to ascertain that no change has disturbed the register. Com¬ plete detailed instructions for this will be found on page 125. 183 ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ jNeatness & ¥ ¥ ¥ TITLE PAGE ..OF.. BOOK ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ ¥ The setting of a title page often tries the patience and skill of the inexperienced workman. Limited as one is to small variety of type and ornaments, it requires experience to make an attractive title page that shall truly and appropriately foretell the story of the book. The page must be symmetrical, neat, and set say, in old style, light or heavy according to character of the book. Just a little red helps wonderfully, not red for the principle line, but for some minor lines wide apart, just to enliven the page. (1 (1 !J3g HELPFUL HINTS |jH|| Ar\<*>v«Uv«(/v«U CONTRAST OF PRIfl ARIES IS combination of colors illustrates contrast of primary colors, the tones being widely different; one is a warm and the other a cold color. Far superior results could be secur¬ ed by reducing one to a half tone, but by so doing we must have lost the true illustration of primary colors. The result would also have been more pleasing had they been moved around the triangle away from each other a little. It must not be as¬ sumed that because certain colors and tones of ink or paper are combined in “The Practical Colorist’ that they must of necessity be harmonious, or the best possible choice of tone and shade for good effect. On the contrary, this book is dealing with colors unharmonious as well as harmonious; shows them as they are, that the student may see and judge for himself, avoiding the poor and choosing the good. Viewing this page by different lights you have perfect illustration of how light changes the color of objects. Viewed by yellow or gas light the yellow fades to a very light tint. 186 In producing this illustration two impressions were taken from the same plate, violet ink being used on the first impression and transparent green on the second* Similar effects could be pro¬ duced by combining, in the same manner, brown or black and transparent green. HELPFUL HINTS CONTRAST OF HUE. N this page we have violet com¬ bined with a light tone of green. There is a wide range of broken colors, many of which, when intelligently toned and combined with other colors are capable of excellent results. This is a field exceptionally full of rare opportunities, but it must be entered understanding^, in order to secure the best results. If the hues are taken at random, they will fail to please, will appear glaring and cause one to wonder why. But if the color artist changes hue and tone, until the contrasts and combinations are in harmony with nature’s laws, the effect be¬ comes so subdued and subtle, and yet so powerful as to seem to blend and unite to produce one grand, harmonious whole, which pleases and attracts the eye even of the untrained. It is a safe rule in all this class of color combinations to avoid as much as possible violent contrasts; they give more flashy results, but seldom secure as pleasing effects. In combining hues it is best that a primary color shall be discernable in each color. A A A A .. .^AAiAAAAAAAiAAAAAAA HERE several colors are desirable, on, for instance, a first page of a folder, upon which a half tone illustration and type are to be printed, the half- tone may be run in both forms, us¬ ing two of the primary colors. Three-color transparent inks must be used, which will combine and give a third and beautiful color to the half-tone illustration, as is shown by the cut below, which was printed in blue and yellow, thus se¬ curing green* With proper care and skill an edition of many thousands of impressions can be successfully worked off. In setting, place the cut in both forms so that it will register accurately. Use the darker color for type effect and the lighter for ornament. Absolute accuracy of feeding is essential in order that on second printing the cut shall com¬ pletely coverjthe first printing. 1SK ** HELPFUL HINTS ■* Jt HARflONY 6F TONE OF RELATED COLORS HIS page illustrates harmony of related colors. Harmonious results are easily obtained by using such pairs of colors with the light tone for a tinted ground, on which to print the text in the darker color. Fine results in tinted grounds are also secured bv contrast of unrelated colors. So ♦ 0f many printers experience trouble in using solid tint blocks that a helpful suggestion will not be amiss. If the block is a somewhat large one, the press must be fully strong enough and with sufficient inking capacity to do full justice to the tint. The distribu¬ tion must be so perfect that it is not necessary to carry a very heavy coat of ink, thus raising the intensity of the color of the tint somewhat, from what it must have been if more ink had been carried. On some designs it is advantageous to run the tint last, using an ink made by adding a trifle of color to magnesia ink, thus giving the whole a fine, glossy - appearance. NEVER CRITICIZE another s work unless you are yourself familiar with all the laws of harmony . # # I ©o not sneer at technique t for it is simply the knowledge and skill for scientifically perform¬ ing the every detail of a work of art. # f # # i 190 ITH this combination of colors is illustrated harmony of domi¬ nant colors, the tones seeming to blend into each other. It is by the use of such soft har¬ monies, that the expert colorist secures his subtle, tasty, and beautiful results which charm the eye, hold the attention, and cause one to carefully study the printed page. It is no more difficult, takes no more time, to use colors intelligently, combining hues or tones tastefully graded and by the rules governing harmony, than it does to simply take any old inks without a thought as to what effect one will have on the other; and yet be satisfied, yes, proud. Where ignorance is bliss is it folly to be wise? Let nothing but the best satisfy. Have a definite purpose and a reason for everything which you put into a job. Do not use ornament or color simply to fill up, for if you do it is apt to injure. Use nothing but what will make the job stronger and more forceful. SEARCH FOR THE CAUSE * * ONE LOOK IS NOT ENOUGH, # * # LOOK AGAIN* GOOD PRINTING demands a second glance, which leads the intelligent observer to a more careful consideration of the sub¬ ject matter, and becomes the means of true growth and development. & Good work is never acci¬ dental nor haphazard, as' it at first appears; but is rather the legitimate re¬ sult of a carefully planned scheme. ^ HUES DIFFERENT IN TONE. ECONDARY colors contrasted with a light tone of a primary give good results. In using the light tones of ink it is essential to be scrupulously neat lest the tint be defiled. Rollers must be cleaned thor¬ oughly, a coat of the tint distributed on them, and then carefully cleaned again, being sure to get all old ink out of cracks and from ends of rollers, on bearers, etc., wiping the whole press clean and free from anything which could defile the tint. It only takes a mere trifle to change the hue of a delicate tint. No amount of careful work on composition, choosing colors, feeding, etc., will avail unless these seemingly trifling details of tech¬ nique are carefully attended to. Do not attempt color work by colored light; especially is thjs applica¬ ble to tints and light colors. As has been stated elsewhere colored light changes the appearance so much that when viewed by sun light the work will be found ruined because the tint is by far too strong and glaring. The Wheels of Success ARE NOT SET IN MOTION 'EY LOOKING IN THE GLASS Equal parts of courage and purpose will over¬ come all obstacles even where one's 44 friends" cry 44 he can't do it, it isn't in him, you know*" It is not self reliance so complete as to ignore that study and practice alone can fit one for success, but it is a courage that knows that knowledge is power, and by study and hard work anyone can, yes, will succeed* G£^ G^^ G^^ Gg^ Gg^ 194 HARHONY OF RELATED COLORS. Y careful comparison of the or¬ namental initials and the head and tail pieces, one can read¬ ily see what colors are most effective in combination, also how one color looks over an¬ other, how side by side. The head and tail pieces were not selected for beauty but to show plainly these facts. Many beautiful results can be obtained from a color and its various contrasts of tones. The inclination with inexperienced printers is to always use the same colors. Such operators are able to see noth¬ ing good in but the one side of the triangle. Their work all looks alike. Don’t be one-sided. If the paper to be used is a green tint, use a light tone of green and a touch of red for ornament, and a full, deep green for the body, adapting color and tone of ink to suit color of paper and faces of type and ornament to be used When several colors are to be used, light, intermediate tones will add greatly to the harmony. 195 IS IT LUCK ? It is Simply _ DO YOU BELIEVE IN CAUSE AND EFFECT? DO YOU BELIEVE IN YOURSELF ? He who does not study the charts and guides in color work will never be charged with being a lucky fello%. 19C CONTRAST OF HUES EQUAL IN INTENSITY. ANY of the hues give good results in combination, when properly toned and chosen. In this page is given contrast of hue when the tones are of equal intensity. This contrast is often quite acceptable when cold and warm colors are used. It is not as pleasing where both colors are cold. These pages are printed on different colors of paper not only to illustrate what are good, but as well to show how color of paper injures certain inks when printed on it. This proves that two colors placed side by side throw a tint of their complementary upon each other thus strengthening or weakning the harmony. It also illustrates the lack of balance of proportion, the tint of the paper covers many times the surface which is occupied by the color printed upon it, hence the printed color will be changed most by the contrast. HIS illustration is the re= suit of printing from two plates made especially for two = color work, the plate with brown ink be= ing printed first, then the C green added with the sec= ) ond plate. How often one uses two impressions only to secure tw^ colors of type or ornament when L results like the above I 1 could have been obtained. 1 s 199 s In Nature, In Art, In Your Fellowman, In Printing. it is OF HORE VALUE THAN HUCH GOLD... earch for the Beautiful ^ The beautiful flower, or life, or work of art stimulates to higher and better things. The Constant Study of beautiful printing is not only inspiring but impels one with irresistible power on to higher and better endeavor. It pos= sesses an unseen yet o v e r = whelming power that takes full possession of every one who looks lovingly upon it. ¥ ¥ Life is not worth the living, nor is success possible except the inspiration of “ the love for the beautiful” has molded and shaped it. ¥ ¥ ¥ ¥ ¥ ¥ 200 Is Color ft 4> it/ ifc 4s ifr it/ ifc ifc it/ it/ ifc it/ ifc 4s id/ it/ it/ ifr it/ it/ ife it/ it/ it/ ifc ifc it> it< 4s 4s JOHN HUSTLER PRINTER it it it it it It it it It It It It it it It it 213 USE GOOD INKS A few Good Suggestions INDUSTRY NEED s NOT WANT 216 Quantity \MAtMAtAM* MW# Quality WHICH? 217 A. L. A. VISIT TO BURLINGTON JUNE , 19 0 0 CO M PL IME NTS OF THE INTERNATIONAL MONTHLY 21 £ 219 KNOWLEDGE LEADS TO HARMONY 220 American Type Founders Company 2 70 Congress Street, Boston, Mass. 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