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littp://archive.org/details/masteringgraphicOOwliit
Mastering
Graphics
NEWSLETTER
Magazine
Newspaper
(tMagapaper
Tabloid
REPORT
JOURNAL
Magtab
CffTRLOG
Brochure
l=I.YI=R
Design!
dnd
production
made
easy
Jan V White
R. R.
Bowker Company,
London, 1983
Published by R. R. Bowker
Reed Publishing (USA) Inc.
a division of
Copyright
All rights
Printed
1983 by |an
V.
White
reserved
and bound
in
White, Ian
v.,
1928-
Mastermg graphics.
Includes index.
1.
Graphic
arts.
2.
i.
Newsletters.
4.
Design.
I.
Z253.W47
Printing, Practical.
House organs.
5.
PamphI
Title
1983
ISBN 0-83.52-1704-3
686.2
83-60
CONTENTS
Introduction
Which
will
Magazines
2
3
Make
the publication's
name
its
hallmark
14
Where
flag,
and masthead 14
20
it
is
in
type 27
lines
29
be? 30
How to
31
The problem
of creating
emphasis
in
typewritten copy 34
How to
added
to typewritten
handle standing
art
copy 40
with typewriters 41
XIV
What
face to use?
44
how to
47
Type measurement 49
Copyfitting:
how much
space
Proofs
in
type? 52
56
Body copy or
Sans
will
55
text faces
57
body copy 58
lines
be?
set justified or
60
61
ragged?
62
Display type 65
Headlines 66
How
67
cap,
all
up-and-down
headline?
style,
67
or downstyle 69
Catch
lines or
Bylines
boldface lead-ins 72
73
Move
in
as close as
Use lenses
that will
Having everything
74
you can 74
move
in
in
focus
is
dull
74
plumb
in
the middle 75
of force 76
background
78
Shoot people
Bunch people
into tight
79
groups 80
Sunlight
is
Flashbulbs create
81
81
82
to make
more interesting
commonsense principles for using people pictures 87
Make the best of those unavoidable catalog arrangements 88
it
Five
Tips to
make more
92
Option
How
95
Crop
Crop
it
make
to
pictures
Edit pictures so
Help
work together
better 99
pictorial
them greater
How to
in
visibility
04
104
pictures
05
Do things
Use
partial silhouetting to
Combine words
all
emphasize action
with pictures so
07
originals
= 3
117
20
be black-and-white
prints?
120
How can you tell that the picture is the right way 'round? 22
Why and how do you crop pictures? 123
How do you scale pictures to the size you want them to be? 24
How do you inform the cameraman about what you want? 27
1
What
What
will
is
a halftone?
when
reduced?
it is
28
129
Who
makes halftones?
What
29
1
30
Whatisalinecut? 131
What
What
is
a line conversion?
132
vn
llustrations
and
where
their substitutes:
Custom-made
how to
to find them,
use them
Old engravings
Clip
art: its
in
the public
domain
art at
36
36
138
Handwritten notes:
34
135
become an
"illustrator"
arm
38
38
39
10
Making mechanicals:
and disinclined
146
147
The
Making
rough
Practical tips
dummy
151
on making mechanicals
What
What
is
which color
the difference
colors should
How much
Flat
for
is
54
157
are
made 158
59
160
12
to
is
162
a piece of
paper? 162
weight 163
Shininess
Finishes
165
165
tint
61
55
55
13
What you
absolutely must
know about
Stenciling
it
and finishing
68
71
yourself 168
Mimeographing 169
Photocopying and xerography 169
Letterpress
70
Offset 170
Gravure 171
its
174
Diecutting 175
Perforating 175
Laminating 176
Mailing and distribution
Index
178
offset, letterpress,
proper utilization
176
and gravure?
72
be useful
72
INTRODUCTION
The
it
for this
title
was decided
that
is
When
enough
graphic design
then
is
to
good
their
considered as an end
is
it
working tool
some
for
is
is
and
in itself
validity
its
anyone can do
All
hands
right
agree about.
Instead
if
they
have them.
it is
art.
for
entirely
its
own
sake,
on one's
a quality that
about
to feel insecure
done
is
depends
it
approach to design
is
nothing but a
quest for superficial beauty: making a publication look good, and pleasing to
the eye.
It is,
when he
When
on any
down
graphic design
is
dead
the moonlight:
fish in
it
is
but
it
stinks."
no longer
technique-for-communication's-sake
fish that
who
it
and
that
becomes
is
who
receive
it.
It is
common
Graphic design
that can
words
is
not
is
a functional
some bombastic
response to specific,
claim
how
to
end
of the
and hard
spectrum
is
realistic
problems
to define (such as
its
how to
purpose and
characters and
ideal solution
do
aspect of
based on
fact.
art.
this
is
is
may
take a
little
longer, but
it
In
both cases
accessible to
all.
The
result
may
look
little
to
like "art,"
facts
do with your
know
artistic talent
perfectly
or training
common
is
its
editorial
logic
and
Graphic design
in
quite separate:
successful
has to
page
mind;
or,
issue to issue
readers perceive the content to be. The character of the product as a whole
is
mix that
is
It
consists of
the weight, color, texture, and snap of the stock you use; the page size; the
ink color; the proportions of the margins
structure in the live area of your page; the texture, color, contrast,
and
patterning of the type you use for the body copy, display, and other areas of
typography; the
many elements
size,
number
in
practical
way of
method
the
of copies to be printed,
They are
illustrations; the
services
of
and so
forth.
less
necessary to define, such as the average age of your readers, the degree
of their visual/verbal sophistication, the purpose of the publication
and so on.
When
the right
you know what your problems are and base your decisions on
criteria,
a solution that
is
fitting
and elegant.
It
as a definition of the
that
is
visible
on the printed
page. The resulting mix of those materials will be what makes you "you"
will
in
devise to
make
the
First
you
it
by making
your story fascinating; you must get the information across quickly by
efficient presentation,
which
is
significant.
XI
by making
it
But that
why you have to know what you are doing and why
way you are doing it. Flying by the seat of your pants
your shirt. That is why this book has been assembled as a
precisely
is
the
it
compendium
fearlessly.
It
one aspect
how
as
is
it
order to
in
been
them
to use
as too
about any
little
chosen to give
carefully
The book
the
last
is
his pupils
is
the answers.
taught by
fears
It is
more importantly
telling
that
it
is
and
insecurities are,
my hope
If
that so
in
most frequent
may do my
readers an
perfectly
no wonder
publishing,
in
is
is
all
right to ask!
Nobody
has
the
all
It is
more
graphics, this
titles
in
boldface
in
it.
the context
in
and concepts
One
last
last
possible
moment
we do
word-oriented people
fall
when they
those words and thoughts into marks on paper that communicate to readers.
Because they are unsure of themselves, because they do not know what they
are doing, and because they are afraid, they postpone
becomes
layout forever;
isn't
it
is,
When
it
its
until
product appears as by
a fully
will s/ng?
it
the task
logical
rounded communicator.
and easy
it
become
Now with
it
has
some 480
line illustrations
if
you
number:
made some
illustration
who
arbitrary decisions as to
cares? Suffice
it
trying to
in
come up
with the
what constitutes
had
total. Besides,
this stuff
all
a separate
L.
Young
task, given
my
they got
rid
Iris
clarified obscurities
They did
assertions.
unusual book
illustrate
it,
in
it
all
my
is
rasher
a rather
just write
You
see,
make
illustration
this
normal
their
and space
also for
is
acknowledge
Blame him
and
may be
most of
my funnies. They
their best
when
fun.
under unusually
trying circumstances.
The typesetting was done by J&J Typesetters in Norwalk, CT. They are a
work with. The stills from old movies are used by kind permission of
the Still File Collection. Other photos don't deserve crediting: they are
supposed to be bad, and have little difficulty taking such pictures myself.
My thanks to Carl Moreus of Norwalk, CT, for the use of his photomechanical
joy to
My thanks,
Without
monster.
my
Clarissa,
would
my
this
also, to
know
Westport,
May 1983
CT
they want
me
book.
to dedicate this
in his
book
Which
will
you
choose:
newsletter
magazine
Let's
assume
little
ones,
fat
magapaper,
How
terrifying.
is
like that?
through the
mound
again and
that
seem
or
tabloid?
thin
own
magtab
you are faced with putting out a publication. You are then
that
very likely to have a stack of publications sitting on your desk: big ones,
is
weed out
to
have the
are, therefore, to
your
liking.
right.
Elsewhere
in this
which
liking,
is
book,
based
rational decisions
know what
you're
it
expressed
in
terms of "liking,"
is
a valid
and
When
field
You can
forget
may have
all its
all
is
fine!
gravitated toward a
hard-hitting,
newsy
flavor
fine!
first
a tabloid with
major step
in
hard to
It is
make
will
intelligent generalizations
into
because their specifics are so variable, but you should know about them and
figure
them
into
final
choice
of format.
1.
The
availability of suppliers in
your
vicinity
Some
idea of the
will
who
like.
well affect both costs and the physical limitations within which you'll have
to work.
3.
The
availability of
of
It is
far better to
shoddy version of
produce a
first-rate
more expensive
kind.
Only
common
sense and
discussions with your suppliers can give you the information you need to
life
if
you are
to
succeed. They are not practical, but without them you cannot muster the
intellectual
1.
to
do the job
right.
who
it,
it,
what
it is.
one
is
It is
name
center the
in
the top
title in all
capitals
on
reports are
for
way
mean.
even useful
for
exist.
is
of those cobwebs.
2.
aren't.
or
may
Don't think that there are any correct ways of doing anything. There
There are traditions. There are rules of thumb whose application may
not be appropriate. There are comfortable ways of doing things that
have been developed over the years and that are effective
but disastrous
type
about
in all capitals,
italics in
you hope
to
do
it
right.
tell
at
embody
if
one product
never do
in
in
only a sliver
Nonsense. There
is
Think the problem through, decide on the editorial point you're trying to
it
in
have succeeded
meaning
3.
in
which
If
way
is
it
for a single
communicating your
See beyond the beguiling pictures when you examine other people's
publications. Look
pages, the rhythms used to assemble the whole piece, the patterning and
repetitive elements used, the length of the stories, the
It is
one
way headlines
are
And
if
the samples of
publications you have gathered are exciting (which they probably are,
otherwise you wouldn't have kept them), chances are the writing and
subject matter are equally alluring.
It is
hard to
resist getting
the subject
is
in
involved
in
it if
all
how to
your desk. To help you analyze the various characteristics of formats, here
a short
is
much
in
your
pile.
There's
no reason why you should not depart from the standard formats. Be aware,
however, that what looks simple can turn out to be quite tricky to achieve;
and every time you do something special, it is likely to cost you both
aggravation and money. So here are the fundamentals,
if
Newsletters
What
it is
almost meaningless:
it
encompasses!
and
that
is
is
a simple
it
to
mean.
It
describes
is
in a
It is
medium
that
let's
is
probably one of the most effective to ever have been invented, because
true newsletter
illusion
read and
news
is
of
full
effectiveness
Its
it
it is
and unassuming.
forthright
It
the
lies in
should be quick to
their significance to
the recipient. Longer items are, of course, perfectly acceptable, but the
longer they are, the less "newsy" the product appears. To be a true
newsletter,
it
needs to look
like
know about
It
it.
in
When
typewritten,
its
typewritten, then
it
ought not
in
to
mind
latest
visual
mix. By
means have
all
word processor)
and run
it
be destroyed
will
if
letterhead on which the typescript can then be imposed. That reinforces the
something
it is
a "letter,"
in
is,
its
page
size
is
type
is
Two
sheets stapled
the top-left corner are the next step. From there you can have
maximum
in
else.
Because
r=1
r^
is
about the
The next step up the
scale
when
is
becomes design
more
more "finished."
two columns, and the copy
valuable,
So the page
is
split into
made
lines of type.
An
is
retyped several
the
is
executive typewriter
left-
unaligned, which
(justified) instead of
produces
neat on both
in
development
in
set
shoulder their way into the product, and you have a mini-magazine that
doesn't quite
of
come
And
off.
it
come
doesn't quite
whose
entire character
is
is
stories
by bringing out
medium. Using
slick
inappropriate to true
vitally
latest
their content
interested and
off
to another
Newsletters don't need such trickery because their readers are already sold
into
something
is
misapplied
else.
Magazines
Although there are small ones made
to
fit
bigger ones (9" wide by up to 12" high), the majority of magazines are
becoming standardized
on the smallest page
7"
to 8y4" x
size
10%"
to
workable margin
accommodate
all
the standard
this standard.
It is
also a size
visit to
your
local
magazine counter
will
quickly attest.
The essence
1.
to
be
of handling a
magazine
lies in
two
medium.
to the
It is
small
enough
2.
It
is
made up
for each
It
of
it
artifact that
How do
sequence or progression by
in
progression.
You
maximal
by consistency
effects,
in
establish
repetition,
in
typography for
same time
giving
it
dull,
such techniques
make
it
because eight
pages aren't enough to work with. They are also qualities that a newspaper
The magazine
paper (form) that
is
is
its
page
made up
later
size
is
too large.
is
is
a flat sheet of
final
on
in
32-page
You need
signatures.
makeup
of the object,
make
order to
the most of
it
within
its
own
limitations.
we
it
flip
is
fast;
we
is
we do when we
first
pick
it
up
to
examine
Later,
when
is
where we
the product
is
studied for the second time, after the potential reader has decided, "Yes,
looks interesting," that inside half
is
laid
is
it
then
The page of
All
a typical
magazine
in picas.
is
Some magazines
9.5
9.5
9.5
9.5
These are by no means the only patterns although they are most often found,
for they fit the sizes of advertisements. Publications that do not have to face
the problem of
They
be penetrated by headlines or
Or how about
it.
page, and giving them ample outer margins to create a quiet, elegant,
dignified feeling?
Or consider taking three columns per page but making them narrower than
the maximum. You then have the option of placing them in two positions on
the page: working outward from the gutter, yielding a wide outer margin;
or working inward from the outer edge, yielding a wide gutter margin.
There
at
your
even
the skeleton
is
how
hard you
The skeleton
it
to
may
try to
be
If it is
unusual, then
may
your publication
well be a
is
good idea
likely to
to
work out
column format
that
in
it,
then
it
encourages a
accommodate.
If
allows the
live
it
remains within a
clearly
yet
will
12.3
12.3
12.3
it
made
deems appropriate
for
it;
the material be
lets
journalistic thrust, joined with the visual effect, creates excitement in the
product.
says
It
it
grid.
page
grid
is
All
make
and also
is
The
in
It
individually or
it
sometimes
is
referred to as a
is
it
good planning
the publication
If
is
use a
likely to
to
will
lot of
photographs,
the proportion of
fit
35mm
photos. Clearly, any arrangement that helps to define the future page design
feasible.
is
It
up to
("text
decks
area,
The
this point
in
grid
there
is
.")
said to
embody some
It is
framework
better to have a
it is
that
it
to insert
is
hung;
may
easy to
does no
or
may
In
Space
1.
is
good
fill
it
it
helps. But
it is
no
provides
it
it
is
is
it
will
it
is
is
style,
become
magazine makeup.
used actively to create the product's patterns.
expected to be
fully
side,
do
fit
be universally used.
terms of
essential to true
page
not
that material.
in this
it
it
headlines
it
character
page;
all
makes
On
which
A newspaper
as the
newsmagazines, that
deems
is
important,
encourages. Unfortunately,
this
is
they are
in
evolve,
is
many
editors, trained as
traditions. Interestingly
of the rigidities
enough, as papers
get printed.
onto the
valuable capacity
in
and
that
presentation, instead
2.
first
page.
Newspapers run their most important story atop page 1, often above the
between covers.
flag. But magazines are packaged like cornflakes: in a box
in
become
lines
shills
irresistibly
also exist to create recognition for the product from issue to issue, so they
The picture
that
its
is
the major story. Artwork or typographic covers are also sometimes used, and
much
easier
and
if
It is
safer to use a
much
less
important.
It
is
it
columns down
to the
become aware
paragraphs
typography
in
order to
is
it
not necessary to
off
it
and
look
make the
tidier,
between
fill
a neat outline,
in
the traditional,
full
lack of alignment
across the foot of the page looks noticeably messy. But newspapers are a
different case altogether,
medium
It is
and
is
it
to another.
much
wiser to
make
a virtue of necessity
for
example, by making
you intended
4.
In
to
do and
general, the
that
is
it
make
it
story.
is
what
not a mistake.
is
optimally and concentrate the reader's attention most effectively. The page
it
is
far
page newspaper
style
stories.
A newspaper page
simply because of the smallness of the page they are working with.
we
much
larger object.
make
it
less
it is
is
run on newsprint
expensive to produce),
although the format can be used on heavy, white, fine stock too. The tabloid
is
that
it
has one
it
is
in
diagrammatic form.
is
The back page of the tabloid becomes the cover for the folded piece; the
upper part is the front cover, the lou/er part the back cover. The reader sees
three sequential elements upon receipt of the publication:
front cover; second, the back cover; third,
tabloid-size
first
opening
it
all
first,
the small
up, the
full
page.
The word magtab comes from magazine (when folded) and tabloid
(when opened
similarly,
is
up).
(Nobody
columns, they
rigid
in
magazine
often
calls
a tabzine,
it
Assembled newspaper
style in
fill
style,
the contents should determine the choice of presentation style: news stories
in a
in a style
natural to
them; on
the other hand, long, analytical stories that are not news-oriented deserve a
different handling. There
is
a variety of
handling within the same issue; such variety helps to enrich the product
visually,
and
it
must
fit
the stories
It is
(in
form
as in content)
in
one
its
own
it
sort
sake:
fashionable headline type; peculiar text block treatments; fussy details that
treatment of subheads
in
in
first
glance.
It is
out, such as
when
it
can be anything
is
given that
map.
visibility in
is
much
larger than a
of a
magazine page,
newspaper
is
it is
full
size or
seldom seen
as a
it cannot be done without standing back too far. Instead, the page is
examined by the reader in a series of jumps. Therefore newspaper design
needs to be contemplated from a very different point of view. Its
way:
composition
in
is
is
to
Unfortunately, because
weave the
it is
organized
column
to
column so
meld
into
and concentration can we determine where one ends and the next one begins.
(MtMMUjXM^
y)lil^lli;l\MUiUiiA^MyHIJmMU-
It
would be wiser
WIMJifJ^ <iMA"UMHMU.vU
built.
is
is
greater: at
first
in
stories,
clarity
reading.
is
In a
is
accompanied by pictures
unadorned
magazines
just extra
cake to make
and the
feet;
(at least in
that
it
added
on
its
own
less stodgy.
those that
assembled
make
like
is
too often the case) the story grows out of a blend of the pictorial and the
verbal.
exist
inextricably intertwined in
without the visuals, and the visuals would make no sense without the
more
is
newspaper
difficult to
story.
whose contents
makes the
It
viewer-reader that
vivid
difference, however,
between a product
crucially important)
its
and
its
message
is
Is
on the
power.
page
measurement, much
its
as 41 picas
is
based on
size, of
own
course.
arithmetic
it
is
a very flexible
of
10.5
The
overall scale
pictures tend to
and
is
become
oversized,
be
size.
problem
10.5
10.5
a bit narrow,
and better
10.5
type
a bit large,
10.5
is
possible.
neatly.
in clusters.
and scale
is
its
change
component
in
parts at
first
takes up a clear rectangle of space on the page. The vertical edges are, of
course, defined by the columns themselves.
is
if
you
it
fee! the
need
for
if its
edges are
them unnecessary.
13
18
13
13
18
13
18
doesn't
lines
makes
possibilities
if
the width
is
material.
endless
normal
column widths often squeezes the matter too tight, or worse, inflates it
undeservedly. A specially sized column might just do the trick. Here are four
examples. Anything
to
is
possible,
made
14
14
14
11
if
fit it.
16
left.
16
16
15
Mug
names
the page.
fit in
15
15
nowadays
(see
page
7).
Many
worthwhile because
sizing of pictures)
lines of type).
where
modular system
makeup
into multiples of
to put things
is
(by predetermining
it
shows you
seem
things never
to
work out so
copy
neatly: the
right,
and
is
you
grid or
There
is
make good
that appears to
pieces
grid's
you
rigidities,
all
a tabloid
space.
If
it
as
an area
you'll
which to
be accused of wasting
insert short,
amusing
postpone longer
in
it
enough not
to
bits
and
People
the top
can be a useful repository for such odds and ends, and can help cajole the
readers into reading the big stories by pulling their attention onto the page
Sidebars are substories related to the story they appear with, but of
lesser importance.
They
much more
Two
factors
may
need
to
help the
be
It
is
because you have to leave room for the graphic surrounding that encloses
it.
relationship
is
used
in
the sidebar.
2.
structure
elements.
One
nonpictorial,
to be
this,
it
might be
good
idea to use a typeface of contrasting size, color, and texture, so that the
the basic
makeup
approach, then sidebars that are handled as though they were pictures can
help enrich the product visually
at
very
little
cost.
Make the
publication
name
Your name
is
your trademark.
recognized, and
it
its
individual
It is
must become
your
newly welcomed.
is
It
ought to be
as
becoming exaggerated
is the most
as possible without
hallmark
looks technical to
reflects so
it
one person
is
someone
aggressiveness to
much
subjective interpretation.
What
someone may
well be the
why more
epitome of
and amusing
one may
to
waged about logos than anything else. That's why, in spite of the temptation
to do it first, it is wisest to leave the logo until last, when you are working on
a new format or a new product. Let the logo grow naturally out of the spirit
and atmosphere of the entire piece. If you have the discipline to work out
the background first, you will have solved so many basic questions that the
logo will evolve organically from the decisions already reached. If you do
the logo first, it may well become an albatross around your neck.
logo, nameplatejiag,
Logo
is
each
letter
was
assembled
cast separately
letter
by
in
on
names. (As
in
commonly used
is
of publication
beholder. Logo
is
nameplate
will also
One
for short)
caveat:
Do
were
specially
or trade
is
incorrect.
call
it
name
of the
a flag, or a banner.
like
beauty,
is
for magazines,
in
nameplate
for newsletters,
be understood there).
is
that
commonly used
is
when
company
words
or trademark a logo
was then,
the days
transferred to any
The kind
short
company name
In
a piece of metal
logotypes. The
and masthead
as well
not
call
All this
list
the publication, the date and volume number, publishing information, where
to write for
legal information,
and
all
name's correct
is
spelling.
check
to
put your
name on
legal material
favor of putting
.,,...-
^^
Aj
tell
the reader at
the
first
It
it
is,
is
somewhere on top
is
one
is
five
of the
you have
of the reasons
vital
is
at all
it
looking
is
in
to
at. It is
live with.
on the
front page:
in
or sideways, reading
become important
from issue to
it
Remember
folded?
Am
handling can
you repeat
(0
If
to consider
its
the publication
first,
is flat,
(at
Such unexpected
ear).
as a recognition factor in
how your
way you
product
itself,
it
is.
But
if
flat
or
first
no matter where
as long as
started out.
be received:
will
In
being seen
first
there, because
first
and most
placement
is
the page
her
information required by the Post Office to qualify the publication for special
Where to
his or
the publication
will
is
ensure
its
folded, then
is
another reason
why
is
it
^^mm
successive steps as
in
you
essential that
in
it is
the hands, to be
opened.
It is
necessary that you avoid falling into the trap of designing the product as a
flat
object, even
Remember
though
it is
made up
flat in
on the page
it.
be affected by
that will
the folding.
to consider:
Many
the address labels attached to the front cover. Clearly, the size of the piece,
as well as the
label. But
page, for
find out
must be accommodated
to
in
the design.
It is
far better to
impossible to miss
us.
It is
we
are proud of
it
is
we
discuss them,
understood:
and because
it
we need
to
represents
we
some loathsome
label.
make
know
address
placement of that
should show
it
off clearly,
it is
worthy of such
treatment. But
in
let
us
make
that score
its
assumption on
factors that
requisite visibility.
NEWSLFITERI
^^^
Anchorage Daily News
By size
Make it big enough
depends on the
it
overwhelms everything
Use your
so
EdfeoB
common
typography near
it.
It is
else.
How
big
is
that? That
Me
Hafi
<rHE9USINBS<WRITER
<MflKING
By blackness
Making
letters large
it
ample
ink so
it
will
is
read
to
in
make
visible.
That means
Boldface type run tightly together or type with "shadows" that add extra
ink,
good,
fat
ruled lines
anything
to
darkness-.
(SM^?rm?m
>^K
ORWALK Hospital
norwalk hospital
insideBI
By
clarity
The
single
to be
accompanied by
such as the
issue, the
name
itself.
Alas, usually
it
needs
all
precious logo
name
needs to be placed
static all
the
is
is
or beneath
it.
TMimAGANmiPQmr
ANOMFTHnnSFflR
_H^
By contrast
The
size
will
set off
by the
the visual
if
and take up
less of
By isolation
To achieve maximum
(with
its
visibility
and impact,
it
is
empty space,
a box, or
even
just
some
moat
is
injected there in
the imagination of the viewer. The easiest, and probably most effective,
device
is
to
have a ruled
the page.
RECOO
m.1981- NUMBER im.
By juxtaposition
This
is
just a
concept
to
be seen against
area of
how
vital
To achieve
empty surrounding
space.
it
it
will spoil
the whiteness by
its
presence.
The Gaffer
8/82
AEA PROGRESS
NEWSLETTER OF THE ARTS, EDUCATION AND AMERICANS, INC
VOLUME 2/NUMBER
By separation
No amount of careful
logo design
good
if
the effect
is
space on page
as
much onto
is
that
retain sufficient
will
the
first
one on page
1.
page
as possible.
It is
wise to
resist
that
is
to
cram
headline to allow
and achieving
little
but confusion.
19
Your name/your
self:
how
to
personalize
make
it
let's just
agree on
the fundamental need for restraint, because the logo should represent your
product
in a
and
therefore, be decorous
fit
your image;
it
ought not to be
is
a subtle
legibility as
one indeed
it
must,
ought to be legible
to draw.
It
startlingly
specific
own
factors.
Jttkltnga
INKUNGS
SiaplesHigh School
about
of capability
whom
in this
its
identity,
2221209
it is
you choose,
for
being a "professional"
is
no guarantee
same way
in all
in
one
is
do
in theirs.
not necessarily a
crucial
may
to the profession
may
or her
be, entrusting
in all things,
little
for,
is
more
it is
look different
amendment and
pictorial imaging.
individually or in
will
be observed.
don't be put
names
off.
to raise
order they
will
All of this
They are
them
just a
become
totally demystified
and
short
in
simply: playing
bits
interweaving
monogram,
Read on
which
in
letters,
bumping them up
it
and wriggling
it
around;
in short,
using
NYU
^
TniTlcnn college
:)f physicians
03smB
Clearly,
want
will
how far to go
is
a personalized version of a
the typesetter or
beginning.
If
it
make
looks
lies.
Equally clear,
if
in plain type.
The
straight type
is
you
it
that
sufficiently
21
VDion
^y^^BuOetitv
unusual
Mbil
lily.*
in itself,
But
if it is
it
prove to be called
for.
That
is
tampering
combined
into
in
one
^M
letter
when
in
Arabic! That
wonder
is
show
is
tampering
is
it,
The
Independent
Investor
"gilding the
you
lily" is a
realize that
misquotation
"To
to paint the
lily,
to
violet,
to
or with taper-light
to seek the beauteous eye
of heaven to garnish,
is
Scene
IV,
2.)
this
was
just
is
an arbitrary collection
is
capable.
Is it
any
*lncidentally, did
terms of
rNOTES
in
that restraint
well
may
Nai
i/\ZZ
JUST
lains
Fatmer
^Sl
^"'^S
^l^^/^l^^
By pictorial imagery
"" make your symbol unique by adding pictures, drawings, pictograms,
visual symbols, coats-of-arms, company trademarks, maps, buildings, and
^^^
such assorted graphic material to the name. But what a terrifying minefield
that
is
When
a
to cross, with
in
booby
on
traps
all
sides. First
common-sense
because to
it
rule:
try to
of conditions
Perhaps
common-sense
is
is
Make
rule:
If
Make
rule:
small. Fourth
it
all,
worthwhile showing
in
few examples.
Securities Regti/ation
Cthessie News
THE-
UCLA
MONTHLY
5b
Arbitration
Tiines
^v^\s i \/> \ w,\\s from
rm wmKicw
\RmTR\Tio\ \ssoa\rio\
The
may
it
is
a simple
that
logo
itself
known
You
won't.
in
are,
at
the future.
it
green.
in
issue.
In printing, as in all
If
you have
a longer pressrun
you
like printing
to
you run
if
you
if
your logo
in
purple or
off
volume
prices,
less.
In fact,
enough
a
an element
is
more
make
The logo
rich dividends.
quantity
It is
likely to
is
for this
is
year's
full
worth of logos
upcoming
But what
issue).
is it
that
you have?
Stacks and stacks of your publication's paper preprinted with the logo in
color, like blank letterheads.
Those blanks
will
second time using normal-color ink (most probably black) to print the
actual issue's content.
one
more
logo
is
in
dropped out
maximum:
the photo
up
(in
background.
Carworth
in
of course.
succession,
one bearing
If
capabilities for
if
you are
more than
restricted to a
one-color press, you should not rule out using more than one color,
want
it,
in a
Now,
second
take
it
a step further:
How
you
costs.
if
pass.
into
its
on
reaches
in
one "pass,"
press costs
in
it
They may not be prohibitive, and the benefit of improved quality and
personality
may
added
cost.
61ri^
: i
special logo
By lettering
This
is
it
executed.
If,
however,
it is
ISkm/
all,
if it is
well
down
It
may be
styling,
if
it
is
always
it
helps to impart.
lettering
Name
comes
in
two
letter
it
and attach
it
kind
is
with
its
down
burnished
it
physically
remove
tight).
it*
to your paper;
The cut-out
is
is
movable
it
is
to
do
until
rough
letter in
its
it,
unless you
place.
then copy
in
A rough
is
final,
made
specifically
fairly
expensive.
lettering sheet
and on
which you
will
the
lightly
suggest
other.
letters
sets
have
oDfy
NAME
Hame
a horizontal line
below each
letter,
publishes a catalog of
how
its full
own
line of materials, in
It is
produce
word or
two with
carefully,
same
as are
needed
for
making
it
By having
In
set in
it
type
one
They are
likely to
arts,
many independent
is
and
a highly specialized
stock-in-trade
is
service, of course.)
Helvetica Thin
Helvetica Thin
Helvetica
Italic
Italic
Helvetica Light
Condensed
Helvetica Light
Condensed
to quality
book
workmanship and
what is
to determine
Italic
Helvetica Bold
Helvetica Bold
Helvetica
Italic
added
Helvetica Extended
Helvetica Light
Helvetica Light
Condensed
You must
Compressed
Compressed
Helvetica Extra
Italic
Helvelica Ultra
Compressed
Helvetica
Helvetica Heavy
Helvetica
Rounded Bold
Helvetica
Helvetica
Helvetica
Italic
Condensed
''i
-''
':^'
"'
'
:
"yftdDOTKi
Helvetica Black
available to you.
the
name
(in
it.
You must
tell
them
letter),
the case (upper or lower) you want, the weight (bold, extra bold, regular,
light, etc.),
may
30
ee
wish.
Many
versions of
between
special faces
italic),
come
e,
letters, for
as well as
specify.
You must
"extra wide"
you use
\\
between
letters,
common-sense nomenclature
operator. (See
more on
is
in plain English,
translatable into
was printed on
tight
"normal," "tight," or
normal
is
gg
photographically
in
the vernacular)
a press.
abcclefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstu\AA/xyz
very tight
alxclefghijklmnopqrstuvwxyz
touching
abcclefghijklmnopqrstuvwxyz
if it
look
in final,
type
in
is
may wish
it
be
amend some
of the
order to personalize them, make them more into a trademark form.
letters in
to
Dhislraled
im::^
ited
limstrated
Above: this is about the smallest
size you can work with accurately and
comfortably to achieve the precision
You should never tamper with the original, but have an enlargement made
(a "PMT"; see page 130) to much larger scale. Three-inch-tall capital letters
you have
First
is
step
shown
in
in (1):
with.
needed
for
when
only
to close
When
if
wee
it
is
large can
it
Why do you
make
the
bar
(2).
initial
"I"
which the
to
be improved: the
gap
in
the "r."
irritating
easier, but
have
to
it
it
so large? Because
disappear
wax
if
monkey
in
it
Second
need
work
will
is
then reduce
details
draw
That
will
the
"Antidisestablishmentarianism,"
like
you
workmanship
How do
it,
you discern
serif of
word
bit smaller.
will
else
you must
for later
which
will
allow
can
affix
making
lines.
ready-made
lines that
And,
if it
first try;
go back and
remarkable
if
local
make you
printer,
art
first;
if
skills
the
are
teacher or get
reproduction supplier, or
art
it
supply
is
pay
again
store, or
start
realize
it.
what
a designer has to
do
to
do
it
yourself
first,
though,
will
27
How to
make
the most
Many producers
type they use
second
of
typewriter
and
They
use.
rate,
it
inviting
used
if
in
is
makeshift,
if,
in
of
Is
method
qualities.
its
If it is
and so on
in
a fashion that
size,
to
communications tend
of printed
or rather don't
style,
of distribution, scale of
Is
page
by a
fulfilled
well-balanced product.
''typography''
Clearly, attempts at
producing
image with
a sophisticated
appearance
On
Insurmountable problems.
medium
can result
In
a product that
handsome
So get
rid of that
is
"right" for
with
Is.
it
your disposal
what
all Its
in
order to
limitations
make
start
restrain
language,
make
it
as person-to-person as
on
Is
in a
It
a letter typed
in
on
is
is
straightforwardly and
perfectly satisfactory.
The essence
Don't
signaled by an
start to
it
reminiscent
a letterhead.
Therefore, saying
is
were
underscored
in
slick stock,
sensible
making
is
in
it
all
cap
on your mailing
appear simple
of typewritten material
is
that
It
list
to say.
Is
is
such
valuable, timely information that the producers haven't had the time or the
need
to gussy
The
material
space.
it
up.
on the page,
In Its simplicity,
Some examples
chapter.
First,
It
is
composition of the
necessary to discuss
how
some
to
of the
more
matter-of-fact
Typewriter type, strike-on type, cold type: what they are
Basically,
which
all
in
mechanism
is
little
turn triggers a
in
reference to phototype
is
(as in
a confusing
type
it is
can generate
although, of course,
is
its
done
is
is
it
difficult
machinery available:
output. However,
in
final result
it
all
them
that there
is
some
rigidity
the shape of each character and the space each takes, as well as the
reduce the
lowercase
capital
M.
rigidity of a
/
must be made
On
to take the
same space
letters
narrow
as a
letter
wide
to
such as a
letter like a
between
letters,
general
is
this
is
in
It
is
doesn't interpose
more
itself
correspondence
since
it
is
if
only
so expected. Therefore,
its
much
as a
it
For forms,
common
The most
as always.
It is
is
although the
style,
is
final arbiter,
thin strokes in
For scientific,
legal work
is
it
comes
complement
IBM catalog.
Mixing type
may
styles
well be good,
if
closest to proper
in italic style, a
useful
messages through
meaningless fancy-dress party where variety
look
like a
used for
is
its
own
what matters
is
the content
sake tends to
helps
it
them
in all editorial
If
communicate that content to the reader, then go ahead and do what your
instincts tell you to do and have fun. But avoid being different for the sake
of being different.
Some
Ule
'
efflpioyea DV
How
of the newest
ideal for
reading by machine but are probably the worse offenders with respect to
legibility
^I^^ letter
and
"read"
letter
but
let
letter,
for
width
many
In
7" wide, or in
page (which
full
In elite type, at
setting your
two columns
in a line
lines to face),
column.
in
in
is
a bit
much
if
there are
each half-page-wide
If
will
grow accordingly.
What
is
is
one
like),
number
that
varies,
number
lines,
of lines,
of subject
amount
of
It
between
all
It
folly to
is
pretend
if it
own
publication to see
how
it
satisfactorily. Clearly,
commit
It is
The advantage of
a single
is
that
it
makes the
enhanced by the
title
is
being preprinted
in
second color so
it
it is
looks like a
in color).
foil
to the type
left
Heads are
visible,
headings to
effect.
You
more pages
though:
Isn't
it
accommodate your
to
material. Consider
costs a
if it
typewriter typing?
justified
means
that
the lines
all
in
last line of a
paragraph, which
of a paragraph, which
same
necessarily shorter,
is
length,
except, of
and the
is
desired alignment of the outside edges, you have to manipulate the lines of
some
make
the line
come
to look neat at
we
between the
first
letters of
glance, but
letter
order to
in
it
we
or, in
word
recognize words by
with which
the
in turn,
artificial
the rhythm
letters, dislocates
makes
detrimental to our
is
typographic images
in
each
legibility.
In
ensures
it
itself
already compromises
degree.
is
We
it
would be
fit
decrease the
folly to
legibility
it
mode
is
number
it
an inappropriate
In
it,
but
it's
we
expect to
likely
to look awful!
How to
letter
see:
It
consider to be
normal U.S.
letter size
If
is
somewhat
magazine,
in
you'll
the
be amazed
same
The 8V2"
x 11"
page
space. Yet,
at
it
size
that
we
is,
more
in line
in
magazine page.
It is
to the total
on
page from,
in spite of its
typical
say.
in
page of
Time
close to
is
300%
clearly
'About counting words: An average of 5 characters is assumed for each word. In highly
specialized texts, you might be more accurate if you counted 5.5 characters per word; and
for children's books,
legible.
That
is
different
magazine page
is
quite
letter
in
the hand.
scale
likely,
palatable,
letter size to
Any time
is
smidgen
is
little
made from
size
is
at
hand.
as
If,
But
it
is
If
you submit an
when
it
is
same
you must
its
most
photographic
is
say,
if
little
reduced?
for
will
the
original
a perfect
opportunity to improve the scale and look of your piece with very
effort.
is
needed adjustment
smaller.
that
it is
something a
10% more
If
you
material to
fill
is
as to
how
first
type
question.
is
likely to
a table of reductions of a
read
when
sample block
of typewriting
been reduced
how
because
or focus
90.0,"
is
00.0,
is
that's
printers
Selectric 12 pitcht
original,
is,
original size;
10%
90%
or "focus
right to you,
experiment with the printout from your own machine, but don't be
surprised
down
if
the effect looks very different. The larger the sample you reduce
to the size
right,
final decision.
Remember one
snippet of five
lines.
worth of
full
in a
illegible.
may
small sample
What may be
page to see
if it
works.
'Ordinary typewriters have either pica type (10 characters to the inch or 10 pitch) or
elite
type (12 characters to the inch or 12 pitch). Obviously, the 12-to-the-inch characters
little smaller. Both pica and elite typewriters have the same spacing vertically,
appear a
is
equivalent to
V,,
and
elite type differ only in the number of characters they pack in per inch horizontally.
"Executive" typewriters have variable pitch: to get an accurate count, you have to count
all the characters in several lines and calculate the average per inch. Other word processors
have other counts, of course.
80.0
This is a sample of several lines of typing using
a typing element called Elite , twelve-pitch, on an
electric typewriter. The number of characters per
line is about fifty
which is perhaps a good,
round number for easy legibility in this material
78.
,
81i.o
T6.0
82.0
T^.O
Doing
(1)
it
which
later
is
(2)
in little
reduced as a whole.
money because
it
requires a freshly
reduced piece to be inserted every time you need to make a change. The
it
a larger
be? Obviously
dummy sheet
it
assume
to paste
must be larger
is
in
up on.
How much
proportion to the
let's
that
dummy
dimensions
and
in
that
it
it
11%
MVa". (The
enough.)
To reduce
... so that
to this
percentage or "focus"
this size,
of
by
typewriter type
its
original size
The problem
has to be
this
it
percentage
measures
to the
nearest
^^-n"
98%
or 98.0
102.5% or 102.5
8"/"x
111/4"
96%
or 96.0
104%
or 104.0
8%,"x11^,"
94%
or 94.0
107%
or 107.0
9i/i6"x11V
92%
or 92.0
109%
or 109.0
91/4" X
90%
or 90.0
111% orlll.O
9^/i6"x 121/4"
88%
or 88.0
113%
or 113.0
9Vx12iV
86%
or 86.0
116%
or 116.0
9Vx12V
84%
or 84.0
119%
or 119.0
10'\"x1V\"
82%
or 82.0
122%
or 122.0
IOVXI37/16"
80%
or 80.0
125%
or 125.0
10V X 13V
78%
or 78.0
129%
or 129.0
10i5/,6"x14iV'
76%
or 76.0
132%
or 132.0
113/14" x 141/2"
74%
or 74.0
135%
or 135.0
111/2" X
or "focus".
of creating emphasis
in
11%6"
14V
typewritten copy
made
of typewritten copy.
so they
their
background.
In
use boldness and blackness
in
If
page
acceptable
in a letter,
as a full line,
and
good idea
to
accompany
up
to,
indents;
The problem
this extra
is
it
is
as
way
needed between
is
not excessive.
stories has to
might be
It
you intend running two columns per page, you don't need
be even
to
is
full line
of space
columns
(the alley)
copy adds
emptiness on the page may signal the wrong interpretation to the reader
not enough value for your money, perhaps? So, at a two-column-per-page
or narrower setting, tighten up;
if
you
feel the
need
to
also
need
most of
You have
have color
in
all,
headline
to
is
you need
to
a clearly
edged area
of space within
And,
which the
It
One
to the strength
in
mind:
If
it
you
and adds
it
accumulates
in
These two lines represent the end of the text piece that precedes the
start of a new story; here follows the new headline...
Here is the Start of the text, which the reader will be intrigued into
reading by the cleverness of the language in the headline. Note that
^
^ ^ t\
^.u
jt^ ^^
u i ^j.
the first paragraph fol 1 owi ng the headline is typed flush left without
right,
^" indent; that IS done deliberately, to make the space in which
but extending the rules a couple of
the headline is Seen geometric and clean.
characters over farther to the left.
The regular paragraphing indention can be dramatically deep,
Two lines of space above the head and
one beneath
yield the requisite
as in this example, where ten spaces were left for the eye to travel
breakup on the page.
i ntO
It
flush
j.
l.
j.
^.i.
it
35
lines,
all in
phrases that
make
sense.
maximum
The
all-cap
ink coverage
couple of
beneath each
line, as
well as above
will
if
good
you go
THIS IS THE
FIRST LINE
OF A NICE LONG
HEADLINE THAT
READS INTO THE TEXT, THUS: Here starts the text of the succeeding story. Note
that there are two lines of space skipped between the two
The headline can have any number of short, stacked
stories.
lines in the left-hand margin, as long as the last of those
lines reads into the first line of the text.
Type your
text to a
as
on the page
much space
is
in
space between
width narrower
maximum,
elite characters.
two
say,
Impose the
available
in
line of the
bumping
the
stories, skip
The
lines there.
merely
last line
of the
new
story
first
perhaps even
Then
little.
Ultimately,
However, in order to avoid wasting
there are
only a few
simple things one can do with a typewriter.
Beyond this, individual good
sense and subjective taste take
over. It boils down to a matter
Here you
of mixing and matching gimmicks
thought
and tricks to produce the best
you were
recipe for the project at hand.
reading
some philosophy and it is noth in g of the sort
It is padding, woffling, humbug,
twaddle, prattle, blather, piffle.
But what an gobbledygook
gibberish, rodomonamusing,
tade, balderdash, inanity, bushwal
fresh
technique to tuck a lot of stuff in a p age
and make each unit appear selfcontained and separate from the
others below and above it. The
change in faces is a great help.
left
above
it;
of short pieces,
machines.
Here
is
page format;
fllT!ll!!SLt\^.
you read the
necessary details
words,
if
shown in a two-column
it would be perfectly
possible to apply this to a one-column
headlines,
secondary headlines,
less
at
may
subhead
is
in
simply that
show
are,
however,
it is
it is
They
(In
newspaper parlance,
Trying to gain
left.
is
body copy,
a highly specialized
on the typewriter
visibility
is
usually
subhead
all
is
capitals,
machine
is
capable.
One
trap to avoid:
the habit of centering the line on the column or page. Such a placement
doesn't help pop the words out clearly enough, unless there are
lines of
space
white space
small pieces,
left
left
free
one
is
at
much
much impact
left
as larger ones:
little
(thus turning
two
split into
two
at least
bits of
They
white space
aren't noticeable.
It is
into a sidehead).
Sidehead words
Th e sidehead is indented five characters; the
underscore beneath it is extended four characters beyond the end of
the sidehead, and the first initial of the text is typed in atop the
last stroke of the underscoring. The fact that this block of text is
"justified" at right is purely coincidental and unintentional.
:
37
THIS
IS
A FREESTANDING SIDEHEAD
How to make
lists
on your typewriter
in
typeset type,
numerals, or
all
that's different
we would be
sorts of other
from
its
surrounding context.
On
the typewriter,
we
are
if
as hanging indents
i.e.,
list.
Here are a
1.
1/
1)
2.
2/
2)
(2)
3.
3)
h)
(3)
ih)
1+-
5)
(5)
5-
I4
k.
3/
h/
5.
5/
It is
(1)
3-
little
embellishment.
good example, which places them flush left, then skips four
characters before starting the text. To formalize the arrangement, you
Here
is
initial
capital of
the text. That adds a touch of color and creates an unexpected surprise to
the thus-defined
empty
left
retains the
lists (1, 2, 3, 4)
or lettered
lists (a, b, c,
d)
is
it is
such-and-such."
start
it
On
like
as,
if
list
a logical
sequence,
to Happiness."
well-working trick
2.
2.
Big
initials
added
copy
to typewritten
sense
it is
when
there
weapons
it
made up
would be
symbol
mistake to
that
and
it
is
unworthy of
it
in
does not
style
no inherent meaning.
need
dream up
in
is
of,
and
have enough
few words
of handling initials
in
are
will
or
It is
for
some $8 you
exist,
is
you have
clear because
initials in
You leave
typewritten material
where the
a space
finished,
initial
any of the transfer lettering sheets available. You can select any
of
in
to go,
is
interpreted as a break
is
when
rules a bit
subheads
utilize
However, assuming
initial is
to achieve visual
bend the
to
when
way
simple
strictly
far greater
no
is
is
is it
Initials
insert a
However,
that
is
there
You shouldn't
attention.
when
size
from
and type
letters to
do
dozen
articles
in
if
you can
few examples
the variations.
initials,
KN
the page,
it
is
is
is
the
first
It is
so
much
it
so
on
Why?
much more
makes the
latter
look
that
a decorative accent
genuine simplicity
Wl^obody
^^
W>
VT.
his
How to
handle standing
In
art
with typewriters
recur
in
in a clearly
that
under
their
own names.
All
and
its
mug
subject) or the
shot of
its
title
writer).
If
of the
column
title
(usually a
of the section
is
What
is
we
elements that
nature,
is
is
that
has to be
handling.
its
art
is
colorful
to
employee benefits
mmimnmimrjimmmmmmmmmmmmmmminmmmmrammmmmminmmmmirm^
vvvvvvvvvvvvvvvvvvvvvvvvvvvvvvwwwwvwww^
jjt4e*** LOGO ***it****************
L*0*G*0
""Pick up from page 000 in date of issue" are the instructions you give to the printer to
have these features repeated.
Using
type
effectively
There
is
common
is
means
easier,
sense.
It
is
a discipline, a craft,
an
art that
is
which
that
is
basis
unseen. Typography
faster,
and smoother that process of reading can be made to be, the more
becomes
If
good
effort, for
it
itself,
interposes
the reader
itself
is
The character
piece.
of the product
will
said,
the
number
clarity of first
end
of the
determine the
It
can be
impression, limiting
attract
The typography
pages and, as such,
and
is
it is
all
seen on
It is
all
the
aforementioned elements, but you cannot publish without words, and that
means
type.
Tone-of-voice typography
if,
typography
is
crystallized speech.
Or
information that
may be hidden
in
it
can be.
work
is
If
you
A good
it
unbroken column
as an
and work
at.
to concentrate
dull
monotonous
listen to a
when you
down
in
Change
of pitch can be translated into a variety of boldness: lightface for high notes,
little far. It is
human
to decide
voice.
If
on typography that
is
that way,
you
will
be able
your editorial purpose. The whole thing boils
what
down
is
to editorial
how you do
depends on the
its
judgment:
unimportant, or
is
that
own conviction. Too much printed matter is composed the way it is because
we have always done that way. We seem to be living happily in
straitjackets not necessarily of our own making: three columns per page,
it
An unquestioning
12 pi" ad infinitum.
stuff.
"Ten on 11 by
communication. Knowingly or
we
not,
in
typography,
it
You mustn't
in fact,
you must
others.
Typography
realize that
it
green, although by
is
will
look hideous
itself
when
run
in
styles of type
for
size
features. But
and
color.
They can
also
foto-typography
foto-typography
be made by varying
all
one element;
in
workaday type
your stew
will ruin
for regular
the taste.
Today's film-based type fonts are more flexible than the old hot-metal
foto-typography
ones used to be. Not only can the spacing between characters be controlled
foto-typography
much
so
foto-typography
so that
some equipment
flfi
letter
forms.
Where such
also specially
To To
designed ligatures that overcome the problem of ugly gaps between some
letters into
each other so
neater and
We
more
roman,
one
size,
in
hot-metal linotype
a serious
full
range of faces:
more
sophisticated, and
it
can produce
its
is
infinitely
cheaper than
it
is
master negatives
it
legible.
that, for
which makes
To make such
linotype matrices. The investment, at both the production end and the user
end,
is
faces available.
old,
their range of
and weights are being enlarged and filled out so that the usual typefaces are now available in full ranges from extra-light to extra-bold. Many of
sizes
these faces have added condensed and extended versions so that a single
43
Light
Light Italic
Condensed
Light
Light
Condensed
Italic
Book Condensed
Book Condensed Italic
Book Book Italic
Bold Condensed Bold Condensed Italic
Contour
Bold Bold Italic
Ultra Ultra Italic Ultra Condensed Ultra Condensed Italic nc ch ni.am
itt
terms of
its
all
style.
Due
fact that
in
to the
they can be
demand your
particular face
as well.
The freedom and riches now generally available allow for more expressive
and thus more effective use of type. This flexibility must be used for worthy
make
ends: not to
What face to
make
work
things
use?
The choice of
else.
needs of each kind of type with the overall look or design of the product
as a
whole
as a package.
at least
two
factors into
a special
mood
as display type
more
that
readily than as
body copy, of
even
in
is
is
to study in
of typefaces
all
designer/printers designed the faces that bear their names, they gave a
distinctive
unaltered over the years because they were physically cut from metal
punches
until
each
letter separate.
There was
new
little
faces,
The great
when
came
in
the mid-nineteenth
to the
amended
in
to
fit
new
totally
technology.
of
(each with
own
its
is
compete
roster of typefaces)
the marketplace
in
terms
in
they offer.
What
is
names the
faces,
maddening
named
Alpha type
on Autologic
as Claro,
on Star/Photon
as Helvet Star,
as
is
differently.
As a
Helvetica
Newton, on Compugraphic
on Graphic Systems
the
result,
obtainable on
is
as Helios,
Geneva, on Harris as
as
the face by
actually give
fact that
make
all
What makes
its
even more
life
name, such
original
all
difficult
many
that
is
typesetters
let's say,
apparent
its
could well
size,
and
to avoid disaster
is
to
work only with information that your supplier gives you about the specific
faces available at that shop.
North Lynn
on
all
if
Street, Arlington,
VA
22209,
is
in
you want
secret
is
to
type
to
do
be meticulous
in
is
found
in
first
The opportunity
It
supplier, or by
prepared,
it
sides.
is
in
carefully
x 11"
the copy
have typeset.
if
it
If
you
without carbon copies attached. Each sheet tabulates the story name, author
and
count
it
issue date,
has markings for character count across the page as well as line
down
The usefulness
of such forms
shown
is
here.
you
of paper
if
your work
of the essence.
It is
be organized,
that labeling.
And,
they aren't identified, and then you have to waste time trying
one
is
to
all
its
sense
and
it
is
remarkable
how fast
forgets.
letters in a
given length of
line.
Its
It is
It is
who
at
ends of
in
whether
make
also wise to
It is
win you
that
all
it is
is
you make
in ink,
for yourself as a
lines to
manuscript.
will
beauty
its
that matters.
which
faultlessly;
is
supposed
in
the
line.
them during
in
the standard proofreader's marks, although they are not being used for
corrections. These marks consist of
two
is
written
at the same level as the line or word referred to. The graphic
drawn on the line of text itself. Instructions are circled.
WRITE
TO INDICATE
4^
4^
word
(^^
cc^
4^
CAPITALS
LOWERCASE
(one
LOWERCASE
(several letters)
wo^d
letter)
ITALICS
/ORD
cri>
word
(^
word
PARAGRAPH
/First words
-t^
INSERT
Missin. letter
BOLDFACE
(caret)
ADD BETWEEN
MOVE
LEFT
OR RIGHT
CENTER
TRANSPOSE
ADD
SPACE
CLOSE
FIX
AND CLOSE UP
SPELL
OUT
DELETE
nnnnnnn
1]
^
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the(N|) subway
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(^jilei,^-.
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vwvl
addfepace
MARGIN
9r
LINES
IN
r^'"
in
and
the margin
signs are
When
you want
to
kill
some words,
them
later, in
which case
[stets]
all
words
you
will
legible in case
need
to
do
is
the cancellation).
WORD
THIS
PUNCTUATION
IS
COMMA
SEMICOLON
(T)
SLASH
COLON
PERIOD
HYPHEN
QUOTE
APOSTROPHE ^
{y
numbered
All
logical to
add pages to an
(3a, 3b,
if
ONE EM DASH
existing set
consecutively.
a, b,
It
is
perfectly
and so on
3).
slip of
He
can't,
It is
even
a
that slip of
good idea
are to be set
much
if
easier
in
out where
it
belongs.
fallen off.
a different typeface.
and
will figure
to separate
It
if
they
of typesetting
faster. Equally,
setting separately.
Specifying type:
how to
Your instructions must be clear (you must know what you want, and say
complete (leaving nothing for the typesetter to decide), and concise
(expressed
in
the standard
manner understood by
typesetters).
is
many assumptions
are
it is
is
is
goes
intelligible.
It
so),
down because
in
considered to be
Type
in
measurement of
2.
3.
KX
for
medium, semi-bold,
(light,
is
concerned).
4.
5.
Kind of
italic,
oblique, slanted).
letters
bold, ultra-bold,
is
all
Swash characters
6.
7.
Column
ragged
left).
8.
9.
Kerning
(for larger
between characters,
machine expresses
make
to
column or measure).
type sizes,
it
tight,
it is
its
10.
normal) for
is
lines).
first
(in
em
i.e.,
quotation
space
11.
you need to
first).
follows a period as
is
type).
in
wider).
is
This
list is
It
merely
illustrates
the possible
like this:
%T7^^,r
This
tells
the typesetter that you want to use a 10-point type size with
is
is
a regular weight.
15
between the
means 15
flush-right setting
is
implied.
what the 12
lines (that's
is
it
is
is).
The
roman version
no other
of
And
instruction, justified or
will
be one
em
if
you
don't ask for anything unusual. This will be the type specification that the
setter will follow for as
specification. So
all
many pages
you need do
is
of manuscript as
write
it
once
at
know
do not bear
the
it,
it
after
If
a different
your
start.
body copy
Bodoni
gr
U^l.c
y.c.
BODONI
Ct^^
only
and lowercase
^^
%.
of important
words capitalized
made
S-CXps
whose height
is
that of the
crS"^
word
for "let
it
every
it
<cJ^eJr'
you started
to
tamper with
it,
quo
or the status
ante.
Type measurement
When
feet, or
centimeters, but with picas and points. (Where the metric system
Instead of picas and points they use ciceros and points. In fact,
machinery
calibrated
is
futures.) For
traditional picas
to the inch,
in
practical purposes,
all
is
6 pts.
12
pts.
72
pts.
inch
=
=
=
3<2
pica o
V2 pica
6 picas o
are,
Do remember this.
'^ inch
o Vm inch
pica
our
Ipt.
in all
probably
is
even
used,
is
some
%
1
inch
ich
WW
.1.
WW w WW WW
inches
in.jimii|iii|i{i{iwiiiiiiliiiii|i|i!i|i|i|ili|m^^
Vi inch
inch
V2 inch
=
=
=
=
5 picas,
4 picas,
picas
10
1112
13
14
15
16
17
18
19
Vg inch
=
=
22
21
23
24 25
26
27
28
29
30
3 picas.
3 picas,
Htl1'p1ff|'ii!flf!t|flflflflfpi11'|1!lt|!lflflflT!'lflf|fl
,6789| 123456789!
1234567891 I234|{;B9{i234^6;89| 1234567891 I23<56189! 1234^6)'B9il2345f
V* inch
20
and points
pica,
6 points
picas, 9 points
12
centimeters
'ffPflfifl'I'I'IflT
I23456789J
123456/891 123456789
10
11
234567e9|l234567
DkSD
-x-height
-descender
abcdefghijklmnopqt
9
10
ABCDEFGHIJKL^
Type
size
is
traditionally
molds
of
ABCDEFGHIJK
new
been
and 96
for
differences
as follows: 51/2, 6, 7, 8, 9, 10, 12, 14, 18, 24, 30, 36, 42,
points. Sizes in
in sizing
abcdefghijklmr
the
may
It is
look enormous
due
in
feasible.
be
sizes to
all
Now some
it
says,
of
set in half-point
is
ABCDEFGH
set
ABCDEFGHIJ
abcdefghijkln
14
That measurement
ABCDEFGHIJKL
12
in points.
top of the ascender to the bottom of the descender. The sizes for type have
abcdefghijklmnc
11
measured
is
abcdefghijklmnop
The type
tiny in another.
Why
is
it
that?
and descenders.
abcdefghij
a
abcdefghij klm
ABCDEFC
abcdefg
Garamond
.ABCDE
abcdefgh ij klm
Century
abcdef
abcdefghii kim
Helvetica
oABCE
the x-height
If
is
very large
(as
it
tends to be
in
contemporary typeface
design) then the ascenders and descenders are short, and the type appears
abcde
it
ABC
easier to read.
and
is
If
the x-height
is
size,
words
into the
Ten-point Baskerville
10-point Times
is
Roman
tiny, yet
is
10-point Helvetica
they
all
is
enormous, and
tl
is
it
essential that
you also
em quad
in points,
is
If
same height
then the
the
is
is
very
B Making mechanicals
em quad
as the type)
difficult
that
l/VldKirig ^Making
simple.
measurement
If
is
your type
is
10 points high,
Ilnescapable
A 2-em quad
retains
quad
in
wide.
A 3-em quad
its
24 points
is
points wide.
|Make
em quad
Half an
used before,
Since
publications
it
is
we have
it is
em and
en, printers
refer to em quads as muts and en quads as nuts. You need to know about
muts and nuts because paragraph indenting is so described (indenting one
em
is
below). There
to
fit
and
is
em isLJand
to specify
when
picas
will
that will
only be resolved
make-up systems
is
One
6 inches
length. In technical
in
much more
to
when our
present
replaced by computerized,
also.
great difficulty
full-page
so
is
en is0.
for
a text
at
our desk.
once
it
has been
is
column
means 14 inches of
of type wide. But in
agate (i.e., 5y2 point) type, which happen to add up to precisely one inch.
You can buy column-inch space in a newspaper to fill it with any size of type
you wish. On the other hand, if you buy a "line," you get the space that one
agate line would take up: 14 of them per inch. So far, so easy: The problem
is that the width of the column can vary!
terms of advertising space sales,
it
51
Copyfitting:
how much
space
words take
will the
You have
to
know
will
is
type?
in
occupy when
is
it
much,
little, in
in
and
adding usually means padding. Both are a waste of money. So you have to bite
number
proportion that
need
it
to
fit
of characters
may sound
into. This
child's play
is
will
frightfully
in a
you'll
it,
but
No
matter whether you are typing the copy on an ancient Royal or the
word
processor, the
written.
You can
have to
sit
is
you characters
that
number
how much
is
of characters, or
a bit
more
You don't
you
line.
letter the
12.
area.
Draw
it
so that
be some
it
hits
copy
is
typed ragged
right. (We'll
come
line.
,^.
(cpl).
Now
assume
your
that
double-spaced (which
at
at
to those bits in a
one
means
makes each
lines,
you've
is
assume
elite gives
words (which
know
first
latest
is
lines
total
number
is
on your paper:
it
was
50 characters per
If
line
in
full line
because
you'll
be
numbers seem
(50
characters on the sheet of manuscript, plus those excess bits to the right of
your
to guesstimate, unless
add up
if
five
you want to
such pokeouts
it
quickly,
*Although that sounds similar to the way greenhorn cowpokes were taught to count cattle
(adding up the legs and dividing by four), it makes sense in copy because dividing the
characters by five gives you an accurate word count. Fortunately, typed characters don't
move like cows' legs do.
measure with
by 10
if
a ruler;
your typewriter
by 12
a pica, or
is
an
if it is
and add
elite,
total
that figure
to your 1,250.
If
your typewriter
characters,
you
will
is
number by
number
of lines
pokeouts
is
at the right
you'll
line
be very long
right,
lines
Now
pages
in
multiply the
number
of characters per
number
short lines, and other exceptions to the average must be calculated separately
total.
You want
be accurate
to
within reason.
characters you need for a given typeset line under normal conditions.
know
that,
this calculation.
all
If
you
You can
mark your copy paper (on which you do your typing) with the average
character count, and then type within
number
of lines that
that width.
reset
it
You can
until
it
is
too
then
it;
you need do
all
late.
If
that,
lines
lines'
worth of
lines
itself
to
that
is
text
on one
to
single line of
to count the
though,
your typeset
is
set
in
your quick
Commonsense
observation
grows the
Commonsense
observation
Commonsense
more
1.
in a
2.
observation
3.
If
equal length.
And
Commonsense
For a given
So
amount
far,
of copy, you'll
that
is
small,
That
all
you can
in
fit in
a line of
further:
observation
4.
extremely
need fewer
flexible. So,
where do you
little
lines
is
flexible, so
at will.
frightening:
Typography
is
start?
You make two assumptions, see if they work, and if they don't you
make different assumptions. In other words, you reach a workable result by
and
trial
You can
error.
do
printer said to
name
the
it
(2)
to
know
yields,
it
how many
out
16
18
20
22
type.
to
common ways
(1)
know
that
way"
(fill
in
a table that
be using
in
accommodate.
usually printed
is
33
40
47
63
60
66
73
29
25
35
30
41
46
40
62
58
64
is
45
51
66
23
28
32
37
42
47
51
25
29
33
38
42
23
27
31
36
39
20
23
26
30
33
35
it
i.e.,
or "because the
does
You need
12
it,"
count that
10
as the
read vertically for type sizes and horizontally for pica widths. You
start
36
that
be expected to
average
in a pica,
11
3 16
you plan to
You
size.
number
find the
use, multiply
by the expected
number of picas in your line, and there is your character count per line.
Armed with the character count, you can then quickly compute the number
of lines of typeset type your text might require. You already know the
number of characters your original text contains from your previous foray
into Higher Mathematics (see page 52
You divide the total number of
).
characters by the characters per line that you just found out, and that gives
Now
new
factor
must come
Its
effect
problem of leading
let's
say 12 point.
and
you'll
will
If it is
bottom of the
of type to the
set solid,
it
will
be 12 on 12 (written as 12/12),
line
is
you add
If
point of space, so that your spec says 12/13, every line of type will then
If
there are a
it
sizable chunk.
first
will
measure 14
points,
and so on.
lines that
you
just
You
number in points (because that
dividing
number into picas by
by
calculated by this factor of points. Let's say you'd like to use 12/14.
14
is
now
turn that
page
will
51
),
need.
If
pica.
Your
result
then you
will
know
that
said
is
the depth
in
six,
12,
picas that
about column-inches
into
six picas to
the inch.
Does
it
fit?
lines.
size, or
or
line lengths
are
likely
if
that
If
between the
between
filling
lines, or
lines
easy to calculate
is
number
size,
of space that
that
line)
that
more condensed
just
(yielding
more
more
is
is
is
It
was
as
from scratch.
either
is
it
One
to,
two
multiply by the
if
is
considerable variation
in
the
many
will
versions of the
same-named
face
your
If
the next
total
full
as one-sixth
situations,
significant;
?!!
it,
accuracy of your
total
is
very long.
enough
In
not very
is
such
result.
trial
number
of characters, a
method
that tends to
work
consists of lots of
letters,
about
you
counts
in
i's, j's,
and
I's.
Furthermore,
if
you have
lots of capital
50% more
A much
in
letters do.
As
occupy
safer
method
is
it
on your paper
and
size
is
and to
as a guide.
good reason
for
it:
it fit
it,
Then
and,
fit.
you'll
and
55
wording
polish the
just so.
easier to
It is
do
it
in a
Proofs
The typesetter or compositor
will return
set.
If
is
on the screen, or
a read-out
hard-copy paper printout. The exact form and finish depend on the
equipment you
let
way
of
doing things: whether they are true galley proofs pulled from hot metal that
is
You
two
usually receive
of reproduction proofs,
and
a set of proofs
may
of proofs
first set
one
two
set or
accompany
the copy before the final proofs are pulled. The sequence of proofs you
will get
In
marked
that
and changes,
for corrections
is
own
is
started.
becomes your
file
safe.
as well as
is
copy and
proofread and
master
set,
production carefully on hand for future reference: the original manuscript; the
first
if
amazed
,.~^ ^
\f_...-'
at
how
not, of course,
such changes
expensive they
are.
at a
higher
Mistakes
rate,
a record of
made by
in
on the telephone.
in
name
may need
to have.
in
of the
as well as
number
fragile, sacred,
expensive, and
final.
If
in
so that
Avoid
in
the
which they came and stash them away from harm's way
mechanical-making
any
When phoning
are
in
make
envelope
but you
make
sets of
until
the
in
final
at the art
supply
shop. Never fold or crease them, and protect them from being scratched
by paper
clips or staples.
No rubber bands
anywhere
smudge
had a
them by
possible to protect
It is
spraying them with a light coat of plastic or fixative. Proofs from photoset
literally
the edges. They also smell of chemicals. The paper they are printed on
get dupes
Body copy
come
in
even
singly
is
their
come
to fight to
at extra cost.
or text faces
Avoid fashionable faces
based on exaggeration
be
for
in
body copy
some
it
in
type
in
bulk
even though
it
may be
is
own
line weight.
it is
is
detrimental to reading
paragraph or two of
also wise to avoid faces
a dazzling effect that tires the eye. That dazzling can also be created by
using shiny ink on shiny paper. So be aware of the physical materials of your
publication and respond to them.
on shiny
of
thumb
is
Some
on newsprint than on
and the
on
offset stock.
type size
is
10 point
'n
This
body-copy
is
size
seems
and
to
The
rule
lighter
get, the
to be, in order to
type for ease of reading. Ten points seems to be the magic number.
Remember
that
it
is
not just the size that matters; the typeface you use
makes all the difference. Some appear smaller than others although they may
all measure 10 points.
If
to
on
in a
little
be a
little
you use
for
its
is
to
picture) or that
is
a special typeface.
to
It
be surprinted
should be a
when
it is
it
should
printed
the
thin lines won't close up with ink, and the type will not be as difficult to
rather than fancy ones and heavy contrast of thicks and thins.
safest.
sans serif
Sans
body copy
is
whom
evident, though:
the ones
TT:
Sans
serif
In
of
all
we
it
all
we
find
we were
In
Europe, sans
serif
is
and
to
left
to right,
that extent they are a helpful visual characteristic in type. Tests have
measure (up
longer
to eight
words per
serif faces
is
line
or so)
is
many more
of
narrow enough
them
to
One advantage
of
this
ABCDEFGHIJKLMNOPQRSTU ABCDEFGHIJKLMNOPQRSTUV
WXYZ 1234567890
WXYZ 1234567890 Bodom
Baskervine
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTU ABCDEFGHIJKLMNOPQRSTUV
WXYZ 1234567890 Bookman
WXYZ 1234567890
Caledonia
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUV ABCDEFGHIJKLMNOPQRSTU
WXYZ
WXYZ
abcdefghijklmnopqrstuvwxyz
century Expanded
1234567890
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUV
ABCDEFGHIJKLMNOPQRSTUV
WXYZ
WXYZ
1234567 89()
1234567890
Caslon
Caramond
abcdefghijklmnopqrstuvwxyz
1234567890
Coudy
Oldstyle
abcdefghij klmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUV ABCDEFGHIJKLMNOPORSTUV
WXYZ
1234567890 Meiior
abcdefghijklmnopqrstuvwxyz
WXYZ
Memphis
1234567890
abcdefghij klmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUV ABCDEFGHUKLMNOPQRSTU
WXYZ
1234567890
Paiatmo
abcdefghijklmnopqrstuvwxyz
WXYZ
1234567890
Times Roman
abcdefghij klmnopqrstuvwxyz
it
The advantage
processes.
of such
modern
faces
is
that
same space.
Counter
o
r
Baseline
product a contemporary
Bowl
up
filling
the printing
fit
more
material
in
in a
the
your
flavor.
name
of the face
for
in
ABCDEFGHIJKLMNOPQRSTUV
WXV^Z 1234567890
ITCCaramond
abcdefghijklmnopqrstu\^^yz
ABCDEFGHUKLMNOPQRSTUV
WXYZ 1234567890 AvantCarde
ABCDEFGHIJKLMNOPQRSTUV
abcdefghijklmnopqrsluvw)^
abcdefghijklmnopqrstuvwxyz
WXYZ
1234567890
cmsans
ABCDEFGHIJKLMNOPQRSTUV ABCDEFGHIJKLMNOPQRSTUV
WXYZ 12345B7890
WXYZ 1234567890
Eurostue
Futura
abcdefghijklmnopqrstuvwxyz
abcdefghijklmnopqrstuvwxyz
ABCDEFGHIJKLMNOPQRSTUV
WXYZ 1234567890
ABCDEFGHIJKLMNOPQRSTUV
WXYZ
1234567890 umvers
abcdefghijklmnopqrstuvwxyz
Helvetica
abcdefghijklmnopqrstuvwxyz
Sans
serif
is
a contrast to the
in a
body copy;
is
list
as
continues.
virtually impossible to
make an
arbitrary
list
of advantages or
disadvantages. You have to follow your preference. The better educated that
preference and the more knowledge and awareness you have, the wiser your
choices are likely to be
differently,
will
have to do
in
it
typography
there
was,
set
is
in fact, a
on the machine by
hunk of metal
itself. In
a full line's
worth of words
up the
we
lead. Nevertheless,
separate entity.
In
lines to separate or
would
It
be called leading
that used to
used to be added
increments of a
in
to right.
left
less
If
point.
full
or tightened spacing
you are using bold type, then extra spacing between the
If
full
lines
given
line as a
between the
pronounced ledding).
cast in lead.
we have
lines will
move
the lack of
serifs.
The
The
The
The
life
told.
of Giambattista
He was
born
serif type,
And because
little
is
advisable because of
is
probably quite
left
to right.
The
Propaganda
Fide
e
at
Rome.
It
was
..v.
he
-!-"&""
.,...^.
^-^
-
..
_..
>^_
J;
,^
p.-nr.ao'anHa
was he
r-ropaganoa Fide at Rome, it
.^
re *h^*
that h^
he i^oK^H
learned ^*
not iw
only *i,^
the ^.=
craft e Propaganda
^
^.
^
which was his father's, but also was in ""e that he learned not only the craft
troduced into the art and secrets of c which was his father's, but also was in
utting punches as soon as his talent a troduced into the art and secrets of c
utting punches as soon as his talent a
secrets of cutting
punches as
his tale
secrets of cutting
The
effect of leading
on comfort and
in two
If you are using type that has a small x-height, then there is probably
enough white area in the space between the ascenders and the descenders
to act as horizontal slivers of space, and you may need no extra leading.
If you are setting your type in a fairly narrow column (up to eight words
normal typeface,
its
designer intended
to
text into
make your
it
to
set solid.
be used, and
it
it is
That
will
probably unnecessary to
is
add
read well.
in
a bit of
turn,
It
will also
help
eye to
very long.
How
lines are too long for comfortable reading, you can help overcome
problem by adding leading between them; the longer the line the more
your
that
leading you need. The sliver of white space between the lines helps to keep
the eye running along from
in
left
it
more
and, even
importantly,
it
it
would be too easy to skip a line or reread the same line. You have to have
clear connection between the end of one line at the right and the start of
a
new
This
This
is
trump roman by
ten on fourteen
thirty-five picas. It
and there
are a
between the
lines
This
is
ten point
trump leaded
of forty-seven picas,
which
is
five points
maximum
is
at this
width
is
and expressed
as ten
all
on
fifteen
trump.
of the
columns
in a
eighty-seven charac-
column. This
It is
is
ten
set at a set-width
two-column, three-column, four-column and the five-column picture spacing. There are one hundred and seventeen
characters in ever>^ line of type and there are a total of fifty-two Hues of such spacing possible per page. This
What
wouldn't be bad,
illegible
ail
analytical
common
It
of
all
ten point
depends on
into account.
and decision-making
is
have to use
If
Some
skills.
of the factors
own
you should
What
What
size are
Some
are
more
What
is
between
lines,
the
What
color paper and ink are you using? Contrast or lack thereof can
affect
human
What
sort of
Is it
tiring highlights.
How much
The greater
its
make
it
What
all
61
How
big
is
the page?
How much
breakup
How
How many
there?
is
initials,
in
Such
rule of
a litany
may
line
is
comfortable length
words per
faces
perhaps
line,
trifle
narrower
you are
if
eight
to nine
serifs
Two
at five characters
line.
on an average.
lot of
On
Should type be
set justified or
line.
tire
make
difficult to find
it
mean.
ragged?
means
Justified typesetting
length, so that
You have
that
all
lines in the
column are
set to the
same
margin. Ragged means having lines of varying length so the margins are not
neat.
It
is
assumed
that "set
column
feasible
and
is
of type, however,
left-hand margin
in
done
often
it
is
is
in
from one
transition
left setting,
line of
its
is
is
).
In
long blocks
because a neat
minimal confusion
In
in
the
apparent disorderliness.
not a problem at the right-hand edge of the
it
has two
valuable advantages.
7.
Ragged
It
can be interpreted
in
many ways
as
alignment, which
is
from the
ordinary. There
is
(to give
it
hard-edged
right
a visual character of
its
cannot be
own), or
small bits here and there (as visual relief and contrast).
useful for major
editor, or
It is
particularly
set in larger
officer, the
type to a wider
and so on.
2.
Ragged
little
unusual
but
at first glance,
do so
is,
coming
it is
boon
into wider,
letter
by
common
way
letter the
shapes of the
letters to
looks a
more accepted
Why or how
it
sense.
o u p
s,
letters
because the
it
It still
not perceived as g
is
to.
to faster reading.
like
used to
it
the
isn't just
each other,
i.e.,
letters, are
equally
vital
for legibility.
In order to set justified copy, you often have to spread out the spaces
between words and, sometimes, even between the characters in order to
have those
lines
come
especially serious
in
problems, there
rhythm of each
is
word breaks
an unevenness
in
Identical
copy
set three
justified x
it
Because
the ends of
line
at
it
makes
ways:
14 picas
iustlfied X 9 picas
order
In
In
justi-^
set
to
In
come
out
the
to
length. This
becomes
lem
serious
in
the characters
prob-^
same
where the
especially serious in
word breaks
next and
at
with
it.
right
The type
affects
the
rhythm of each
line
that
overcomes
is
set the
this artificial
way
is
it
length. This
problem becomes
especially
narrow columns
in
same
the
Ragged
fied
should be
that extra spacing, there are no loose areas to contrast with tighter ones
the
text.
in
Roman
little
column
lines,
set in
ragged
right,
63
about
in
when you
need
know
to
it.
word
is
means that
your line will be set as the copy comes, and if there is not enough space to
accommodate the last word in full, it will become the first word of the next
line. Rough rag can create some deep holes if that last word happens to be a
long one. You can reduce the danger of extra-large holes by asking for
"no hyphenations, except to avoid indents deeper than two picas," or
rough rag. That
whatever
is
is
called for
ask for no
breaks.
It
appropriate to the type size and line length that you are using.
some word
That allows
typographers
Some
much
equivalent of justified
the
is
(i.e.,
final
step in the setting: pressing the button that opens up space between the
order to
in
the characters
is
minus
units)
measure.
it,
for kerning
organized feeling to your typography that makes the ragged edge even more
dramatic than
Identical
copy
set three
it
ways:
ragged right max 12 picas
hyphenation OK
Rough
rag.
Tight rag.
ters in
the characters
the
come
ous
same
especially serious in
length. This
problem becomes
an unevenness
in
In
next and
is
the spacing
is
rhythm of
ing:
much
in
fewer
lines
accommodate
There
is
little
line
it
more
lines (nine
pronounced
that
if
if
in
the
same copy
set
It
unknown
so)
you have
in
copy
this
also
words or
rhythm of
right takes a
if
(six
problems, there
the spacing
in
an unevenness
each
line
it
each
is
set
set
over time.
You then
accordingly.
flush
left,
ragged
setting:
lines
typed
What may
in
in
The
setter will
do
as asked,
word
processor,
is
likely to
come
is
also
It is
an awful nuisance to have to retype your copy (probably several times over
to get
it
so this option
right),
is
type,
in large
Display type
Headline or display type can be anything you want
body-copy typeface
complement
it.
serif for
(if
you use
it
to be.
the headline), or
two types
the
text
every story.
It
is
it
some
it
to each
will exhibit a
the text,
can be picked to
it
other, the stronger the effect of the product will be, since
can be picked
In
cleverness, and
It
especially useful
when
and
made
lots of
opportunities for
All of this
several times
adds up to an
in this
chapter:
semi-bold to bold, or from bold to extra-bold. That way you have your cake
and eat
it
too.
This
is
This
is
This
is
a headline set
a headline set
a headline set
in
in
in
Helvetica
Helvetica
Helvetica
Headlines
Display type
is
simultaneously.
1
it
holds, as well as
it
its
it is
visual
characteristics.
2.
It
its
You need
to be
in
editor
is
do not work
effects that
actively together
and lead
in a
let
conglomeration of
weak, ineffective
to a
may be
excellent, but
it
would
may
be,
whose
life
is
revolves around
it.
even harmful.
It is
format than to
That
is
much
start
why
means
is
like.
If
who
seems unable
profess to
one typeface
is
going too
far,
it
art,
exclusively
the
in
but
body copy
experts, as well
in a
few
years. Fashion
italics, all
may
be,
is
many
is
to pick
do
one
they
different versions in
which
it is
be.
more
tomorrow or at
in
it
will
be
the display
"with-it"
least the
way
day
tomorrow.
Even
if
responsibly
today
will
composed and
story
sticking with
foolish. Instead,
its
for both
dispute this
will
that
after
to resist
it is
to
as
it
and content
as clearly as possible,
and
style
it
it
is
to signal
as consistently as
How
is
be
is,
to be. Furthermore,
newspaper makeup
also
is
type should be because important stories go at the top of the page, which
may choose
own
to accept this or
is
make your
decision.
What you must do in any event is make the headlines visible, big
enough and bold enough to make for ample contrast against the body copy.
If they are too small, they look insignificant. If they are too big, they overwhelm
and become out of scale. If they hurt the eye with their size, make them
smaller or shoot them through a screen so that the blackness is turned to a
gray
tint. In
The
and 36
is
common
practice
instinct.
have headlines
to
is
It is
What
is
will
as a
anywhere between 18
impossible to
set
is
make
story.
Some
restraint
to
on your
we
read from
left
to right
down
the page,
it
is
headline above the text so that the eye can travel comfortably
as the stages of the story are revealed. That doesn't
mean
special effect.
off?
Only
if
Is
that effect
worth
it?
You have
to
do
to
downward
you may not
in a specific situation.
visibly,
that
in
it
come
strongly, deliberately,
and courageously.
of the spread
will
is
first.
lumping the gutter (crossing from one page to the other) with
by
It is
If
that the
it
may
(.
is
bridged
fall
whole
within a
sets of
.).
is
two
the headline.
a better result
of the headline,
in
Put
It
order to achieve a
first
half
half of
A few technical
some
most
evolved over the years. Here are a few terms you ought to be able to
recognize.
set tight
LEFT,
RAGGED RIGHT
set
impact
WALL-TO-WALL
(filling
The
The
issue
editorial
Times
EYEBROW
KICKER
HAMMER
(free-standing, centered,
beneath)
headline)
The importance
of the relationship
its
headline
TOMBSTONING
(a
depressing
problem
or
in
name
JUMP HEAD
for a depressing
page makeup.
more headlines
When two
different configurations)
RUNNING HEAD
(a small label in the top left-hand
corner of the page identifying the
subject matter being continued from
Legibility of headlines:
We
up-and-down
cap,
all
recognize words
in
word "recognition,"
recognifioic
i):^KiiNcmimc
ordownstyle
style,
is
The
letter.
Recognizing the
that the "g" pokes
for instance,
is
down below
dots floating
in
it,
have
"I's"
same word
all
cap,
RECOGNITION, and you have a neat horizontal alignment across the bottom
and top of the letters, which forms a nice neat box that holds no visual clues
whatsoever to help identify the word. That is why all caps are harder to
read than lowercase.
all
etc.,
demographic segments
tend to
letter their
even
Yet,
for
population
drawings
and
illogical
unthinkingly.
It
use
all
to
when newspaper
what
as to
proper names
with
initial
in
all
first letter
becomes
overcome shortages
cap. Such
and bold to
set large
extra
added
word
of every important
it
it
lead
it
is
still
do
Why
it
to
an unnatural
way
of
capitalization.
most newspapers
effect.
accepted somewhat
us,
it
is
arguments
but
is
as a makeshift solution to
cap
all
(which
who
in
some
and engineers,
was invented
of capital letters
distinguish
who
cap and
all
at large,
The Up-And-Down
seems
is it still
make
proper names
like
done? Because of
habit;
because
"newsy," and,
above
all,
indeed useful
in
it.
On
If
made,
is
logically
start
contemporary, and be
as a
letter
and continue
in
set large
and bold.
typography
To ensure
when
typography
It is
easier to read
words when
headlines.
The new
in
any type
Unkerned
typesetting creates unnecessary gaps between the letters. Closing those gaps
69
in
and
its
its
is
first
below
manner. Headline
in a like
first
because
stories
If
it
is
news
practically
is
it is
the
its
logical to
at
it,
where
it
it
is
the deck
is
If
that.
the
tells
text
text.
if
it
is
written
in
such a way
called a precede.
in
function as well as
form from
in
in
fast
overviews that allow the potential reader to decide whether or not to invest
time and effort
in
reading the
text.
aware of
his or
her
own background,
this natural
human
your interpretation of
characteristic
own way
few situations
(in
in
its
pictures
it,
if
you want
tell
which captions
too much!
(in
magazines), legends
in its
own
it
it.
When
they are
to get
How? By means of
significance the way you,
of seeing
explain
that
There are
and react to
words
at a picture.
work
is
(in
mood
seen near
of focusing the
words.
name
before they
of the person in
start to
it,
is
And
a juicy
gobbet of information
in
the caption
perceived together as Siamese twins are. Alignment and closeness are the
to
that way.
precise
being equal.
It
all
is
other things
also wisest to
keep
The purpose
to
study the
novarese
when
flush
set in
left
of this lypc
is
It is
if
effecl thai
ilalic
migM have
narrow columns
and ragged
The purpose
is
lo
is
legends' in
righi
use this
page
is
grow out
flush right
left
if
(a
dozen
in
newspaper parlancel
lines
in
conjunction:
(1)
Align
flush-right
(2)
wide
it
may be
adding
start
fairly
lines
is
wide
perfectly
all
right
you jeopardize
full
there
if
legibility
two
the
who
more than
If
risk
how
you
is
is
How wide
all
is
too wide?
It
depends on the
it
into
face.
if
line
is
a rule of
dangerous.
logical
argument
that should
Catch
lines or
Who
whereas
set in italics?
nor
rules,
is
there any
"I like
it
that
way."
boldface lead-ins
There are essential technicalities you should know about because they
increase the communication value of both the picture and the caption
it
communication, which
self-contained
little
is
story that
it
is
The catch
free-standing
is
articulated
precisely
If
should be
is),
then
in a little
you think of
(if
it
is
line or
and
that
is
all
text.
first
words
it
so
Such a
of the
whose
first
If
the
visibility relies
on
the caption) are, alas, too often misused. Those words set
the
self-contained and
starts
as a
headline that
a caption as the
in
terms of their
own
bold ought to be
in
significance.
You should
it
the
if
then you
know
that
caption variations.
BOLDFACE LEAD-IN
CUT-IN SIDELINES
If
is
diagram of
Bylines
Two major
handling
your bylines:
1.
Are there
a lot of
them
in
the issue?
If
so,
it
is
certainly
worthwhile
to the
publication?
placement,
few of the
LEFT
LEFT
If
so,
size,
typical
IN TEXT:
in
and
visibility.
If
not,
AT END OF LAST
LINE
FIRST LINE
tiBte
WITH BIO AND
PIC: LEFT
LEFT
COLUMN
photos for
your publication
Move
in as
powerful
its
journalistic
move
in to
will be.
homing
on the
in
(Incidentally,
you can
retrofit
Use lenses
that will
move
in
If
can
Having everything
in
come
focus
All
still
want
is
technology
money.
dull
but the simplest cameras allow you to choose your depth of field. That
allows you to
make
in
and beyond
it
can be
made
is
just
is
important.
You
The
smaller the aperture (the higher the f-number, like f-16, for instance) the
lens,
your desired
effect
is
If
subject and fuzz out the foreground and background, which are
as a recognizable context but
do not compete
the middle
is
a boring photo.
like this
you imagine
it
The very
shows
edge
at
is
precisely
one
why
it
lines
<
#-
every picture
you do so implies an
specific to say,
is
makes
become dominant.
precisely the
which
in
editorial statement of
which
at.
in
fact that
something
look
the middle
which
there
to
in
it,
will give
It
to find
still
turn
same thing
Reading/hearing/seeing are
makes
it
as finding
all
more
some
that
kind:
you have
interesting to listen
something interesting to
related aspects of
communicating.
image a placid
such knowledge
may
not be
all
mood
if
knowing these
itself,
effects can
lines of force as
Concentric or converging
lines
of the
pointing.
in
to
do
is
in
activity that
may
elements away from the edge of the photo, unless you want to be very
tricky.
on page
15.
is
shown
best advantage
often as
Shoot
it
skinny shape
tall,
vertical
seems
to
make
page.
(in
is
will give
get
them on the
as a
would
fit it
They
to decide
fit
naturally
front cover.
at
the subject
beyond
purposes
is
reality.
One
of their
in
the story.
at first
deem
is
significant
mug
in
Don't
let
the background
become
a nasty surprise
in
Eiffel
way
it is
but
It
of the
isn't selective.
woman's head
it is.
is it
more
interesting?
It
that. That's
It is
safer
editing out
brain, so
what
it is
up
is
We see selectivelyfiltering or
alas,
has no
to the
editing.
The contrast of dark objects against light backgrounds, or vice versa, can
the image. We take no notice of telephone poles or u'ires when walking
down
live in slashes
when
We
ruin
all
you see
is
dirty crockery
white against
Check
may
their feet,
in
help to prevent chopping off the tops of people's heads, cutting off
camera or moving
it
few inches
this
way
Tilting the
is
often a problem
personality,
and
attitude.
Then having
to arrange
them
in
groups of
equal-sized pictures will not create such a boring result. The faces will
make themselves
interesting.
Bunch people
into tight
groups
lies.
come
in
closer
make themselves
feel safe
that
It is
in
like
if
handshaking event
as
cover the
will
allow: shoot over the presenter's shoulder; crawl on your belly and shoot
upward
at
remember
you, as communicator,
that
deem
to
in
the picture.
in
bit of
drill
anything to get a
it
is
crucial to the
people
who
are
Sunlight
is
great,
except that
Shadows
it
if
in
sun, the
the eye
more
hard-edged the shadows and the greater the need to squint. Better to
Flashbulbs create
shadow monsters on
Move
shadows
all
as well as
good
to the
in indirect light.
walls
six feet
itself
may be
if
its
patterned equivalent).
is
and
spots,
to
is
one
much
it is
side.
It
is
with the
flash, cut
its
If
Ten
feet
is
If
if
fast lenses
in
work
at all
closer
beyond 20
fast film
to
is
not the
them something
in
start
shooting people
to smile about.
who
are
supposed
it
the ceiling
more
to smile, give
People
pictures
People are interested
don't
have to
be
boring
in
people.* That
in
all
decry their
who
in print
though
as
see
it
media
it
is
pictures appear
want
just
to read a story
is
about personalities;
human
instinctive
not important.
is
whose
What
important
is
that readers
is
want
like,
much about
character
curiosity
visual
to see the
person because they are looking for personality clues. They don't
his or
seeing
in
the editors'
in
well be
the people
isn't just
It
fate,
boredom may
really care
fame happens
be
to
as expressed in the
look of the eyes, the body language of the stance, the revealing glimpse
first
is
be
less
than happy to have their innermost selves revealed to the public this
way. Yet
it is
of lively
ratio.
It
may
wrong
is
J.
its
but the
pioneering
You
the
why
is
show such
subjects may well
spirit!
much
risk for
risks of
investing, said,
2 percent."
yourself.
Let's
is
Good
be
mug
for
luck!
a bit
more
likely to
realistic,
of situations:
(1
is,
a story
just a
few
make
it
as graphically varied
to
manipulate them
and interesting
it
is
not
The
individual
it
more
interesting
distracting,
if
is
it
it,
if it is
an
if it
darken
if
it,
lighten it, make it fuzzy, do something with it that makes the personage
"pop out" and get attention, so that the background becomes secondary.
How? By
having
a professional retoucher
spray gray paint over the bad area, or by "ghosting" the background (see
Or
page
108).
Get
rid of
This results
much more
personage
This
is
an easy
trick,
especially
of
it
is
it
chopping
the person
facing the
is
off a piece of
camera
nose or mouth. (A
if
bit of
you do create
To make
just
a silhouetted picture
the printer to do
it
rest
helping out.
for you.
As
far as
doing
It
it
ruins
yourself
them
it
yourself or instruct
is
concerned:
it
and
is
it
may
be very unpopular with the owners. But you can, of course, take your trusty
scissors
a paper-doll
personage,
stick
it
on
a piece of
It is
white
much
safer
and the
is
if
of the silhouette
is
mask on acetate;
to prepare a
you are
in total
Method
(black or red)
1:
to help
keyline or outline
drawn on
in
Method
ink
2:
mask
tracing paper.
personage
box
in a
The contrast between the head-and-shoulders halftone and the white paper
background
The person
is
is
in
a piece of that
emerge from
it
in
background.
if
the box
dramatic fashion.
typical variants.
The linework can be done by the printer, but it is best done by you on an
overlay the same way that any line art is added to halftones.
identification in the
of a
box
a defined area
name,
title,
is
an ideal
and function,
is
and an opportunity
Be as
this,
into
because here
is
chance to turn
Crop courageously
The usual shape
is
It is
perfectly acceptable to
it
is
in real life!).
Here
Washington
is
peeking through a
slit;
Ulysses
S.
chop
off
Grant
is
right
is
President
George
up close
to you.
^f--^<5!
-J
in,
if
activity to the
itself.
And they
invariably
image.
uy
expected halftone
Mezzotints, steel etch, line screen, line conversions, and the like (see page
130) are ideal for use on people pictures, but they must be used boldly, to
make
it
is
who
story,
perhaps
are connected
in a
who
them
submitted their
fact.
in
a presentation of
less
decide on a standard dimension to cover the distance from the top of the
new
prints to that
head
is
the
When
same
lab to
size as
anybody
mug
is
if
won't be
anyway.
else's
prints,
shot.
ways
that
Any kind
It
believable and
blow up or reduce
group
of
arrangement
will
in
appear
alignment.
You then glue the group down, using rubber cement or hot wax from a wax
dispenser, burnish the whole thing down carefully, and your art is ready
for the camera. The more precise your paper-doll-cutting craftsmanship, the
better and more realistic the final result will be. To prevent the edges of the
photo paper from appearing as white lines in the printed piece, darken them
(only in the dark areas of the photo) by running the edge of a black felt-tip
marker on the edge of the paper itself, being sure not to mark up the face of
the photo. Then,
when
in
damaging the
place
is
impossible
if
what
to
do and how
far to
editorial
go with
it.
Five
commonsense
The direction
The
person doing
in
page.
it?
Curiosity
is
should be
utilized.
It
may
when
whether
in real life
or merely
in
works.
pictures
Size
is
size,
it
become
it.
down must be
all
the
little
same
may
perceive
likely to
is
smaller,
size.
Editing
That
is,
down
most
to the
telling
image pays
emotions, or unless
it is
show
off
a variety of characteristics or
as
mug
successive page.
It
shots of the
ties
same person
in
the
same
is
position on each
for
its
regularity
of placement.
Make the
of people
or recorded for
some reason
forth
cleverly as possible.
to
They
as
as
raw material,
as possible, so there
is
more time
to
that
in
sorts of arbitrary
all
depressing variety
in
high-school yearbooks.
on
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Adding
units for
rules
more
elements: the
mug
(drawn
lines)
sensible variety.
rules,
^s
pP
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DDOQii
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ii
^^
n
n
DCI
DDD
which define
two
If
you
also separate the biographies from the pictures (leaving the identifying
a third
element
to
000 ggg
Here the
mug
camouflage the
irregularity of the
enough
to
vertical rules
organize
the space most visibly and thus deliberately by extending into the space
above the
mug
shots.
PD
Postage-stamp-sized
placement
is
mug
staggered
its
shots appear
slightly.
The
more
interesting
vertical rules
make
it
when
their
possible to
mug
sliver
shots
in
is
each
sliver
to
is
constant
of this trick
It is
that luxurious
empty space
at
drama
that lends
is
the
to
the arrangement.
none
off kilter or
In
remain
of the
mug
shots
out of alignment as
lively
is
in
to
is
is
divided
same
in all
of
them
there
What
mug
the right-hand sliver within each column. The left-hand sliver must
full
ptfat?
nn
flags fluttering
from a
vertical
mast
at left,
it
is
important to leave a
little
more space
at
lettering, or
running the
and
in
last
name
is
where the
intended than
in plain
where
a greater
catalog-type presentations.
It
degree of importance
is
far
more
likely to
is
be
names
in
the
at
mug
The same
is
much more
dramatic arrangement because the white space "behind" the people's heads
seems
to flow up into the text above them and, by so doing, makes the text
belong more intimately to the people below. This illustration would not exist
of type
all
the
same
to
disrupting that valuable illusion of white background flowing up into the text.
arbitrarily.
Assemble the
close up
in
original
to create a
grouping where
away
in
shots.
It
is
the
in
in
the pictures by
its
own
horizontal precision.
Vertical overlapping
is
their
party,
if it
creates a
somehow
to in the text
horizontal arrangements
implication.
is
Is it
shown
in earlier
whereas the
vertical
arrangement
is
more
like a
presentation?
91
Tips
to
make
more
effective
Let's face
it:
Most
of the photographs
use of
pictures
you are
likely to
very exciting. They are the expected view of an ordinary event, scene, or
lucky
if
the shot
composition
is
sits in its
Option
documentary fashion
in a
crisp
and
in
frame comfortably. As
concerned,
is
work
the way
having
far as
it
and the
lit,
much
reportorial
raw
with.
how can you publish printed matter without pictures in it? Pictures do so
much to attract curiosity in readers, open them up to accepting information,
enliven the product, and make
"interesting." (Yes, even deplorably dull
But
it
so
much more
is
It
much
less
work
than reading!)
is
typography
pulling readers
in
and retaining
facing
will
if
their attention
a task that
is
full
brunt of
perhaps even
A crummy
doctor
it.
Don't think of
it
in
crummy
what
picture,
is
of
worth publishing
it,
in
rather, in
terms of
focusing the reader's attention on that point. That inner significance makes
the original's visual shortcomings unimportant.
on
a higher level
not
just as
filler
for
It
justifies
empty spaces
but as a functional
segment of
it
is
appropriate.
It
consideration
may make
is
do with
as
you
you
to consider the
the editordeem
and
anything that helps that process along
be permissible.
likely to
Is
ordinary material to
alone. Let
it
it
stand on
summon up
then
start with,
its
about pictures
own. But
is
you have
if
meaning
A whole
starts
necessary to understand
of such
list
some fundamentals
in
good
demand.
pictures
The
it
the
It is
you do have
tampering trickery
If
and doesn't
issue
really
you know
What
that
worse
(It is
pretend that
folly to
a side
may
in loss
in
worthy
in
well
it
as an object
it
to
is
it
story. In fact,
order to
story.
the picture
tie
in
and of
itself,
and present
it
to the
Quarantine
where
it
will
the story
in a
it
do the most
itself;
run
it
as a
precede to
Or use
contents, or refer to
it
it
and run
The awful
visibility
set a
it
be faced with
mood;
in a strategic
In short,
without
at
build
or add
it
as a shirttail at
this situation
the aim
the
itself;
to the product as a
good
visible
is
to give
it
the requisite
and
reader.
essential
is
bloat
it
Blowing up
and
flaunt
its
is
to use
improve
them
it;
all
but not
that
does
the foot of the page, and don't attempt to catch attention with them. Instead,
Have
on
originals
is
entire product)
probably
is
to
more
is
make
necessarily
They don't
illusion of size
First,
to bleed a picture
Let's
assume
the page,
it
is
that
is
if
to print
it
called a "bleed."
we have
photo of
a landscape.
When
But
is
the picture
is
it
is
contained
expanded
it
is
held imprisoned by
in
printed on
If it is
framed by
that page.
image appears
to
focal point of a
if
itself
the page?
left
physical
right subject.
In this
landscape,
is
in
is
appropriate
is
a neutral
background
to a
vase of flowers would not be a sensible subject for bleeding off the page
because
it
is
come
is
is
is surrounded by a frame or
might be appropriate to name those margins here, remembering
that nomenclature varies, but these are fairly standard.
nnargin.
It
<^ Head
margin
(same as 7"
x 10'
<^
Outside margin
4^
Foot margin
Cutter margin
risen, the
until
It
now
it is
is
so
impressed by the capacity of bleed to interrupt the flow of margins and thus
gain attention for your picture
HB
3^
"-
^"""J"^
'"'"""'
'
OS
in a
>
None
of the
above
Wide
enough
enough
to be discernible,
to
make
accomplish the
it
and
if
is
is
trick of bleeding,
trimmed back
you
page
to the correct
will
if
made
sheet
to bleed
stunt.
is
big
Warning: To
size. After
page
size,
bleeding picture.
all
anyway, with
at least
outside edges of pages, except the gutter, where the pages are
folded and not trimmed. Clearly, you must size the picture to be Va" bigger
it
will bleed.
That
is
What
is
infuriating
one edge
that
is
is
machinery for picking up and passing the sheet along to the next step
printing process. That narrow
edge
is
in
the
you
it
that's
printer
will,
your bleeds
and ask
sheet of paper and where the gripper will be. You can then
from
The
options
in
diagrams
like these,
on the
fall
shift
your bleeds
around to
which
Zi
13
16
01
15
14
Four-page signature
Sixteen-page signature
we
take
it
is,
the
once we
it
realize
to be. That
its
is
potential,
It
so
we
affects
can
two
worth
reader?
are
it?
we
Or worse,
next time,
will
it
fill
if
so,
is
Here
"When
a picture
in
doubt
we want
be exactly that
when
it is
it
will
as being
it
the size
preconceived
it
to
NOT the
deserves.
Do
final
not
hole.
"beauty" of the
fit it
into an
the
good
it
J PL ?-i!45jr'^'**iJii^B^iH^****:w
"'^^:
..,*
rt
^^pS'i-r^P^
HyMf.'% ^m^-i
kjsyi
When in doubt,
ask a policeman
:L
m^
^^
"^'^^^(fi^/B
1
When indoubt,aska policeman
OK
So what?
attention?
bloats
Making an unworthy
it
deserves to be just
it.
Second,
how does
How do
they
mostly the opener picture and the headline of a story, since there
standard pattern: The photo
headline, which relates to
it
picture should
its
cleverness.
If
the picture
pertinent, play
it
is
as big as
reader's attention
terms of
is
is
it
big.
If it is
size.
properly.
is
communicated by the
If
The
first
sizes of
is
not
in
fast,
why this
is
happening.
Why
it is
is
close
All
they
will think
is
to the subject.
what
is
is
that yours
it
significant
is
about
it,
is
to
All
too
if
do
to
is
weak
word
becomes
it is
essential to
homing
in
on which
no
rules.
The only
rule
is
is
is
its
meaning
a case by
itself,
to
an
ears.
hurts
enough
original print
image
until
is
original
down
larger size
Crop
to
make
pictures
A
it
smaller than
work together
picture
is
never
communication
distance, special
better
that has
it
its
mood, and
own
on
a page.
See
individual statement,
and
window
is
in fact a
it
as a piece of
it
were
it
is
much more
it is
It is
than
the illusion of a
perfectly logical to
view through
window and
represents.
important
often does
happen
events happening
two images
how seldom do
window
is
especially
in
that
meaning or
as illustrations of related
has
How
come
to cut
it?
Think about
two holes
it
for a
we
a unity
a logical
connection that
expect.
What makes
the
seems
to continue
why
this
or,
more
that scale
is
accurately, the
in
W^
That's
size
is
When
macro/micro cow
wrong and
is
unrealistic.
disturbing.
^i^
The
illusion of a
images of similar
't
we have two
or
more
on the page.
h
1
Readers look
at
it
first
time
in
glancing fashion, to
whether
it
reading, studying,
and absorbing.
What succeeded
pictures,
if
in
the headlines
managed
it
was the
And even
those pictures were relatively small, they could have seemed important
acting as a huge image as a group,
if
they were
made
to blend together in
if
scale.
Only
at
at first
viewing they
where
1+1=3.
all
worked together
its
point-
much
in
them vary in
seem
size.
related
if
is
in
the
one
relationship
is
is
neighboring pictures
first
as views
it
draw
Draw
a line
101
Do
they?
Why
not? Because
were busy
sizing
happened
to
pictures.
fit
like this:
image
as a separate entity.
expand the
vertical
NASA
view
is
created.
It
is
much
like
at a time,
coming out
pictures
happen
to have
been taken).
is
you can
of a constricted
where these
Edit pictures so
When
is
in
its
is
in
Remember that we
if
you want
will likely
most
become obvious
clearly
and
to
it
to
in
if
will carry
it
do
if it
probably marvelous
is
in
that job,
it
highly effective to
is
make something
are
it
as art!
First,
it
that idea
terms of photography,
it
then
embodies
support
becomes
marvelous
terms of meaning.
stories
it
something
that way,
it
suddenly becomes
at least partially
resolved by
more
visual
images. They work faster than long-winded verbal explanations, and they
themselves can
delve ever more deeply into the hard work of reading the
especially true
though not
sounds a
if
We
all!
text.
This
is
little bit
manipulative, so be
it.
We
for
more.
If
that
and
Help
pictorial scenes
A sequence
that
it
becomes
maze
on the page
in
it
such a way
can be
in scale,
made
and
no
that consist of
to break
more than
up the
just
Uis S
type.
s e<^oeM,^:
obvious but
in all stories
1
1
less
in
much
less attention-getting
How? Dozens
less
is
impressive and
if
such
is.
them on
of techniques: Place
background of a
a unifying
still,
all,
Or
what
on the
and that
is
what makes
else?
ideal
There must
one depends
this profession so
te^
iyi
image might
be.
Two
or
in
more
are
needed
in
If
however excellent
simply because
it is
And be
in
all
editorial points
it
is
we
print,
is
to edit
much
to
you
such a
easier to use
that
to
to
In
to pictures as
be courageous
in
it
go through
other words,
does to words
pencil and the wastebasket, in order to leave only those sparkling nuggets in
is
need
to
be brought out, or
are they
the
all
Important, or do
six available,
of
pictures
in
communication
tool for
what
is
it
stand
in
if
way
the
to say,
of your saying
it.
is
It
is
predicament. This
publication
editorial gold,
forcefully,
(to
in
you've been
if
follows that to
It
85%
represents
potentially "exciting."
is
uninspiring, and,
depressing.
it
is
you have
at
it
for
It is
some 15%
The
normal
rest
is
tends to be
it
is
when used
list
them
of
gimmicks
correctly
the end justifies the means. There, they turn into techniques
where
much more
that way.
which
be seen, and so
will
forth.
when
much
or too often;
do use them
What
is
and of
forgotten
itself:
and mutilate.
is
in
the photograph
is
Why
not reproduce
it
hand and
at
it
the
column
pattern.
You
and you
just that
give
image.
it
How?
tricks.
Tilt
in
tear, spindle,
it
is
intended to go.
105
it
accomplish
this.
The
easiest
is
make an
to
make
If
overlays, see
page 84.
you
prefer,
ways to
more
on how
details
to
lines
this
itself.
It is
would notice
it
a sliver of white
sliver of
whiteness, for
do
it
illusion of
and the reader perceives our intentions. The printer can scribe
the negative for you, or you can
nobody
this line
on
on the mechanical, or on
for yourself
some way,
hand-drawn
perhaps
art that
in this
If
you have
is
it
illusion
made. Turn
it
in
kind of venture
How?
is
It is
best
drawn
in
black ink
and
is
these diagrams are not detailed enough, see Graphic Idea Notebook, also
by
this author.
Combine
them appear
as
fallen
make
size,
is
line
an essential ingredient
of the illusion.
Add
naturalistic
symbols
desired illusion to
work more
might help
in
getting your
photo
corners, a piece of an envelope out of which the pictures have fallen, the
stub of a pencil
you name
it.
They can
all
Get the
printer's advice
idea. (By
made them
and
large, printers
that way.)
tend to be
Run the
them
How do
wanted
you
going
we
one can
as far as
in fact,
isn't
means
and do not show the
away what
How? There
rest.
In
the
first
by drawing
a keyline or outline
the halftone
All
dots on the inside of the line are to print. All those on the outside of the line
How
are to be removed.
your
line,
in
is
is
the accuracy of
accurately keyed to the photo. Furthermore, you must also worry about not
The emulsion
and marks
easily,
ruts left
photograph
of a
in
is
by pencils
the reproduction as
highlights or shadows.
you want
You have
to print
to
is
make
a mask. This
in
sheets or
rolls
yes,
it
is
expensive
at art
is
supply
What
Anything that
right
silo or
is known as a silhouette halftone
more expensive than the plain halftone.
used
halftone is inevitably more expensive. But
the
effect
There
is
is
a plain
cheap
a third
it is
at
the price.
when you
are
combining
use.
You never
pictures, such as a
group of
mug
shots
you overlap shoulders. But even then you would get duplicate
that,
and
if
let
you are
at all
that
in
is
which
prints to
do
Another technique
for
drawing attention
to a specific feature in an
is
to
is
it is
hard to
find a
in
cog
in a
some
sort of contrast
Make
in
several ways,
To give the
photo retoucher
original to a
who
is
if
that
is.
cog
is
This
a
is
obviously a
fairly
complicated object or
if
tricky to handle.
To make an outline or
you
mask on an
up by
bit.
10%, and so
is
10%
The
ghosted, or
made
paler by a factor of
on.
for the
On
can print comfortably using a 150-line screen (that means there are 150 dots
to every inch in both directions).
On
much
coarser screen: 65 lines per inch, or even 55. By using the 150-line screen for
the cog and the 55-line screen for the machine, you can contrast textures.
Use
color.
Run one
of the
elements
in color,
tint
the other
in
contrasting black
let
the cog
appear crisp black and white, or any number of other such combinations.
Clearly, this
is
more complicated
All
it is
no more
you need
is
difficult
that simple
to
Add
pointing to
it,
and so
it,
circles encircling
art that
or stripped
question
if
arrows ^^-^^
fists [[t2fp
highlighting
in a store,
be
lines are
it,
halftone,
in
asterisks referring to
it,
in
picture, or surprinted
You
must determine which you prefer by studying the darkness of the picture
area
in
which the
work
line
work
the best.
line
in
In
it.
white.
If
If
in
be seen.
will
white
the area
will
is
the backdrop
it
If
make
the background
the line
work
is
very pale,
invisible; therefore,
is
is
medium, you
medium
gray,
flip a
it
is
coin and
hope
for
work bolder, using thicker lines or larger symbols, so that whatever you
will be more likely to be seen against that neutral background.
do use
o
Do things with
so there are no
be done by
a retoucher using
it
definite
edges
at
were disappearing
sprayed-on paint.
Make rounded
for
you
if
do
radius. (A quarter-inch
about
is
much
right.
this
Anything
bigger tends to
make
it
look horsey.)
different.
a favorite
is
It is,
mannerism
of
some
when
they
show
light areas
much
crisper.
in
Frame the picture with an outline of the object through which the view
seen, such as a keyhole, porthole,
window,
art.
The shape
itself
will
else. Indicate
it
is
The
on an overlay.
in
for
symbolic purposes
more
illustration into
Show
vibration or
literal
about
it.
is
up-and-down motion,
picture of a pothole
on
it
to the driver:
is
as in this
example. Don't
bumps
and cut
that
it
you
Show danger,
up
in slivers,
try to
be
a picture of
Bump-a-da-bump! Take
is
a duplicate of
it
some other
your stomach.
as a fragile object
made
of glass,
in
to shatter
in
ink
it.
How? The
on an overlay and
'y^^i
Show
threat, fear, or
and
it
as a negative. Reversing
kilter.
It is
spooky,
the printer that you want this image run as a negative and that, yes, you
are doing.
What, add
line
as well as the
How when
all
you have
is
a picture of the
can expand the original image into a broader understanding of the context
of the picture.
The photo
is
is
size
photograph, and the two are keyed to each other so that the two
line) are
them
complex
represents a
image
into
component
its
sizing
problem and
calls for
To create an
movement
is
illusion of
in
motion,
the picture at
all,
tilt
or
to
when
there
isn't
essential:
halftone.
You can
actually
chop
it
is
usually a
good
any
final
safety measure.
Use
partial silhouetting to
When
emphasize action
is
Now
it
is
But
us
As
in
when
that
and
it
it is
so far
at a horrid
away
that
It is
It
there,
here.
unpleasant:
feel protected
we
it
seven-headed dragon,
appears
closer,
it is
tiny.
little
more
it.
comes
one
of
its
it
hold?
slobbering heads
in to
The
wall
illusions of
is
outline, the
in walls,
we
we
windows
"in here"
it,
is
as
we
wish). But
we
are
that
when
no longer
in
to
control, the
dragon
is.
Partially silhouetting a
"M
picture, having an active
How do
you want
to
it
it?
In
it,
beyond
compelling
that rectangle.
It
is
trick to gain
precisely the
of
you do
size of
Combine words
with pictures so
Place the
name
1+1=3
of various elements
is
in a
in
in itself
much more
fascinating to study.
As
far as
attached to an overlay on the original so that you can coordinate them with
the arrows. That requires you to attach the original photograph to a piece of
illustration
likely to
If
the original
is
is
will
be
needed
it
is
20" x 30" as a
is
perhaps a
little
or handwritten.
if
down
to half
the original size (focus 50.0), your lettering will need to be twice the size of
it
to be.
Most
likely,
you
will
want
a type size of
about 9 point
117
As
far as the
arrow
lines are
the overlay also. They should not be too thin, or they will disappear
halftone
of the exercise.
If
if
you
itself,
will
start
communicates
clearly.
If
no reason
is
money
It is
in
that
well spent
but remember
in
white or
that
need to be
have to instruct
will
if
make
the
in
some should
you get a
available, then
order to
must
result
you can
be
all
a clean
the
in
may
be plain
lines?
active,
sense
come
into play
dynamic atmosphere.
Plain
inserted by stripping
descriptive
in
all
make up
words appear
having to get
easier to
Arrows add an
at
common
in
make on
a small scale.
and
However,
if
original,
itself.
there
way
That
is
lots of
errors are
wording
to
be
in relation
^^
BYJOVE!
Howdiditgethere?
The geometry
of the
in
page
usually
made up
of rectangular elements
working with each other by alignment, stacking, centering, and so on. To get
extra mileage from pictures
this
norm and
knit the
where
it
all
an overlay
stripping
if It
editorial idea,
into
and
is
workable,
it is
if it is
graphically
in
in
acceptable
is
in
type, adhere
them
to
in in
white.
in
Inescapable
technicalities
about
pictures
Must
all
Or 35mm transparencies ? Or
What about Polaroid''"'*^ shots?
prints?
(color transparencies)?
bigger chromes
It is
may
affect
and white,
The glossy
finish of the
emulsion allows
reproduction of the subject matter with the greatest precision and crispness.
Other
finishes,
such as matte,
to use
silk,
Contact sheets
The
roll
of
35mm
black-and-white film
is
them
to
contact sheet
is
on the negative
made
It is
also
it is
useful as a catalog of
much cheaper
for
The
what
is
entire batch.
To discern
it
is
camera or
Mark the
pictures
art
it
is
most common.
marker on the
processing.
that
X,
Prints in color
They are
good
as
to reproduce
from as black-and-white
finish.
prints, as
long as
for
may opt
halftones
in
the reproduction
is
practically unavoidable.
It is
correct paper
work with
is
used.
a professional
lab. Incidentally,
it is
if
the
wiser to
prints
by handwork, and
most importantly
When
in
color
seem
to lead to
mushy
skillfully shot.
Transparencies
Transparencies of whatever size must
prints; the prints
faithful
then
become
first
be converted to black-and-white
is
is
product a step further away from the original; quality, crispness, and
detail
suffer.
are,
however, better to reproduce from than color prints made from color
transparencies (unless you pay for custom printing, which
horrendously
is
expensive).
All
in
as a painting) as originals.
choose to chop
off
way you
are
It is bound to
it were
get a bit cruder, but that will seldom be noticeable; the dark areas will
probably turn muddy and highlights become less sparkling, but you can live
with that.
If
you
find that
it
is
rescreened
it
is
wise to
(that's
don't need to
results.
it is
disaster
is
liable to
happen only
if
you have
because when you do that the dots grow, and the results look as coarse as
newspaper photos. This may well be an interesting trick when you are
looking for trickery, but as a good reproduction of a photo
to
be desired.
it
leaves
much
the right
is
way
Furthermore,
which
is
and which
100%
infallible!
By
common
Does
If
front
lettering
to right by mistake.
left
the transparency
itself,
Check the
in
Buttons help:
women do
in
tell
Most men
put yourself
often hard to
unless the
right;
is
street signs or
over
it
is
sense
on
'round?
it
on the
left.
over
right
trouble.
left,
for
some
Men
button clothes
peculiar reason.
left
You have
to
left
(except
in
Great
Britain),
in
and they
scenes
of accidents).
By emulsion
The negative gives you two
in
will also
legibly,
you can
if
for color
first
If
in
is
angle to the
By notches
it
edge.
emulsion on
The
you're working with color slides, the shiny side of the slide should be
light,
itself.
and white.
be toward you,
areas.
The
sheet film
to
it,
is
whether there
is
check
the right
it
way around.
and up) has actual notches cut from the top left-hand corner. They are there
for practical reasons: to help the
camera
photographer
it
and
to distinguish
one type
themselves.
It
vertical or a horizontal.
You must
and
it
will
If
turn
it
around
until
made emulsion
this
100%, because
dupe.
How
can you
chance of being
vital
hell
with
it").
point to
of production
which
right,
tell?
when
are printed
painter
in
pictures
comes
at
the stage
brown
(there
is
a color called
in
blue or Vandykes
vandyke brown
when
after the
they
Dutch
used names.
locally
It is
very easy for the page assembler (the stripper or compositor) to flop the
negative by accident and strip
it
in
flopped
left
to right. Then,
is
"Flop
(It
left
also
to
crop pictures?
it
will
fit
is
we
will
(How
to get
it
the original
however,
ever.
on the printed
fill,
you
it.
a man's
if
how do you do
it?
Well, you
if
is
your
have to
will sacrifice in
do not
4/i"
will
there
is
physically cut
it
to
up
to be cropped.
It
thinner.
If
the picture
If it is
red,
hunk
it
will
it
will certainly
be
in
a grease
the reproduction
in
it
rubber-cement
the pencil
if
visible,
blue.
is
light
pen makes
ball-point
permanently,
in
photographs.
If
wrong
the
places.
smudge
into
make
it
to a piece of blank
on
technicalities
this
on which they
pictures
all
to the
is
to crop,
a device that
The device
correct.
It
can be fastened
in
also
group of
cutting
move them
in
size, as far as
the
How do you
is
sometimes
to be?
also called
make
it fit
It is
simply
into a usually
smaller space on the page. Normally, only one dimension of that space
known
(the width,
because
how
high will
it
cropping any of
be,
it?
we
is:
If
a picture
is
six
it is
without
By arithmetic
Let's
How do
you
The formula
original width
desired width
3" x 10"
30"
=
is
slow,
desired height
X,
This
fit
simple:
3"
10"
cross multiply: 8" x X
you must
original height
8"
is
3.75"
to the nonmathematically inclined.
Yes, the
makes
fractions again
it
even more
is
those anomalies
We can
do
all
difficult. In
will
be
less difficult.
units of
page assemblers
measurement together,
when
all
is
our old-fashioned
against one of
work with picas,
in
inches and
No doubt
this will
grids
is
in picas,
in spite
our
we come up
all
two
into
when we do
the future,
all
on cathode
do not
be resolved when
ray tubes,
and
will
be turned into units or bytes or what-not. Although these systems are being
introduced
to our
in
large operations,
humble
level of
it
will
trickle
down
endeavor.
By geometry
If
original
and trace
it
First,
Z.^^
OV|CT.lA.<i-l
to
will
its
you need
and extend
to
it
draw
a diagonal
diagram,
^^
1^
Si
You then measure the desired dimension that you know (probably one that
corresponds to your column width). Once you have defined that point, you
can draw a line at right angles from it, to meet the diagonal. That will give
you the vertical dimension of your new rectangle.
This
and
It is
it
is
fairly
a useful trick to
image or two
in
some way.
By a proportioning grid
This
is
You
position the
corner of the photograph under the riveted corner of the machine; rotate
the movable arm to the corner diagonally opposite
off
By a proportioning device
This
is
L-shaped transparent
is
The purpose of
it is
to use,
It
consists of
It
is
this
device
easy,
is
and
to determine cropping as
great advantage of
two
its
on the desk.
complicated looks
It is
also fast
that
is
and easy
however.
By a proportioning wheel
Often called an engraver's
scale,
it
comes
in
straight version,
reminiscent of an engineer's slide rule, or the same thing bent around into a
circle.
flat, light,
it
is
archaic.
efficient.
The
circular
ones
easily obtainable,
The
larger the
The two
circles are
marked
off in inches.
You
around
until
in
opposite the
circle
100. But
if
"
it
blowing
If
up
will
is
all
correct
there
to
is
after
you are
all
it.
By using a calculator
If
you can follow formulas with trigonometric functions and press magic
somehow succeed
know how
that,
to
do
comet
How do you
at
instruct the
cameraman who
instructions
had better be
and time
in
If
you
when
the next
Earth.
interesting for
picture
or
inform the
It is
is
in eliciting
for remakes.
some
it
size,
clear, concise,
and
legible, or
film.
it
And those
money
will cost
at
one
machine
cameraman
transfers
onto the
to the percent
size, labeled as
200%
the printer
instructions in
1
will
50%
is
If
no cropping
is
to
If
is
the
same
75%
is
what?
be done,
all
the
cameraman needs
is
the
desired focus and your result will be shrunk or swollen to the right
percentage. But
where
2.
to
do
if
you want
to crop, then
you have
to
show
the
cameraman
so.
more on
this,
One
further
caveat should be added to what you find there. Never draw instructions on
overlays over the photo using pencil or ball-point pen. The emulsion will be
will
show up
in
the
desired size and cropped to the desired shape. Such images are then
duplicated
in film
because
ideal
it is
it
What will
when
is
is
cameraman
it
is
disappear and
will
hold
Look
at
become
illegible
some
when it
through a reducing
it
made
smaller, or
its
method, but
works
it
in a
follow instructions.
will
reduced?
will
glass. This
is
whether
it
out.
Project
in a projector.
it
variety of
machines are
available,
art a
all
of varying
machine's
Have
lucy (as
in a
made on
a reduction
originals
down
it
is
generally called)
may
a photocopier.
45% on
final
ought
good reproductions
a photostatic
come
New
what
may be
lost
exercise.
is
the
name
stats,
pretty close to
Have
others.
not be amortized.
is
for a negative/positive
materials and processes have been invented that are slowly replacing
but the
name
lingers on.
it
One
will set
dollars;
if
you
have several originals that can be shot to the same focus, gang them up
to
fit
in
one
problem:
If
some
way you
get
more
for
pale, the
cheap
make
them ahead
a halftone
similar) for
warren
prints,
need
to reorder.
which are
size.
Chances
what
is
a halftone?
A photographic
to black
media
same way. It must be turned into a printing plate whose results appear
similar, but whose technology takes the limitations of the printing process
into account. The limitation? That you can only print straight, solid black
in a
alas,
cannot be reproduced
in
printed
the
ink,
is
appears white
it
or
as white as the
is,
paper
Where
If
will allow.
all
there
is
to
printing technology
itself)
paper
is
appropriate.
dots need to be
fibers, so
its
if
is
is
hard,
is
is
the dots
it.
inch: 65
Where
reflective,
absorbent.
one
Where
in a
is
in
number
of lines per
likely to use.
usually use
120- or 133-line screens. The finer the screen, obviously, the closer to the
original the result looks.
The
printer will
tell
used for your particular combination of stock, printing processes, ink type,
pressrun, and so forth.
know about
That decision
is
you ought to
it.
You should
communications
also
in
know
the trade
is
it
all
as "1/2 T."
printer's
cameraman
or you,
if
you are
a do-it-yourselfer.
The
on
is
made by
staff to
is
and
all
Many
editors,
129
The
printer can
make
a contact print
the printer altogether and order a Velox from a reproduction house. Velox
the
name
of the
is
although somewhat
must be made
flatter in
to the size
It is
PMT (photomechanical
Kodak product
is
that
is
transfer) instead of a
faster
appearance. Obviously,
you require
for printing.
all
halftone prints
by ganging up several shots and having them made into PMTs together
if
they are
all
to the
same
focus, of course,
exposure a
good
if
little
The operator
and
if
of the
PMT machine
all
over the
lot,
can vary
because
can only be
it
PMT
is
In
who
is
is
going to
have to work
will
extremely carefully to trim the excess parts of the picture accurately, cleanly,
and
you
will
need
a steel-edged ruler,
single-edged razor
blade or cutting knife, and a good set-up to mark right angles accurately.
is a hidden problem with doing it yourself: It takes time.
You can make screened prints in your own darkroom by placing the
There
processes
demand oval-shaped
do
circular,
dots.
photograph by turning
it
drama or
It is
If
into an
the sake of
If
variations?
array of dots,
want
a set-up,
to give
then any
up
if
number
Here are
you
detail for
of
few
more money
but
if
in
you do, make the most of what you are doing by running
it
large
enough
to be discernible.
What
is
a linecut?
This
is
material that
is
line
drawn
in
The Statue
Carl
Moreus.
Courtesy of
and
air to
the page.
it
is
that
it
has no hard
contrasting openness,
what
is
a line conversion?
If
you take
as
though
that
is
said to
a
it
were
happen
be 0%) congeals
50%
(black
is
in
it)
and reproduce
it
said to
be
is
is
50%
lighter than
disappears, drops out, turns white. Your details disappear. All sorts of
blotches and textures appear, and the results can be tremendously startling
and
exciting.
many
variations
on
this
in
crudest,
lab, or printer,
a show-and-tell
example of the
supplier's
in
other words,
you copy
if
if
copy of
copy
even
What are
line screen)
line
conversion
tints?
can be added to line
lines that
darkness
is
defined
pure white. As
lines
in
in
it
percentages,
100%
art,
or the white
is
0%
being
cheaper stock. The decorative quality of the dot structure may well be
useful,
need
in
It
depends on
i^^vv
li
ii
L.bcu.
..^
two ways:
"not to be printed."
If
in
Do
ink,
kind of screen
"Strip in
is
20%
screen, 110-line").
Many people
still
call
in letterpress printing,
all
now
nearly obsolescent.
is
it
comes
by rubbing with a
in
pen and
is
is
dubbed
and
art,
much
it
photograph, halftone,
department headings)
that repeat
it
and so on.
is
line art in
Its
merits as "art"
the
be
leave
in
down onto
tool.
printing, publishing,
not typographic
may
in
possible here
supply stores as
York:
Van Nostrand
ustrations
and
their
substitutes:
where to
One
of those conventional
that there
is
wisdoms
tliat
find them,
how to
use them
is
isn't
Well, that
necessarily so.
isn't
If
the text
is
sorts.
all
It
expense of the
story.
Furthermore,
is
it
likely that
whom
doesn't need to be sold with exaggerated effects. They already care and
need
to
interested,
but
that
is
slightly different
they'll
look forward to
first
time around. Here the crucial factors of usefulness and accessibility of the
information
come
into play.
Once you've
loyal readership.
On
material
it
is
is
another opportunity to
start reading.
peck at the pages, apparently at random, looking for juicy gobbets here and
there.
Some
its
and intrigue
titillate,
full
and they do
it
with
counter.
lie:
the brash, spotty, but indisputably exciting one that entertains between short
attention spans?
The
ideal, alas,
doesn't
exist.
It
all
depends on the
subject,
it
it
it is
along.
The material
It
lists
of their appropriateness
is left
three comments:
If
A worthy
judgment
nowhere
own
on
its
own and
to save the
will
only cheapen
If
it.
clever editorial
else.
and
3.
cosmetics
2.
is
that
is
is
it
will
make
editorial sense.
to disseminate information,
and
anything interposed between the message and the reader that disturbs the
clarity
fine!
it
it.
Custom-made
gives so
who
can take complex technical facts and transmogrify them into accessible,
who
and expose
its
essence
in a
who
few
deft,
row
turn a
Most
of us have to rely
own
on
don't. Very
few of
imagination. That
is
why
there
in this
is
book.
but you
symbolic strokes, or
it
with
flair
to get the
its
it.
Be doubly
visual excellence.
You, as
editor/designer, are the final arbiter of the sense and the content of the
and however good the art may be, if it is off the point, it is bad
You must either change the art and force it to conform to the editorial
publication,
art.
point, or
art.
in
editorial point to
have
it
correspond to the
somewhere, sometime
but where
to
is it
Many
them are
of
listed in
and
by Shirley
prints
in
R.
make
Individual photographers
of information
is
In
They are
professionals and
listing of
in
own
semi-professionals working
Wl 54020; telephone
library's
collection.
listed in
of material
endorsement of
Osceola,
itself in
(715) 248-3800.
The
real
problem
it's
in
finding pictures
a picture,
a bit late to
offices of service
awesome.
list is
By then,
establishments. The
time.
And
provide material.
of the big
do the
you need
it
it is
your
on
approval, and get angry at the mails for not delivering any faster. The secret
is
not at the picture end of things, but rather at the editing end:
until the
starting
copy
is
Old engravings
in
first draft,
to illustrate
do your
it
all.
do not wait
CEO
before
Think pictures
the public
domain
became
made
to
appear
work, and
we
we
all
or scratched or
as natural as possible
available,
wood
is
all
most fortunate
It is
unwise to attempt that with pictures that are halftones because the dots
become too tiny and disappear, or worse, combine into large blocks
make the image look muddy. Or, if you enlarge them, the dots become
either
that
To reproduce from
existing material,
original
(which
is
becomes "art."
The ease of reproduction
is
PMT
be
in
the public
If it is
domain
is
one
of the gold
ridiculously
all
reproduced
to
do the
for
fact that
according
is
museum
book, such as a
depend on others
(it's
steal
anything from
your swipe
files.
The Dover
catalog,
it.
It is
you and to
Pictorial
Archives
for 1,419
art
supply
endures
at
drawings of animals of
Clip
art: its
book
services.
stylistically
is
inappropriate,
any
illustrations in
style
Volk
Art,
Peoria,
IL
They are
of.
is
IL
Box 72L,
Pleasantville, NJ 08232;
60008.
One
problem
potential
the likelihood that you will see the art you are
is
somewhere
else (and
if
sort of
who
person
would be embarrassed
camouflage the
rather than
original.
It is
not at
all difficult,
way to become an
The manufacturers
symbols of
many
of
is
it
fun to
try.
"illustrator"
sorts,
all
and
which are
graph symbols and pictograms, they can also be combined easily into
custom-tailored solutions for your particular needs. With the most limited
skill,
make good
editorial sense.
And
results,
if
dream up graphic
and
impressive.
art at
It
makes sense
H
.r"'
"
"^
even
if
you
it
handwriting that
give
may be
lurking just
is
it
a try.
arm
'
at least to
What an unexpected
^I^^T^
in this
brilliance
Well, interestingly
available materials,
Handwritten notes:
it?
front of you,
in
isn't
getter! Especially
too formal
in
if
character so that
it
in
margin
in a
appears genuine.
The whole
trick
else's private
The
down on
run
in a
art
is
to
make
someone
commentaries.
is
second
color.
it
is
been put
left
alone to
is
body
tongue
distinct
all
sorts of
emphasis
a deliberate fingerprint or
two may
blots.
And
"^
some eyebrows.
raise
of being funny
a graphic material
is
text;
whose
it
a special
effect of
it
You can
also find pictorial ones in those gift shops that smell of incense.
Falls,
VA
22066.
Specia!
- Money-Savlng
*^. Rates
'>Aiv,^
cute, or
reader.
must confess
to having
had
my own
me
embittered
alone
my
listeners' stupidity!
The context
disaster.
may be just
how you say
say or
it,
scene.
in a
When
we
but also
strike
in
you
chords
as funny,
in
expect
bomb
is
comedian
it.
seen
Someone
out.
It's
who
is
the
humor
is
shifted
because
laid
it is
it
bare by
its
in
the
In
is
through with
it,
then:
it
to,
It is
own
is
safe
where
a far
more vulnerable
situation for
If
it
come
off
you do intend to go
cannot be misunderstood.
it
sum
we
both sides.
else's
inserts
may
away
gets
for us to laugh,
humor
down by
at
threatened or
the
funnies struck
who you
packaged
brilliant
professional
may
strike responsive
its
intended humor
f^^B
139
Rules and
how to
provide lines as part of the typesetting process. Those lines can be vertical
or horizontal (although horizontally set rules are easier to accomplish on
commonly
They can be
set to
(usually 43 picas).
virtually of
maximum
They are
any
u'idth.
These "weights"
available.
common
is
rules. Plain
as border
ones are
rules
double
lines,
one
fatter
made by
setting periods as
Due
in
rules
or embellished
to their availability
and cheapness,
making up
in
space by defining areas within that space. They define the edges of things,
contain things, enclose things.
2.
components
isolate
4.
from
its
that they
it is
surroundings.
and sparkle.
fat
black rule on
it,
or a delicate hairline
limitless,
5.
6.
hunk
space. Often, a
of
empty space
if
used
in
deliberately
edged with
text.
7.
flavor of
its
in
its
be
a rule can
which might
New
The use of
rules
or better
said, the
overuse of rules
of rules
is
can be blamed
swing to the opposite extreme and you can't see the type for the
tastes
"furniture." But the functional capacity of rules to help both editor and
reader
when
Boxes: what's
in
them
A
why
is
for
in taste.
you?
great deal,
if
you don't
limit
in
the unimaginative
who
just a crutch.
are antibox
Too
way
on principle are
why
right:
you understand
To separate one
2.
To make
from the
part of a story
rest, to
quarantine
it
away.
down
at
foot of the page, setting the type smaller, and deliberately bypassing
it.
3.
To make
important by playing
more important by
it
placing
it
the
of the page, setting the type bigger, using active or exciting language,
and
To make the
overall
page look
less
gray by breaking
it
up
into
smaller units.
5.
it
up
To make the
6.
To break out
would be
statistical
stumbling block
in
and
faster to read
by breaking
components.
smooth reading
of the
main body of
the story.
7.
a story
opportunity for yet another headline with which to intrigue readers (often
first,
How can
because
it is
question through.
short)
into
article.
How do we
It is
the
in
real,
If
you are
like?
we know
is
In print, a
box made of
Putting
it
on
air
wouldn't
whatever
'
to reach
as well as implies a
it
a single line of
2.
its
surroundings separates
change of emphasis. An
illusion of a
it,
change can be
created on the surface of the page by creating a false second plane with
3.
shadow
From
good binoculars)
it
casts
it
would look
Here
it
e^Kg
like this
n a container.
>
This
is
This
is
itself
like
to
two further
illusions:
by leaving out
the walls that define the "inside," you create the illusion of a low pedestal
By leaving out the outside walls and showing only the inner ones, you
seem
to
in
-^~-~~-
gli)
Inside walls
shown
4.
have?
block of
tint
gray, textured or
5.
You make
some
flat
it
do you
screen of black so
sort: in color, in a
looks like
it
smooth
it
a nd
hanging
it
on the wall
for
everyone to admire.
-r
Each of these yields a different sort of box. Next time you are faced with
at),
but
it
will
utilizing
do
is
to
art
cut
them
a trick to help
out, trim
make
them
to size,
to ensure accuracy.
all
you
acetate. All
in light
at
the
corners of the box. With a razor blade or sharp X-Acto knife and a 45
triangle, cut
You'll
be
left
in
your
burnishing not to displace any of your butting joints. Are there any tips to
make curved
For
much more on
p.
Here
Multiple rules
Double
is
group of boxes
just to start
Fancycorners
(scotch) rules
Turned inward
Identification in corner
Flatness
emphasized
llusion of
dimension
^^r^^gj
J '\J~{ something
Part of
Negative space
else
Visual accents
page. Large
text has
initials,
been
of typographic elements
available
set to allow
room
for
letter's
width on
the acetate sheet and specify the intended indention so that you can
accommodate
it
in larger
type, embellished
in
those provocative
into
the text
makeup
interrupt the
Color variation
printed
in
one area
in
of the
page and
type,
whether you
in
black, or
especially
if
in
in
for
to a presentation,
life
meaning, such as
unexpected relationships to
in
become
meaning or create an unusual pattern. Both will do some of the work that a
traditional pictorial image might be expected to do, but they will do it in a
more roundabout fashion.
You can set text in shapes whose outline is pictorial, or you can use a
whose character is such that it immediately communicates the
typeface
mood
or context that
Specific
words
ou wish
to create.
that
at little cost
it.
You can make your own artwork by using symbolic materials evocative
in hand, such as money: make rubbings of coins
life size,
such
are a-dime-apiece images
name
it
publication.
surprise value
quite impossible to
It is
is
in size,
designer's disposal.
in
as keys
and
pencils, flowers,
you
you
It is
far
list all
if
the
means
for
them.
at
that
you come
we
tend to
file
remember
ideas
in a vague sort of way, yet when we actually need them, we can't quite
remember what it was that made that idea so marvelously effective. If you
know where to find them, you can overcome such infuriating frustrations.
come
remembering
is
file
and adding
to
it
as
you
a self-education process
much
so that your
own
own
creativity
muse
*For
is
away on
much more on
R. R.
file
to
depend on those
vacation.*
this sub)ect,
Bowker, 1982i,
p.
(New York:
by
Making
mechanicals:
a crash
There are two basic approaches to preparing editorial material for printing.
Which
of
them
is
to
size
and complexity of
/^/^l
^r^
for the
^
is
followed that
will
in
color
in
large quantities,
uninitiated
r^ /i
CXI l\^
yours
sequence of steps
tremendous
variety of
(in
ways
is
up
to
disinclined
desk. Such marvels of the electronic era are already with us and will,
inevitably,
replacing
grow
it
in use.
with better,
They
will displace
faster,
large-scale
in this
for
now,
if
page maker
is
by means
dummies.
Dummies can
showing every
vary
line of
in
type
appearance and
in
place and
all
finish
in
position,
all
the
way
to
coded
to the material to
There
are,
all
calls
common.
The
first is
make up your mind for you, nor ought it to be put in the position of having
to interpret poorly worded instructions. Chances are that such interpretations
will
The second
is
all-inclusiveness:
needed
to
There
make up
is
no excuse
page
make you
feel delightfully
in
in its entirety.
Forgetting
is
probably
self-indulgent.
that printer
is
to
come
knows not
to print those
at a later date.
If
yours
is
basically
simpler procedure
is
is
ail
appear on the page, and they are presented to the printer to work from.
They consist
of spreads
them
intend
appear
to
in
stiff
and
then
will
When
30) or,
if
Wherever
are to go and
the mechanical
strip
pictures occur,
how
you
as line art,
them together
you
work
will
pictures as halftones,
the line
lines, line
where they
all
The platemaker
to look precisely as
and your
as negatives.
The
negatives.
it is
be
said to
all
is
what he
is
supposed
in
in
every detail
ally,
is
the printer.
is
as well as
essential
most cost-effective
is
in at
it
in.
the
be asked:
How does
own working
How
in
basis (piecemeal as
it
to him) or as a
complete job?
How
should
When
does he prefer to have the material delivered and what are the
how much
flexibility
know what
this chapter's
worth of
to discuss with
technicalities.
The
tools
is
is
built into
more
like that to
him
after
determine.
lot
will
want
you must do
it
yourself,
of the job
is
mechanics
as well.
need. They
will help.
No, that
in
is
work
to
in,
keeping
just the
it
all
organized and
and an
over,
all
clear,
page you are working on, but the other pages of the same
issue),
and
keeping track of the glue and the pencils and the triangles can't be done on
top of a
broad,
2'6" X
mound
empty
6',
of accumulated stuff.
needs
ample, comfortable
is
It
SPACE.
light.
Whether
that table
to the
made
it
is
easily, fostering a
Clear, uncluttered,
in turn,
to concentrate
encourages
for artists to
sit at, is
specifically
accommodate
three separate functions with your table top: storage as well as drawing and
pasting.
An angled top
down
which
slides off,
is
irritating.
The
ideal
arrangement
is
You need a
separate side table on which to do the gluing and keep your coffee cup and
ashtray. (If anything can spill on the mechanicals, it will.) And lastly, you
must have easy access to a sink to wash your hands in. Nothing nothing
is as important as cleanliness in making mechanicals. Every little spot,
smudge, particle of soot, broken pencil tip, and foul fingerprint will pick up
and dirt is even more
in the reproduction process. You strive for perfection
shameful on mechanicals than it is in the laundry, in spite of what detergent
to
at
an angle atop a
flat
desk.
list
of essential tools
your paper
to believe!
accommodate
T-square; the most essential tool to ensure that your product will be
drawing board.
It is
it
easier to use
to
size.
if it is
it
it.
tall
enough
your page.
marked
in
lots of
is
on
it
Made
of a
new
material that
makes
cutting small
Mechanical pens (tubular points) of two or three widths, with the
appropriate India ink dispenser to
fill
them
with.
into
inserted.
Rubber cement
and more
it
and
with,
a pick-up to
investment that
initial
will
in a
hand-held model.
It
wax and
remove
make
work with
you are
until
down
in that
it,
a can
with. But
you
allows
it
to
it
is
be rolled smoothly
that
it
is
cleaner and
it
finally satisfied
permanently.
type gauge divided into a series of point size measurements
commonly showing
down waxed
list
of essential materials
acceptable, although
handling.
If
it is
wise to use a
fairly
danger of
lines
it,
then
done without
is
specifically
made
for
purpose.
this
If
issue,
of
is
your publication
will
off a stack of
That
will facilitate
for type
An
the outlines
nonreproducing blue
in
when
ink.
is
a color that
not picked up
is
in
lines
the photographic
is
based on using a
light table.
The paper you paste down on must be translucent; then you take a sheet
acetate on which your grid has been drawn and place the paper over it.
The
light
from the
of
in this
case, but you have to solve the problem of accurate squaring up without a
n
It is
grid.
work with
it
comes
accurately, but
it
in rolls
it is
makeup man
or sheets.
dark red, so
it
and position
149
n
n
will
need
in rolls
this for
making
overlays.
and so on.
for attaching
board; white paper tape for attaching paper to paper; and matte transparent
tape.
all
on the
original paste-up
in
and
correct
The need
tried
keep clean
to
Cleanliness has already been mentioned as far as your hands are concerned.
It
cannot be stressed too strongly that your tools must also be kept
immaculate. The glue you use cannot help but transfer onto the triangle and
T-square, so
when
wash them
made
they are
of the triangle
dirt disasters
and
is
regularly.
lines, especially
will
smudge on your
the type
itself. If
set
by photocomposition
and your proofs are photographic printouts, then you have no problem.
But with
all
who
it is
made by
in real life?).
sounds
Strike-on or
Working
in
When
it
miniature
Before cutting galleys and starting the rough
lUblU
bit.
'W
nmnlnmnfnllnfnninlninnr
to do.
should go where as
fillers
You
down below;
far as the
pictorial
dummy,
a pretty
good idea
of
which story
etc.).
anyway
if
nmmmm
mmmm
mmmm
mmmn
Now comes the time to crystallize those scribbles and vague ideas into
some more precise form. For that purpose, you should have your dummy
sheet reduced to miniature size and run off
copies, so you can waste
them
if
in
necessary; a
a stack of several
good workable
hundred
size
is
eight
*A planning sheet
scribble the
name
of the story
in
it.
That
is
enough
small
enough
can then
Making
a rough
you
to force
When you
to prevent
start to
in
miniature, you
dummy
Before you do a
final
you
will
mechanical,
fit
too often
in
is
it
order to keep
it
final
advisable to
it
to.
in pristine
looks best.
drawn
first,
all
is
taken
in
carefully
The rough
dummy
on
is
over
slick surface
excess
all
a perfectly
the major elements on the page, including rules, so you can then copy
where they
be placed,
will
their surroundings,
is
how much
is
how
be
to
big they
left
and so on.
in
space there
is
a comfortable, optimal
way
out:
area (those
to take
letting the
up the slack
it
catchy headline
writing)
all
tend to
to
fit
is
in
much too
the display
by cutting or adding
Practical tips
be
tail
is
we
We
start
the
to find
final.
on making mechanicals
It
measure
carefully,
you know
all
that already.
to give yourself
This
is
You have
to
precisely, place
work
enough time
to
do
draw
it
but
the need
properly.
is
it
in as
a hand-crafted
hope
to
151
have
it
come
stage
to be. Especially
it
it!
in
if
the
is
its
last
major
schedule gets
squeezed between the immovable publication date and the inevitable delays
in
work
until
that have
preceded the
midnight, exhausted,
final
coffee
spill
it
through, work
You accept
skills suffer.
in
is
the secret to
the
list
lithography, which
in offset
is
the
Clearly,
itself.
off excess
to within
it
wax
to prevent
it
the face of your proof or picture. You can use rubber-cement thinner as a
solvent to
If
spots.
warm them
first
that
friction of
fall off,
it
isn't
the
glue paper
trick.
down
a line
beginning and end fatten up because you are moving the pen
in ink, its
is
make your
lines
scraping
off
it
camera won't
more
slowly.
why
line
try to
rid of
it
tell.
Place register marks inside the page trim so they don't get lost
in stripping.
become
clear (transparent) areas on the film when the platemaker photographs them
as a negative. The halftone is then stripped into the space. That is why the
The windows made
Some
(keyline) along
in
the film.
page. That
alongside
is
it
why each
Copy A,"
or "Strip
in
Halftone
Copy
Copy
on the tab
B")
Check
that
all
page number,
and
vertical
it
or "Page
3,
dummy
etc.)
media acetate
as an overlay
on the mechanical
to
The mechanical
a proof of
for
Copy A,"
trim, position of
lines.
3,
focus.
nnechanism of the
Copy
shows the
some
is
for
all
making changes. So
intents
read, proofread,
in
final
may
copy. You
get
page,
after
i.e.,
the printer.
This
is
damage and
dirt
by putting on a
flap.
from damage,
and, worst of
dirt, stain,
all,
Its
and rubbing
fingerprints.
A hidden advantage
make
It is
notes. Incidentally,
paper stuck on
of the flap:
it
it,
the only
you should
makes indentations
in
the
artists
as a protective cover.
name,
issue,
initials.
the lower right-hand corner. You can then code your halftones with the
its
label
etc.,
How to
use
color
effectively
Color can add richness, beauty, excitement, decorativeness, and personality
to the product.
can add
It
and diagrams.
clarity to charts
believability to the
it
real
It
can add
world
more
costs
in
is
to
color
produce a
publication with color because of the technology, the extra steps, the
original materials,
in
do
is
to
make
because there
competition
The
color
is
clarifies
is
doing
it.
is
money
Instead,
it
that
it
in
if it
the story,
if it
make
just in
bad product
colorful.
it,
It is,
or because the
extraordinarily simple:
must be
used right
it
is
if it
in
if it
enriches
the
way
journalism).
these.
It is
background
tint to
It
makes sense
whole section or
sequence of pages.
It is
Color
the
same spread.
is
otherwise unlike
justifiably
To follow up
For
in
much more
some thought on
is
set of things
from another on
in
a series of
units.
detail
colored paper
one
color
in
in
logos, see
page 24
in this
for
which color
Indeed,
performs
is
it
in a
demands
a different
understanding and
approach.
1.
Color as background
tint.
be background,
to
If it is
doesn't
it
it
must be
it.
is
demand more
make
the
than the
its
surroundings.
2.
more powerful,
therefore be
However,
ought to be controlled
it
is
stronger,
sufficiently to
keep
it
and can
visible.
Color as articulator of
detail.
is
it.
Black
Red
light.
is
ink
however bright
its
If
distinction against
colorful
to
and dark
be seen
in
decreased
to give
things:
you
color so the
is
dark
is
is
It is
for a rather
What
is
it
(i.e.,
strong
visibility),
amount
of color used
compensates
for the
level of contrast.
The
is
original picture
is
natural
is
made
of the
and
other, result in
in full,
rollers,
four colors. The four ink colors are standardized, and by themselves are not
is
is
a greenish sky-blue;
is
Second colors are much more interesting: they can be any color you
want because they are matched. There are standard hues (often demanded
by advertisers and called AAAA Colors, and they look bright and crude).
And
to
there
is
books
(a
in
the
PMS
printer).
printer to
a swatch
might
be somewhat painful!
expensive to
less
run than process color presses, since they need merely two cylinders to carry
the inks instead of four. But, as
it.
If
in all printing,
quite as simple as
isn't
we have
described
colors (unless that press has a fifth cylinder or unit on which such an
of
what
special
to
background
color.
is
It
come
possible to
"second"
color by superimposing tints of the process colors one on top of the other.
For instance, you can specify the exact process color equivalents for a large
proportion of the
disadvantage
is
want,
if
In a nutshell,
film,
much more
to pay for
it.
is
process can give you any color you want anywhere you want
the
possible variation
color
is
it,
even on
one
to use tints in a
is
The
second color
two colors
that
combination with
in
tints
in
To save money,
it is
just
whether used
and pink
black, in
used
it
always remain
which case
solid, but
it
it
becomes
invisible
in
solid
will
is
The yellow
it
looks,
it
on
is
a useful color
a screen of
blue
is
an
Unfortunately, used pure, these three hues are rather unattractive, and you
don't get
much
them
To get more
for
your money
it
second
color,
it
may
well be possible
its
entire
in
ink
It is
possible to put a
dam
in that
trough so
other. As a result, half the pages (those in the green rows) can have green;
the other half, purple. The paper size, as well as butting bleeds
may be troublesome
may
well
in color,
know
of a
few
other tricks available for your use. Solicit his help and be aware of the
the pages
fall
if
it.
to have a purple
way
page
what colors
it
is (its
Chroma
We tend
remember
it
has
is
because
we
like
light,
legible.
you
To help you
ideal.
is
show
Enough
hue.
it
many
it
be
ink
on
it,
the color
at
it
to
is
chroma, and
is all
that
is
run
What
The principle
in
too
If it is
it.
in
to achieve visibility
If it is
if it is
use?
make
to
has.
you need
value:
is its
visualize colors,
it
surprinted on
is
will
The midrange
from each
its
hue
its
too
the
that
is
the degree of
is
(its
in a large
simple, though:
if
will
be seen
tint
worth doing,
is
in a
a dull
If it is
colorfulness
swath or as a
it's
if it
necessary.
its
hardly
it's
gusto.
screen or
tint.
is
usually run
It is
If
so,
in
combination
is
prepared
it.
The overlay can be made of paper (tracing paper that can be seen
through and drawn upon easily in ink to make keyline outlines) or
cut-and-peel amber or red film (see page 50). The overlay must also carry
the specifications for color and screen percentages, if any. The procedure for
1
other
Covering
a plain
and duotones
tint of
color
is
a simple
and
them
If
157
light
is
percentage of the
A duotone
photo, but
run
it.
wise to make
to a
paler by screening
it
made from
is
fill
in
tends to rob
it
it
of
its
If it is
low
colorfulness.
like
the tinted
in
don't
in
it is
and
in color.
it
is
is
achieved overall. By
plates, the
The duotone
tint
considerably
is
less
expensive than
It Is
colors
to print a
Furthermore,
pretend
make
possible to
or
is
it
is
it
in
in color.
triotones
duotone
photograph and
a colorful subject
full
browner
ink).
and separate
it
though
as
it
were
full-color
perhaps a
a
little
There
grayish) that,
is
when combined,
Running type
in
brownish, a
brown
a color that
bluish, or
little
is
in color;
is
all
you need
is
money.
color
You should do
this
words,
is
if
there
only
if
enough
the color
contrast
is
and weight
a type size
bolder. That
out type
in
is
the
same
it is
for the
principle you
reduced
other
in
need
to
legibility of
words
in
ample area
for ink:
compensate
it
reversed type.
common
is
a highly
ways.
transparency
exposures
in
is
placed
in a
"process red"), cyan (often called "process blue"), yellow, and black. These
negatives are continuous-tone
(i.e.,
When
they are
2.
is
a faster
difficult.
Other than
process
that, the
is
make
a proof, or are
When
the film
is
corrected,
it
is
3.
machine
in
which the
original transparency
it;
is
is
an automated electronic
placed on a
drum and
by means of a computer
procedure,
it is
of the equipment,
the
Proofs to check
what
skill
however
quality
Its
(for instance,
activates
it
it is
a very fast
you'll
be getting
is
It
consists of
good
idea of
effect
is
and
is
bound
likely to be.
is
When
created by the
Accuracy, therefore, cannot be expected from color keys, but they are a
Cromalins.
for
Made from
checking stripping of
tints in colors.
sheet of paper to which a thin sheet of photosensitive film has been applied
plastic.
It is
an accurate preview of
the final product. (Watch out for the jargon: you have a set of separations
"cromed,"
the
i.e.,
made
Press proofs.
press proof
it
is
in a
expensive, and
is
on
it is
printed
may be
slide.)
from those
35mm
small quantity
is
"cromed" with
may be
is
different
taken on an
misleading, and
Progressive proofs
Process color printing
done
is
in a
standard sequence:
yellow
first,
on the sheet, followed by magenta, and then cyan, and the black
as the top layer.
color,
If
fifth
it
placed
is
prints last
although
last,
this
could vary. Progressive proofs or progs are paper proofs printed as press
proofs showing each individual color by
combinations
get
in a
sequence
as well as
itself,
is
the various
all
that
and
indeed, which you examine, nodding sagely and hoping for the best. The
one over
then yellow
blue;
yellow
black;
yellow
yellow
+
+
is
red
red
black;
red
blue
black,
wistfully
black;
yellow
blue
i.e.,
is
the
first
that
need
to
be
color to go down),
then blue;
red;
+ blue;
+ black;
+ black; red + blue +
yellow
blue;
red
on the corrections
to decide
then yellow
black;
is
red,
is
it
red
blue
wonder what
on
is
would be
it
black;
top.
like to
have the
courage to use only three of the four colors, because the red/yellow/black
combination
often so
is
much more
Proofs
show
you shrug
off that
temptation.
color bars along the bottom edge of the paper. These are
in
ink, trapping,
to
which depends on
of a transparency,
light shining
through
film,
it,
its
light
own
characteristics.
result
not!
on
Do you
You
them
tell
this into
tell
that matters.
Is
it
with respect
the technicians
+ 15 blue-5 mag,
as clearly
and precisely
on your readers
account, compensate
its
attempt to
story.
It
is
in
o.k.
technical
on
as possible
the effect
If
If
the
object looks too green, write on the proof "Too green" and draw an arrow
to the outline of the area that offends you.
and
to
dull, write
"Too
dull,
make more
If
contrasting."
flat
is
You
tell
how
produce
shorthand for
in
But
*K
If
blac/c to distinguish
it
it
will
of view.
for you.
do
it?
from blue.
If
second
your supplier
If
That
set of proofs.
done, however,
rarely
is
You assume
a respected house.
is
that your
result
(which
will
inevitably be
hope
to
it
piece
printed you have forgotten the minutiae that irritated you about the
is
proofs.
in its
the
itself,
and those
way
somehow seem
to matter
much
it
less
as a
Squinting through a 4" x 5" transparency into a 60-watt light bulb will
make
at against
the bright blue sky. The industry has set up standards for viewing originals
and supplier. So
if
in
you use
it is
wise to invest
light
correctly
lit
for
viewing proofs.
common
focus. This
reflection copy,
premium
a single
one
for
You
all
single
can't
in
one batch;
mix
pale,
Lastly,
all
all
originals
must have
must
several
reducing the unit cost (although, obviously, you have to pay for a very
unit,
is
in a
viewing
investment
By ganging up or
is
for
to
be
you must
set for a
clearly
median
that
your material
fit
into the
shot,
in
which the
Duping
2.
to size.
If
all
focus and thus cannot be ganged up, you can have duplicate transparencies
made
before
it is
separation than to
3.
you need.
It is
cheaper to copy
Page positioning.
it)
and gang
it
photograph
up
for the
dupes composed so
mounted on
acetate
exactly as they will appear in print and are turned into separations that way.
That dramatically reduces the stripping charges: every time you have a color
picture, the printer
must
the red, yellow, blue, and black elements), and each strip costs a given price.
If
you have,
charges. But
will
be paying for 16
strip
at
What
you need
to
know
on newsprint
away
are filed
is
likely to
Yet information
heavy or
more
Your choice
is
is
is
printed
a direct
the paper
printed.
light? Stiff or
Crinkly or flabby?
interpreted as
in
life
in that
about
paper
is
Whatever
Handmade
or machine
made?
in
texture?
Slick or pulp?
criteria:
what
is
money. Paper
what
much
that they
may
on second
crucial in
best.
what your
available;
is
is
is
need
well
why you
to
compromise
persuading your
should invest more
in
With
want
that as a philosophy,
paper?
in
knowledge, where
to a point.
a dauntingly complicated
It is
common
specifying
what you
in
order to
make
it is
he
is
The
using by
its
printer buys
in
bulk, keeps
it
supply
it
it
If
resells
it
to the
customer
stock,
at
you can
may
far
samples, free
dummies made
promotional materials of
gladly
and
for you, or
in stock,
is
come
all
to discuss your
to
who will
in
the
start,
few fundamentals to
How big
is
a piece of paper?
It
depends
printing
is
and
that's the
done on sheets
problem.
that are
is
In
much
page
size
sheets;
2'"
may
x 17"
be available). However,
also
size,
is
8V2" x 11".
is
It
assume
us
let
likely that
will
it
that
be
run on a sheet of paper that measures 11" x 17" and thus will yield a four-page
signature, printing
two pages
(to
to each side.
A 16-page
an eight-page signature.
signature
fits
see typical impositions, see page 96). Printing four pages on each side
at a
time
time
is
is
In fact,
the paper
comes
yet a
and
is
brilliant!
little
is
dictate that
in
in
size system.
That
why
why you
also
is
But the plot thickens: Paper sizes, even the standard ones, vary
for letters
in
a standard
Book paper,
offset paper
Newsprint comes
come
in
specifically
made
for
in
Text paper, used for booklets and brochures that warrant color and
comes
texture,
in a
made
to a
much
You need
text
paper
in
to
know
Basis weight
Briefly defined,
it
the weight
is
about
a stack of
pounds
in
you have
If
500 sheets of
text
of a
a "basis
the size
in
lbs.,
each
sheet measuring 25" x 38". That same paper can also be referred to as
"80-lb. text." So
and
far, this is
list
not
difficult.
What
is
frustrating
availability tables,
everything
in
talk in
is
that in price
terms of a ream of
160 M.
that same 80-lb. text has to be seen in the tables as 25" x 38"
To complicate your life somewhat further, the basic sizes mentioned
here are only reference numbers used for defining basis weight. The paper can
"M." So
actually
be purchased
are also
all
Lest
in all sorts
weights
made
in
they have
not.
Should you be talking about business paper, the kind you type or write on, a
is
measurement
of a
17" X 22" from which ledger, bond, manifold, and mimeograph papers are
cut.
So
in this area,
Weight
piece
have
go
in
lighter.
flimsier,
an important consideration
at the
number
dummy
of pages in
of the
it
and
may
But that
if
It is
weighed
it
may be
of stock
your publication.
not
is:
is
know
that figure.
in
paper (referred to as
a single sheet of
to realize,
however,
is
that
it
is
perfectly
possible for one piece of paper to measure fatter or thinner than another, yet
both weigh the same. Thickness depends on the degree of squeezing that
the paper underwent
have
a piece of
in
is
it
reasonable to
less,
publication that consists of just a few pages, a thicker-feeling sheet will add
in
is
not measured
terms
in
we now have
course.
The period
of transition
is
will,
due
you can see the printing from one side through the other side of the
paper, you have show-through. Clearly, the thickness of the paper has
something to do with
likely to have.
But
it
this:
may
The thicker
in a
may be
side.
this
is,
in
You have
it
may
can cut
fillers
And having
a sheet that
really
live
make an
intelligent
concerns you
is
this:
judgment on
How much
Brightness
Brightness
will
is
an important quality
in
paper because
in
it
more
affects the
way
many
the brightness
is
pictures
photos, or
if
if
you
premium
price for.
Shininess
Shininess
up the
is
surface.
shininess
any degree of
dull or glossy, or
in
made
to
To reproduce halftones
better. Screens
Why do you
need
it?
density on coated paper than you could expect on uncoated paper. That
why you
much
can use
finer screens
on coated paper
up
is
to 150-line or
On the other hand, the shinier the paper is, the more difficult
becomes to read the text because of the mirror effect caused by highlights
on that paper. Readers see a greater value in "slick" publications than they
do in "pulps," so you have that aspect of value judgment to consider in
even 200-line.
it
Finishes
These
affect the
result of the
manufacturing
final surface.
in
the
the following
in
machine
machine
yet another
that
linen,
it
through
tweed, pebble,
and more.
Wove paper
lines within
it.
in
make
the
Colored stock
We are
black ink
is
It
concerned. Whether
shown
this
is
in fact
the ideal
may be
is
arguable:
Some
detrimental to
readership and that a gentler contrast, such as you get by printing black on
light grey,
might be much
be helpful
in
An
Antique paper
is
been found
to
(also called
calendered) nor
coated. Eggshell finishes give uncoated paper a nonglossy, soft effect and are frequently
used for antique papers. Vellum finishes on paper result in smooth, somewhat waxlike feel
and some translucency. A smooth paper that has been calendered but not glossed is called
English finish, while machine finish signifies paper that has been smoothed by passing
through several rolls of the calendering machine. These and other paper terms may be
found in The Bookman's Glossary, Sixth Edition, edited by Jean Peters (New York: Bowker,
Franck (New York:
1983), and Dictionary of Publishing by David Brownstone and
I.
manufacturers.
Is it
why
carefully
not
if it is
if it is
used
hand. Problems
at
Printing halftones
1.
muddy and
we
expect to appear
"white") cannot be any lighter than the color of the paper on which they
are printed. Color, however,
blueness,
is
hue (redness,
etc.)
If
i.e.,
the equivalent
2.
in
But
playing with
it is
at
is
your publication
terms of
legibility
its
own
and reader
test run
look
fire in
special character.
fatigue. Invest in a
this nature.
By
all
means,
make you
freedom and
excitement, their quality and originality. But be aware of the fact that on
those promotion pieces, the tricks depend on the most subtle uses of various
kinds of inks
rotation
(i.e.,
know about
these
tricks.
future,
unexpected
in detail in
the technical
will
remain
in
is it
to
become one
is,
more
selling widely,
companies keep
of your recognition
like
The paradox
less likely
fairly
symbols, just
from
in
material.
overall.
last
of what)
and
is
it
in stock.
Its
is,
the
specialness prevents
it
its
dependable
availability.
Newsprint
Anything that
is
in
cheapness and, therefore, the lack of permanent value of the piece that
is
characteristic
written, the
is
to
way
rest of the
product
if its
positive
way
is
all
should add up
A new,
its
perceived value
(a
is
is
It
runs
Envelopes
In
If
it
is
it is
merely
Chances are
common
fit
it
common
envelope
sizes:
papers
sizes. Large-size
the brown
Remember
same
bond paper.
text or
come
in all sorts of
kraft
white or gray.
variety of
# 93Va"x87e"
#10 V/b"x9V2"
#11-^1/2" xioys"
in
sizes,
custom-made
what you
absolutely
The way the piece
III
^T
will
know
it,
how
far
affects the
in
in
your pictures,
on you
about
number
of interrelated factors:
The
1.
print run
will
of publishing.
printing,
2.
The
3.
The kind of
commercial
folding,
machinery
binding.
vicinity.
printing).
The
4.
your
availability of in-house
in
5.
The existence
6.
of printing contracts,
if
any.
service
while you wait, or whether you are so well organized you can spare a few
3nCl
days
finishing
at
the end).
7.
The need
whose
cost
8.
the
is
itself,
but
in
a multicolor press,
is
away you
Here
can be
is
made
and so
list
it
yourself, as
it
compared
own
from
forth.
in printing. No specific recommendations
many requirements, and individual situations
Stenciling
are,
in
any decision.
yourself
The most primitive reproduction method
is
the
spirit
duplicator
two sheets
for runs of
of paper; the
image
is
It is
of the top sheet, which, like carbon paper, bears a coating of dye carbon.
In turn,
in
when
they are
Mimeographing
This
also a direct-stencil
is
method
of reproduction,
The
which
stencil
is
is
utilizes a stencil
made
of a thin,
punctured by typewriter
when
keys or any other sharp instrument. Ink passes through such breaks
stencil
is
and paper
roll
become the
whose machinery
it
has
for
moving
the
be printed on.
to
machine,
a specific
and "escalator"
is
staircase).
improving, promoting,
selling,
publications produce
stencils,
problems
the
in
mind
of the editor
is
one
of struggles with
in
it
is
frustration.
now
that
advantage of
costs less to
mimeo
buy or
cheaper stock
is
is its
lease,
to get a
also control
it
equipment
machine
yourself.
for
doing
is
it
It
(It
comes
also
simple, so
is
built-in
it
could
advantages:
when
it
in a
it
to be porous, so
to a
great
its
off, as
use,
well as
dry ink
powder
to
fall
depends on
original
heat.
responding to
magnet and
paper are
like iron
a variety of
sheet sizes up to 11" x 17", produce up to 150 copies a minute, and separate,
it
in
the
is
your text
In
in
!)
and imprint
a subsequent operation.
169
Letterpress
The method used by Gutenberg, who invented movable type,
use, although the
Letterpress
is
some
in
also called relief printing because the parts that are to print
those
is still
bumps and
is,
in
paper
applied by rollers to
is
an impression that
in
damaging the
often
is
made.
Halftones are etched on photo-sensitive copper sheets with acid and then
attached to
wooden
is
made
on the linotype
machine,
(line of type!)
after
each
line
Page makeup
is
when
column of raw
comes
it
dummy,
word
the old
(that's
is
for
stored on long
type.
Offset
Offset lithography, photo-offset, litho, sheet-fed offset,
variations
done from
flat
surface.
The
on which
principle
it
in
is
is
web
offset
are
all
based
is
is
chemically treated
in
such a way that the areas that print attract ink and repel water, whereas the
areas that
It is
do not
print attract
called lithography
developed
it
around 1796
ink.
as a
method
on which he drew with greasy pencil and which he then covered with
The greasy
parts
that
ink,
but not from the parts that were merely wet with water.
it is
parts.
acid.
called offset
is
continue using the old method of lithography for their special purposes,
no longer
plates are
made
on the
plate onto a
is
transferred
in
commercial
wrapped around
sheets of paper.
paper
is
Web offset
cylinders or rollers
roller,
which,
is
made
of
aluminum,
plastic,
lines.
in turn, prints
it.
fed precut
we
printing. Instead,
rolls;
the
been done.
fine
is
produced by the
fast-print shops,
storefront premises
maximum
to a
occupy
restricted
equipment
typically
in
as well as the
Commercial
skill
vary,
depending on the
it
is
usually
price.
8-page forms
at the
size, or
press time
is
much more
is
advantageous because
it
stripping and make-ready (preparation of the press for running the job just
They
so).
will
list
customs that
of trade
spell
out the
and expectations.
Gravure
It
is
mentioned here
works
in
the opposite
it
is
way from
being raised above the nonprinting background, they are cut or incised into
the printing plate by engraving or by etching with acid. These hollows, then,
are filled with ink (the rest of the plate being cleaned off with a doctor
blade).
The paper
to
be printed on
is
pressure, and the paper sucks the ink out of the plate.
Rotogravure means that the press uses cylinders to which the plates are
attached; sheet-fed gravure
is
much slower
flatbed process
at a
time
is
faster,
tell
quality
Can you
where the
manner.
Examine
a single letter
and smooth
all
under a linen
over,
it is
offset.
tester or
If
there
is
8x-power
the edges, resulting from the metal being forced into the paper,
letterpress.
Why
friends
need
If
tell
If
the
it is
it is
gravure.
and confound your enemies. But watch out! There are traps that
to be avoided.
electronically
such
loupe.
letters
Some new
letter
up from
tiny dots.
The
overall outline of
glass, so
don't bet
afford to lose.
171
what happens
after printing?
If
your publication
nothing
it.
But
is
in
that publication
if
mind the
last series
is
a bit
it is
may
flat,
then
as well skip
essential to bear in
problems and annoying delays unless they are understood and taken
into account.
The
printer
is
is
it
is
other
in all
his contract
for reference
when
discussing your needs with your suppliers. The trouble with such samples
that they are probably beautiful, flamboyant,
it's
life: If
you
like
it
it,
too expensive.
affects
As paper
proper utilization
its
is
made, the
fibers of
which
in
to turn parallel
what creates
is
two ways.
in
the paper
stiffer in
is
said to
more
easily
and
the
way
the piece
is
be useful
into a folding
be grain long.
folding
against the
it
planned,
a grain,
First,
the paper with the grain yields a smooth fold, whereas folding
it
is
machine
on both sides
enormous one
is
made
no matter whether
64 pages)
fed
(of
and folds
it is
into a signature or
it
slice off
It is
then
is
easily,
scoring
is
should
fall
and
is
somewhat
tricky, for
it
its
purpose
must be done
is
right.
machine because
it is
essential to
it
to prevent the
It is
best
paper
done on the
emboss, or
raise a
bump
in,
the paper, which should be facing into the inside of the fold.
parallel
and right-angle
Here are
folds.
(8
few
Accordion fold
Accordion fold
(6
French fold
pages)
Two
pages)
(8
One
pages)
find useful.
parallel,
two right-angle
If
a piece
is
not folded
in half,
it
is
who
only need to
as a
some
Single foldout
Half-page foldout
Full
If
horizontal booklet
there are a
number
process, whether
it
means
to an end.
shown
Once you
they can be
in
surprising effects.*
Double foldout
Accordion foldout
is
called collating.
*For more on this see Jan V. White, Editing by Design, Second Edition (New York:
R. R.
Bowker, 1982),
p. 76.
Binding
There are seven basic methods of assembling pieces of paper.
1.
Stapling,
is
a satisfactory
(in
need
to attach
it
If
you
stapling altogether.
3.
Saddle stitching, which entails driving staples through the fold of the
backbone or
spine.
of pages: the
is
opened.
4.
face of the stack of signatures Va" from the backbone. Side-wire stitching
is
Its
the stock
disadvantages:
is
is
it
a struggle to
at
the
Perfect binding,
When
adhesive
is
adhesive to
binding
is
make
that pages
lie flat.
fall
is
out.
square back to the publication. That allows for running the name, volume,
is
likely to
pay
greater attention and keep the piece for a longer period of time, especially
if
thread. This
end
lists
lie flat in
is its
in
volume.
Mechanical binding,
7.
in
which
Among
and so on,
it
plastic or wire
in
offers the
when
lie flat.
its
a large
neat stacks.
Diecutting
Diecutting
is
the expense
it
may prove
its
unexpectedness for
using
point or
wasteful.
for
the inner content of a story. As the poet says, "Form without substance
casts
no shadow."
Technically, diecutting
profile or
punching a hole
is
in
It is
done by attaching
specially
made
shaped
of extremely
hard, sharp steel, are either straight steel rules or hollow, like cookie cutters.
Standard shapes of various kinds are available, but custom shapes can be
made
found
if
you want
in
drilled.
keyhole syndrome
is
hard to
interrelationship of graphics
worked out
and not
page
that
resist
as
any ecdysiast
precedes
it,
The
or right to
which
is
the one
we
left.
Diecutting the edges of paper can be used for two basically distinct
if
one
is
situation,
is
run
in
all
its
can be
in
another,
an accordion fold
that's the
only
way
to explain
start
folding
it
into
it.
Perforating
if
is
to
is
done by
done before or
Laminating
Although
effect of
it is
your cover,
is
it
worthwhile
knowing about
at least
its
existence.
A
last
less
step
in
last
pass through the press. For special effect, the varnish can be restricted to just
small areas, printing
you would
case,
Self-mailers
The question
been discussed
67).
if
that
in
the chapter on
is
able to dispense with the envelope altogether and send the piece out as a
self-mailer.
its
stiff
enough
to resist scuffing
increased cost will surely be lower than the cost of envelopes and stuffing.
The postage
is
It
will
enough
critical
Full-paee size
make
to
it
is
by handling. But
if
can do to fold
Accordion fold
(fits
a No. 10 envelope)
come open.
One SVi"
it
interestingly,
x 11"
direct
means
page by
all
is stiff
that remains
itself
is
will seal
likely to
will get
damaged
to think of
so that
it
what you
doesn't
is
The four-page
unit,
however,
allows for a variety of folds and self-mailers. Here are four basic shapes that
^T
French fold self-mailer (also
fits into a 6" x 9" envelope)
(i.e.,
Sealing
(if it is).
2.
After
With
all,
made
(if
the staple
to the recipient
because
isn't
a sticky tab of
peel-off seal
who
paper
some
sort:
It
at a stationery store,
glued on by hand, or a
Or
it
small paper tab by machine. Cost and visual effect are the criteria on which
Accordion fold self-mailer
to base
your decision.
INDEX
AAs
(Author's Alterations)
Coding system
Art,
camera ready
Art,
standing
147
Banner
135
50
14
Bendays
174
174
saddle stitch
Smyth sewn
174
Ems
149
Board, illustration
Boards (mechanicals)
147
Boldface lead-in
72
140
Border slides
59
123
161
120
Continuous tone
Callouts
Captions
52, 55
Flop
Copy paper
45, 53
Focus
161
85,98,99,101
107, 150
70,166
Cut-off rules
11
Decks
Catch lines
72
Departments
page
Character count
153
45, 53
Character, unity of
Chroma 157,166
Chromes 120
138
172,174
15
Format, recognizable
Frontispiece
93
Galley proof
56
66
Galleys
170
Ganging up pictures
128,130,161
Ghosting photographs
70
in
173
123,170
52
Clip art
Form
123
to right
Foot of page
163
98
33,74,127
Folding
Cutlines
left
Fold, short
59
Casting off
Changes
impression
Copyfitting
Cameraman 127
Camera ready art 147
First
153
Cut (picture)
72,144
129
59
14
Cropping
25
13
Flap
Cromalin proof
164
Calligraphers
113
155
cylinder
Finiais
Flag
Cover stock
Caliper
Fifth
52
128,161
casting
Covers
126
167,176
Executive typewriter
Fillers
123
Coverlines
144
Brownline proofs
122
41
4,
focus
Counters
141
Breakouts
50
Extension drawing
157,166
Contact sheets
Copy
135
172
Engraver's scale
157
Copyboard
Body copy 57
169
48
En quad
156
Envelopes
Compositor
70
Boxes
155
Common
123
Blues (proofs)
Embellishment
Embossing
fountain
Columns
149
Blocking film
Blurb
second
value
156
Bleeds, butting
170
Em quad 50
155
120,121,122
94
Bleed
30,88,103,104
30,52
Elite
155
tint
174
stapled
161
15
its
Electrostatic printing
process
split
type on
Electroplates
174
side wire
157,158
to size
Editing
155
158
159
prints
175
Ear,
155
in
matched
mechanical
perfect
Duping
157
keys
174
folded
140
hue
174
edition
contrast
34,149
sheet
Duotones
halftones
174
Binding, case
Dummy
155
157
158
57,109
Dummies 146,151
155
160
emphasizing
133
172,174
Bindery
background
chroma
decorative
54,59
Baseline
Dropped-out type
24,108,154,168
bars
171
Color, articulating
Artwork, commissioned
Ascender
Color
41,133
Doctor blade
29
3,
167,176
Distribution
153
173
Collating
35,65,66,151
Display
104
Clustering pictures
Cold type
117,118
Arrows
Bowl
56
35
Alley
66
Good
62, 70
41
ideas swipe
Grain long
172
Department slug 41
Grain, paper
Depth
Graph symbols
of field
Descender
50
74
172
Graphic design
138
8,
"Design"
135
Gravure, roto-
Designers
20
Gravure, sheet-fed
Diecutting
175
file
Grease pencil
171
124
171
83,
145
108
Grid
96
jumping the
67
Halftones
108,129
158
color
In
138
Handwriting
65, 66,
bimodal
67
centered
68
downstyle
170
56
showthrough
69
text
170
wove 165
7,
95
56
PE (printer's error)
14,25
Perfect binding
Lucy
128
Photocopying
174
169
Photomechanical variations
Magazine, magapaper, magtab,
69
hammer 68
Makeup, building-block
jump 68
167,176
68
68
Up and Down
11
Horizontal modules
Pictorial/verbal blend
Pictures
Mezzotints
Middle tones
Mug
149
Illustrations, non-pictorial
85,98,99,101
128,130,161
83,108
113
negative
opener 98
pretty or awful
169
82
shots
124
scaling of
96
Nameplate
Indents, hanging
48
Negatives
124
sizing of
Indicia
15
Newsletter
XII, 2
Planning sheets
Initials
40,144
Newsprint
163
Planography
Intaglio printing
Internegatives
Notches
171
sheet film
in
Numbered
121
103
sequences of
14
113
122
150
170
124,127,129
Platemaker
PMT 130,137
38
lists
93
100
scale
144
Imposition diagrams
38,
3,31,48,62
type
Offset
Kerning
43, 48, 64
Keyline
107,133,146,147,152
15
newspaper
Lead
st>le
170
Outline
107
Overrun
24
140
Leading
48,60,61
70
71
161
cromalin
162
bond
165
brightness
bulking
170,171
coated
22, 43
161
galley
164
159
153
press
159
165
26, 56
128
Vandykes
163
160
56
reproduction
salt
164
163
46, 47
56
page
reader's
cover stock
finishes
35
progressive
163
box
133
123
153
Letterpress
Light
Proofs, blues
Page positioning
Letterhead
Ligature
168
Proofreader's marks
book 163
Legs of type
26
Page, changes in
antique
72
26
Printout
brownline
Paper
Lead-ins, boldface
Printers
Print run
Paragraph indents
Leaders
Legends
98
picture
175
Laminating
24
24
Press pass
170
web 170
Opener
164
70, 93
Preprinting
170
sheet-fed
157
Label, address
Precede
170
plates
Key plate
10
103
ghosted
131
164
Mils
dominant
ganged up
131
Ntimeographing
board
175
23
104
clusters of
147,151
Humor 139
64
imagery
cropping of
Hue 157,166
Hyphenation allowed
138
Mask 84,107
Mechanicals
12
30, 52
Pica typewriter
Marking up copy 47
Mechanical binding
101
49
and points
Pictorial
14
130
128
Photostats
Pictograms
Measure 48
68
wall to wall
Horizon, alignment of
Makeready 171
Masthead
69
style
XII,
Picas
10
tabloid
kicker 68
Illustration
163
Logo
Mailing
running
163
163
trim size
eyebrow 68
staggered
164
substance weight
6!
163
163,165
offset
numbered 38
Lithography
38
147
Linotype
Lists,
Hanging indents
65
61
Linework
165
laid
newsprint
Line length
Halftone screens
132
131,136
Linecut
172
grain
Line conversion
149
Light table
Cripper edge
123
warren print
128
Proportioning wheel
126
Space 151
50
Rag, rough
Ream
150,152
Spread
Relief printing
170
Square back
Rescreening
Reversed type
Rotogravure
57
174
Story
58
serif
100
pictures
in
Scalloped columns
123, 146
Stripping
in
176
shapes
54,60
65
tint
Sheet film
condensed
132,133
screens
extended
93
54
13,141
Signature
Silhouette
37
Silhouetting, partial
115
Size as importance
88, 96
Slug,
48
Inkjet
30
60
94
124
department
65
83,86,107
Sizing pictures
16
55
family
leading
4,96,172
image
drop shadow
dropped out 57
122
Sideheads
in
41
loose
65
measure
48
measurement 49
reversed
57
set solid
54
size
42, 50
Slug, proof
56
strike-on
Small caps
48
stripped
29
in
145
44, 48, 55
43
contrast
Showing (specimen)
Size of
42, 48
3,29
color variation
174
Shirttail picture
Sidebars
158
Triotones
cold
35,90,140
50, 59,
60
107
Xerography
120,160
Type, boldness
65
Sewing, Smyth
Shading
145
68
Trimming 172
103
X marks
Transparencies
58
White space
Windows 152
Wrapped form
Xerographic prints
158
Set tight
109
10
158
Set solid
163
57,
X-height
XII,
107
direct screen
Sequences of pictures
79
15
112
conventional
Set loose
109
Vignetting
Visual editing
48
Tombstoning
158
color scanner
10
Verbal reportage
Waist high
letters
Targets
in
175
Velox 128,130,147
57,109,129
37
Tabloid
Text
155,158
Separations, color
123
175
Varnishing, spot
Video terminals
141
85
132,133
176
Self-mailer
136
Stripper
Symbolism
108,128
Screens, photomechanical
Serifs
174
components
Swash
Screens, halftone
Sealing
174
Surprinted type
172
Scoring
157,166
Varnishing
169
Substance weight
91
8,
168
Scheduling
29
Vandyke proofs
168,169
Subheads
124
Scaling pictures
33
styles
59
Stock photos
11
30
pitch
Value, color
Rules, cutoff
Scale
33
Stitching, saddle
140
29, 53
Typographic amendment
Stencil, electronic
152
Ruled lines
28
30
41,133
art
Stapling
Stencil
139
elite
21
174
Standing
Stem
171
25,151
Rubber stamps
135
pica
175
SS (same size)
121
83,108
Retouching
Sans
168
3,147
Register marks
26
Typewriter type
156
Spot varnishing
121,161
57
69
executive
Split fountain
Reflection copy
Rules
47
4,174
Spine
65,
Typesetters
Spirit duplicator
56
163
Rough
tight
31
Speed of communication
31, 48, 52, 62, 63, 64
right
Readout
Spacing out
Specifying type
64
64
Rag, tight
Ragged
64
surprinted
48, 60
Spacing
Rag, hyphenation allowed
57
169
145
155
made easy
internal or external
need
to
know about
all
printing processes.
This step-by-step
how to
how to
where
all
them more
imaginatively
stitching, or folding