BOOK-PRODUCTION NOTES
By J. H. MASON
THE important work done by the private presses of the last twenty-five years will probably be found to be in its results more far-reaching than that done in any other artistic craft. For, in addition to giving the world monumental editions of chosen works, such as the Kelmscott Chaucer, the Doves Bible, and the Ashendene Dante, they have set up the right standards in type lettering, margins, spacing, paper, illustration, and binding.
Even in binding they have set a standard that can be widely applied; for the linen back and paper sides that were good enough for a Kelmscott Press book set an example of wholesome plainness that has done a great deal to improve the task of publisher and public. The publisher of this generation is in strong reaction, as a rule, against the cloth gilt extra of his father and grandfather. The Artistic Crafts Series, edited by Professor W. R. Lethaby, is a notable example of such a plain, useful cover. One of the earliest, the first I think, of this series was that dealing with Bookbinding, and doubtless this was largely the cause of the series starting right in the matter of covers. One regrets that there wasn't a printer available to have influenced the choice of type and dimensions of the page—the series that is satisfactory in both respects has not yet been published.
Type, paper, proportions of printed page and margins, and finally the cover, are the chief matters to be considered in producing a satisfactory book, and all of these cost no more—with the exception of paper—when right than when they are unsatisfactory. Even in the matter of paper, there is a wide range of choice, in normal times, at every price above the very cheapest.
One generally sees the best attempts at book-production in small volumes of verse. Some of them are very attractive and show that care and thought have been spent in producing them. Yet, as a rule, they show some weakness, some lapse, to which the amateur is liable. The little book of verse, Arcades Ambo, by Lily Dougall and Gilbert Sheldon, published by Blackwell of Oxford, is an instance. A pleasant type, based on that of Jenson, the Venetian printer, pleasing both in design and weight (the thin lines are not in strong contrast to the thicks), predisposes us in favour of the book at first glance. The normal margins are good without being excessive, but they are spoilt on most openings by the dropped beginnings of each poem. Thus, on pages 22, 23, instead of the tail margins being three-quarters of an inch more than the head margins (the normal), they are practically equal. The result is that the type appears uncomfortably low on the page. Yet the good Venetian capital lines would have given an excellent line to the top of the page. The three-line initials are not in keeping with the capitals of the text; for their thin strokes are in too great a contrast with their thick strokes. Moreover, they are of a different shape—note the "T" in the text, and compare with the initial on page 22. The little black ornament in the headlines and the arrangement of the title-page and the label are also unsatisfactory. The press work is good, the inking of the type being full and even, and does the good design of the type full justice.
Another book with pleasant margins—perhaps a little more at the head would have been an improvement—is Max Beerbohm's Seven Men, published by Wm. Heinemann. (Miss Dane's Legend is, roughly, uniform with it.) To secure a good foredge margin without unduly shortening the line the book is half an inch wider than the ordinary crown octavo; this gives a squarer format, which is much preferable to the ordinary octavo. Such a format, too, gives the binder, in case the book is thought worth a leather binding, a chance to make a good design for the sides—the ordinary octavo precludes certain good designs. I cannot commend the "modern" type which has been chosen for this book; but I will discuss "modern" type on some other occasion.