The first transfer to be made is that of the key-plate. The fifteen impressions are laid in their proper positions on a sheet of paper of the required size, and are held in position on same by indentations made with a dull-pointed steel tool. The sheet is laid face down upon a cleanly polished stone, which is then repeatedly pulled through a hand press until all the ink has been transferred from the paper to the surface of the stone. The transfer paper still adhering to the stone is then moistened and washed off the stone, leaving the design completely transferred to the stone. A slight solution of gum arabic and water is then applied, the stone washed clean, and after being repeatedly rolled in with printing ink and etched, is ready for printing. An impression is then made in the usual manner from this key-transfer, which impression is coated with a solution of shellac. This is done for the purpose of rendering it impervious to the effect of the atmosphere, thus insuring against its stretching or shrinking. Upon this varnished key-sheet all subsequent transfer impressions of the ten colors are "stuck up," to use the technical term, and transferred to stone in the same manner as is employed in the making of the key-transfer. The register marks serve as a guide in "sticking up" the separate transfer impressions and insure an accurate register of the colors laid over each other during the process of printing. New register marks are placed upon the key-transfer at top, bottom, and sides similar to those on the original (which are removed from the transfer), and these new marks now appear on all color transfers to serve as a guide to the steam-press printer in printing his edition. He likewise uses the hand-press proofs of the picture as a guide in mixing his inks.
The lithographic power printing press is constructed on the same general principle as the ordinary typographic press, excepting that it is provided with an apparatus for moistening the stone previous to the application of the ink rollers. The stone containing the design is placed in the bed of the press, and the moisture, as well as the ink, is applied by means of rollers similar to those used in the typographic printing press. All the ten colors are now successively printed from the transfers on a steam press, and if it is a perfect job, the pictures can be cut to size and delivered to the publisher.
At present the cumbrous stone and the slow-moving flat-bed press are being supplanted by the light and pliable aluminum plates and the fast-moving rotary presses. The aluminum plate has all the requisites for the highest grades of lithographic or surface printing, and the rotary press is beyond doubt a vast improvement over the flat-bed press, not only as to speed, but also as to the quality and uniformity of its product. The mode of procedure in making transfers to aluminum plates is much the same as that employed in making transfers to stone. The pliability of the aluminum plate and the ease with which it can be adjusted to a printing cylinder has resulted in the successful introduction and use of two-and three-color lithographic rotary presses, printing at one operation two or three colors. It has been demonstrated that the result is fully equal to that obtained from the single-color press, provided good judgment be used as to the succession of the colors or printings. This marks a new epoch in the art of lithography and enables it to compete with the typographic three-color process, which has been making such wonderful progress during the last five years, and at one time seriously threatened lithography as a medium for the reproduction of certain classes of colored illustrations.
Our experience teaches us, however, that the surface or lithographic and the relief or typographic method will never seriously interfere with each other, but on the contrary by actively competing in all matter relating to the reproductive art will continue to improve their respective methods, and thus enable them to satisfy the continually increasing demands on the part of the public for colored illustrations, not only as to the quantity but particularly as to the quality thereof.[Back to Contents]
COVER DESIGNING
By Amy Richards
So many books of the present day have decorative book covers especially designed to fit each book that many people who buy the books are beginning to ask what suggests these designs and how they are executed.
Having made book-cover designs for a number of years, I have been asked to write a practical account of how these book covers are made, which will give an answer to some of these questions. This account will have no bearing on the designs used on hand-bound books with their beautiful "tooled" covers. These are a different branch of the art altogether from the so-called "commercial bindings" which I am about to describe. The designs for these tooled covers are as a rule made by the same hands that bind the books.
Every year hundreds of books are published that need "commercial" book covers. In many cases these covers are used to help sell the book; that is, they must be attractive enough to draw attention to the book as it lies on the counter in the bookshops and other places where the book is on sale.
Some publishers have artists, regularly employed, to make their own designs exclusively; but as a rule each publisher keeps in touch with a number of designers, sending for one or the other as the needs of a particular book require. When a design is needed, the particular sort of cover required is discussed with the publisher, the number of colors that can be used is mentioned, also the exact dimensions of the book and the material to be used in binding the book. Almost every designer prefers to read the manuscript of the book, if possible, or to have a synopsis of it, for, naturally, he can make a much more suitable and successful cover if he has a complete idea of the subject of the book.
Having read the book, or having been told what it is about, the designer makes one or more rough sketches in color, giving a general idea of the book cover, both as to design, color scheme, and material to be used in binding. If one of these sketches is selected, the designer then makes an accurate "working" drawing, either in color, or black and white. If a black-and-white drawing is made, a rough color sketch is sent with it to indicate how the die is to be cut.