COLOR AND ITS DISTRIBUTION IN PRINTING HOW TO ESTIMATE INK BY THE SAME AUTHOR COLOR AND ITS APPLICATION TO PRINTING 123 pages 47 illustrations 3 color plates Price. $2.00 — Mail. 10c. extra COLOR AND ITS DISTRIBUTION IN PRINTING HOW TO ESTIMATE INK EC- ANDREWS i. PUBLISHED DV N°w and Old bu a 5) atdu«uci>, biank Books TH AVE. Neari2ihSi. NEW YORK •E c OR ANY " "OU WANT. CATALOGUES FREE ( lopyright, 1910, by E. C. Andrews. THE HENRY O. SHEPARD CO., PRINTERS, CHICAGO. PUBLISHER'S PREFACE. Among the variable quantities that perplex the printer, the " breaking up " of color surface becomes increasingly difficult as the art of engraving develops and the critical taste of the buying public improves. As the just applica- tion of laws depends on foundation principles, the author of this work, Mr. E. C. Andrews, an engineer in chemistry, operating under the opportunities afforded by Philip Ruxton, Incorporated, has reduced the foundation principles of color and its interrelations in distribution to laws that are exem- plified by practical examples. In this matter the present work becomes also a sequel and exposition of the principles laid down in the author's previous work, " Color and Its Application to Printing." An important service has been rendered in this work in the laboratory tests and proofs of the covering power of specific inks on specific surfaces on specific papers. By means of the examples shown, the quantities of ink to be used for any job can be determined with almost absolute accuracy. The price of this work has been made on its service and not on its cost of manufacture. It is more than a book. It is a gauge to reduce waste and to determine qualities — in color distribution — and quantities, in ink. A. H. McQuilkin. AUTHOR'S PREFACE. Although " Color and Its Application to Printing " has reached the second edition in the original form, it has always been my regret that the various harmonies of color could not have been exemplified in that work. That it has sold in spite of its woeful lack of concrete examples assuredly indi- cates a desire on the part of many printers to acquire a knowledge of color harmony from a scientific standpoint. Mr. Henry Turner Bailey, editor of " The School Arts Book," in reviewing it, said : " In the realm of color, seeing is believing. The proof of the theory is its actual result in color harmonies." Mr. Bailey's appreciation of the color- scheme of the cover of that volume was so encouraging that I determined that, sooner or later, " Color and Its Applica- tion to Printing " would be exemplified. The result is the present volume, and while my great regret is that cost again limited the number of inserts, at least I have been able to avoid the use of enamel paper for the text and preserve correct margins in this work, while in the second edition of " Color and Its Application to Printing " the original error in layout has been carefully ( ?) followed. Such mistakes happen in the best regulated print-shops, and is a small mat- ter in comparison to the support that The Inland Printt r has given to problems that interest the printer. To Mr. A. H. McQuilkin, especially, the author expresses his acknowledg- ment for the cordial and sustained interest he has taken in this supplementary volume. To Mr. Adolph Jahn, of the Jahn & Oilier Engraving Co., I am indebted for the plates used in printing the inserts. My original intention was to collect from various engravers suitable plates which they might have on hand, and as it happened I presented my problem to Mr. Jahn first of all. When he learned the purpose of this book he felt that it would advance the art and science of printing and not only agreed to contribute any and all plates, but offered the services of his art department in retouching or preparing copy. The foreign examples were reproduced from colored prints, requiring careful separation of the colors with filters. All of the paper-houses mentioned were most gracious in fur- nishing paper for experimenting, so that as far as plates and paper were concerned I could have used many more inserts if it was a question of proving only. Again I must thank Mr. Fred S. Bertsch and Oswald Cooper for the drawing of the title-page and cover-design, as well as for Plates 2 and 3, which demonstrates some of their best work for advertising of this character. To Mr. Frank G. Winter, of the Faithorn Co., I am indebted for the composition of the eight, ten and twelve point type shown on Plates 29 to 37 ; to Mr. Sherman Ruxton, for help in prepar- ing permanent files of various experiments ; to Mr. E. E. Sheldon, of the Lakeside School of Apprentices, for the examples of the work of his students ; to Mr. Floyd E. Bar- meier, for assistance in weighing when determining cover- ing capacity of ink ; to Mr. James F. Kerns, for patient color- matching, and especially am I indebted to Mr. Julius W. Weigel for excellent proving and presswork. May the future larger editions be as well printed ! The number of different kinds of paper in use is so large that I feel that I have done no more than to outline a method of approaching the subject, and for this reason I have left a few blank pages for personal notes on covering capacity and for notations of cognate facts and figures. November 10, 1916. E. C. Andrews. PLATES, PAPER AND INK USED All the plates of this book, except the frontispiece, were furnished by the Jahn & Oilier Engraving Co., 554 West Adams street, Chicago, and all printing-inks by Philip Rux- ton, Inc., 161 West Harrison street. BACKBONE LABEL Stock : The Paper Mills' Imperial Vellum, 22 x 28. Inks: Cover Green Z-829.' Cover Brown Z-828. Thickness No. 1. COVER AND END-SHEETS Stock: Strathmore Paper Co. Bannockburn D. E. Cover, 26 x 20 — Light Weight — Shetland Buff. Inks: Cover Green Z-830. Cover Brown Z-831. BODY TEXT Stock: The Paper Mills' Company Flat White Dull Uncoated Book, 25 x 38 — 80 pounds. Ink: Dullo Black A-385. FRONTISPIECE Plates: Design and plates by Wm. E. Rudge, 218 William street, New York city. Seven colors. Stock : Chicago Paper Company Cromac Offset Book, 25 x 38 — 120 pounds. Inks: Transparent Yellow Z-800. Transparent Buff Z-801. Transparent Pink Z-802. Transparent Lavender Z-803. Transparent Light Blue Z-804. Transparent Purple Z-805. H. P. Dullo Black A-166. Plate 1. Ideal Proportion of the Rectangle. Stock: The Paper Mills' Company Alexandra Japan Cream Plate, 25 x 38 — 70 pounds. Ink: H. P. Dullo Black A-166. Plate 2. Harmony of Ink and Paper. One Color with Type and Illustration. STOCK: James White Paper Company Hancock Dull Coated Book — White, 25 x 38 — 100 pounds. Ink: Dullo Green-Black A-214. Plate 3. Another Example of Harmony of Ink and Paper. Stock- James White Paper Company Hancock Dull Coated Book — India, 25 x 38—100 pounds. Ink: Cameo Art Brown C-103. Plate 4. Harmony of Half-tone Subject with Stock and Ink. Stock : James White Paper Company 'Hancock Dull Coated Book — India, 25 x 38 — 100 pounds. Ink: Dullopaque Green E-117. Plate 5. A Good Analogy in Color of Stock and Ink. Stock : J. W. Butler Paper Company " Warren's " Cameo Plate Coated Book — Sepia, 25 x 38 — 90 pounds. Ink: Dullopaque Brown C-95. Plate 6. Half-tone in Appropriate Color on Dull White Stock. Stock : J. W. Butler Paper Company " Warren's " Cameo Plate Coated Book — Pure White, 25 x 38 — 90 pounds. Ink: Cameo Art Brown C-103. Plate 7. The Addition of Two Decorative Colors to Plate 1. Stock: The Paper Mills' Company Alexandra Japan Cream Plate, 25 x 38 — 70 pounds. Inks: H. P. Dullo Black A-166. Velvet Green No. 411. Radford Red No. 103. Plate 8. Plate 1 on White Stock with Decorative Colors in Higher Value. Stock: The Paper Mills' Company Alexandra Japan White Plate, 25 x 38 — 70 pounds. Inks: H. P. Dullo Black A-166. Emerald Green No. 401. Flaming Scarlet No. 150. Plate 9. Christmas Announcement by Students, in Red and Black. Stock: The Paper Mills' Company San Marco Hand Made, 12 x 17. Inks: H. P. Dullo Black A-166. Cover Red Light No. 108. Plate 10. Purple as a Decorative Color with Black. Stock: Chicago Paper Company Cromac Offset Book, 25 x 38 — 70 pounds. Inks: H. P. Dullo Black A-166. Decorative Purple Z-814. Plate 11. More Elaborate Example of Purple as a Decorative Color. Stock: The Paper Mills' Company Diamond D Suede Finish Book — India, 25 by 38 — 100 pounds. Inks: H. P. Dullo Black A-166. Margo Cover Purple No. 912. Plate 12. A Dark Yellow-Red (Brown) as a Decorative Color. Stock: The Paper Mills' Company Diamond D Suede Finish Book — India, 25 x 38 — 100 pounds. Inks: H. P. Dullo Black A-166. Decorative Brown Z-816. Plate 13. A Low Chroma Red as a Decorative Color. Stock: The Paper Mills' Company Diamond D Suede Finish Book, 25 x 38 — 100 pounds. Inks: H. P. Dullo Black A-166. Decorative Dark Red Z-813. Border Gray Z-811. Plate 14. Ideal Distribution of a Low Chroma Red as a Decorative Color. Stock: The Paper Mills' Company Diamond D Suede Finish Book — India, 25 x 38 — 100 pounds. Inks: H. P. Dullo Black A-166. Decorative Brown C-23. Border Gray Z-811. Plate 15. Green as a Decorative Color with Black. Stock: The Paper Mills' Company Diamond D Suede Finish Book, 25 x 38 — 60 pounds. Cream White. Inks: H. P. Dullo Black A-166. Decorative Green Z-812. Border Gray Z-811. Plate 16. Simple Analogy of Two Colors with Stock. STOCK: J. W. Butler Paper Company Gray Single Ply Sunburst Cover, 22 x 28. I n k s : Cover Green-Gray Z-820. Cover Green Dark. Plate 17. Decorative Color in Analogy with Stock. Type Color in Contrast. Stock- J. W. Butler Paper Company Gray Single Ply Sunburst Cover, 22 x 28. Inks: Cover Green-Gray Z-820. Cover Burnt Umber. Plate 18. Ideal Treatment of Colors Similar to Those in Plate 17. Stock: Chicago Paper Company Brown Milton Text Deckle Edge, 25 x 40 — 60 pounds. Inks: Cover Brown Z-823. Cover Green Dark. Plate 19. Attractive and Pertinent Use of Green and Purple. Stock: Chicago Paper Company Cromac Offset Book, 25 x 38 — 120 pounds. Inks: Cover Lilac Z-806. Cover Green Dark. Plate 20. Artistic Balance of Dark Green and Yellow. Stock : The Paper Mills' Company Regal Antique Book, 25 x 38 — 80 pounds. India. Inks: Decorative Buff Z-827. Text Brown C-6. St. Paul Green No. 414. Plate 21. Elaborate Analogy with Gray and Black Added. Stock: J. W. Butler Paper Company Antiquarian Cover Willow,. 20% x 25%. Single-Thick. Inks: H. P. Dullo Black A-166. Cover Brown Z-817. Cover Buff Z-818. Cover Gray Z-819. Plate 22. Two Decorative Invitations. Stock: Chicago Paper Company Thracian Cadmus, 20^ x 25 — 65 pounds. Inks: H. P. Dullo Black A-166. Upper Card: Cover Buff Z-824. Cover Reddish-Brown Z-825. Lower Card: Cover Yellowish-Brown Z-826. Emerald Green No. 401. Plate 23. A Good Treatment of Red Cover-Stock. Stock: Chicago Paper Company Claret Aeolian Cover, 20 ^ x 25 — 65 pounds. Inks: Cover Black No. 715. Transparent Brown Z-822. Yellow-Gold Z-821. Plate 24. An Example of Balanced Contrast. Stock: Chicago Paper Company White Aeolian Cover, 20V 2 x 25 — 65 pounds. Inks: Cover Gray Z-807. Cover Light Brown Z-808. Cover Blue Z-809. Cover Reddish-Brown Z-810. Border Gray Z-811. Plate 25. An Example of End-Sheet Treatment. Stock: J. W. Butler Paper Company Buckeye Cover, French Gray, Antique Finish, 20 x 25 — 50 pounds, and 22 x 28 y 2 — 60 Ink: End-Sheet Green-Gray Z-815. Plate 26. Method of Conventionalizing Good Color Schemes. Stock: J. W. Butler Paper Company Dresden Pamphlet, China White. Ink: H. P. Dullo Black A-166. Plate 27. Illustration of Some of the Apparatus Used in Color Analysis. Stock : J. W. Butler Paper Company " Warren's " Cameo Plate Coated Book — Sepia, 25 x 28 — 90 pounds. Ink: Dullopaque Brown C-lll. Plate 28. Solid Used for Estimation of Covering Capacity. Stock: The Paper Mills' Company Regal Antique Book, 25 x 38 — 80 pounds. White. Ink: Del Black. (Note. — In some of the sheets Process Black A-34 was used for this plate. It weighed .1225 gram as against .1187 for Del Black. The Process Black was inserted by mistake, but practically the only difference is one of lustre. A twenty-five cent book black does not possess the same density of color as a Process Black.) Plate 29. Covering Capacity of Black on Eight-Point Type. Antique Stock. Stock : The Paper Mills' Company Regal Antique Book, 25 x 38 — 70 pounds. White. Ink: Del Black. Plate 30. Covering Capacity of Black on Ten-Point Type. Antique Stock. Stock : The Paper Mills' Company Regal Antique Book, 25 x 38 — 70 pounds. White. Ink: Del Black. Plate 31. Covering Capacity of Black on Twelve-Point Type. Antique Stock. Stock: The Paper Mills' Company Regal Antique Book, 25 x 38 — 70 pounds. White. Ink: Del Black. Plate 32. Covering Capacity of Black on Eight-Point Type. Machine- Finish Stock. Stock: The Paper Mills' Company Herald Velvet Finish Book, 25 x 38 — 50 pounds. White. Ink: Del Black. Plate 33. Covering Capacity of Black on Ten-Point Type. Machine- Finish Stock. Stock: The Paper Mills' Company Herald Velvet Finish Book, 25 x 38 — 50 pounds. White. Ink: Del Black. Plate 34. Covering Capacity of Black on Twelve-Point Type. Machine- Finish Stock. Stock: The Paper Mills' Company Herald Velvet Finish Book, 25 x 38 — 50 pounds. White. Ink: Del Black. Plate 35. Covering Capacity of Black on Eight-Point Type. S. & S. C. Stock. Stock : The Paper Mills' Company A. Plate S. & S. C. Book, 25 x 38 — 60 pounds. White. Ink: Del Black. Plate 36. Covering Capacity of Black on Ten-Point Type. S. & S. C. Stock. Stock: The Paper Mills' Company A. Plate S. & S. C. Book, 25 x 38 — 60 pounds. White. Ink: Del Black. Plate 37. Covering Capacity of Black on Twelve-Point Type. S. & S. C. Stock. Stock: The Paper Mills' Company A. Plate S. & S. C. Book, 25 x 38 — 60 pounds. White. Ink: Del Black. Plate 38. Covering Capacity of Half-Tone Black on Enamel Stock. Stock: The Paper Mills' Company Diamond D Black and White Coated Book, 25 x 38 — 100 pounds. White. Ink: Lustre Black A-346. Plate 39. Stock: The Paper Mills' Company A. Plate S. & S. C. Book, 25 x 38 60 pounds. White. Ink: Duplex Sepia No. 621. Plate 40. Stock: The Empire Paper Company Special Enamel. Ink: Duplex Sepia No. 621. Plate 41. Stock: The Paper Mills' Company Diamond D Black and White Coated Book, 25 x 38 — 100 pounds. White. Ink: Duplex Sepia No. 621. Plate 42. Stock: The J. W. Butler Paper Company " Warren's " Lustro Super- fine Coated Book, 25 x 38 — 100 pounds. White. Ink: Duplex Sepia No. 621. Plate 43. Stock: The J. W. Butler Paper Company Snowflake Enameled Book, 25 x 38 — 80 pounds. White. Ink: Duplex Sepia No. 621. Plate 44. Stock: Bermingham & Seaman Company Duotone Enamel, 25 x 38 — 75 pounds. White. Ink: Duplex Sepia No. 621. Plate 45. Stock: The Paper Mills' Company Diamond D Superb Dull Finish Coated Book, 25 x 38 — 80 pounds. White. Ink: Duplex Sepia No. 621. Plate 46. Stock: The J. W. Butler Paper Company " Warren's" Cameo Plate Coated Book, 25 x 38 — 90 pounds. Ivory White. Ink: Duplex Sepia No. 621. Plate 47. Four-Color Subject. From a Water-Color by Mr. Glen Sheffer, of the Jahn & Oilier Engraving Company. Stock: The J. W. Butler Paper Company " Warren's " Lustro Super- fine Coated Book, 25 x 38 — 100 pounds. White. Ink : As indicated on progressive proofs. Plate 48. Yellow of Four-Color Subject. Stock : Indicated on finished proof. Ink: Process Yellow J-21. Plate 49. Red of Four-Color Subject. Stock : Indicated on finished proof. Ink: Process Red G-396. 10 Plate 50. Four-Color Subject. Ink : Process Red over Yellow. Plate 51. Black of Four-Color Subject. Stock : Indicated on finished proof. Ink: Process Black A-34. Plate 52. Four-Color Subject. Ink: Process Black over Red and Yellow. Plate 53. Blue of Four-Color Subject. Stock: Indicated on finished proof. Ink: Process Peacock Blue No. 25295. II COLOR AND ITS DISTRIBUTION IN PRINTING INTRODUCTION As the purpose of this book is to supplement by actual color examples " Color and Its Application to Printing,"* rather than to cover the entire field anew, I must refer the reader to that work for detailed explanations. The terms hue, value and chroma, as used by Mr. A. H. Munsell in his " Color Notation," are to be found in a footnote, as well as the definitions of analogy, contrast, complement and bal- anced contrast. Hue: " Color; specifically and technically, distinctive quality of color in an object or on a surface; the respect in which red, yellow, green, blue, etc., differ one from another; that in which colors of equal luminosity and chroma may differ." Value: " In painting and the allied arts, relation of one object, part or atmospheric plane of a picture to the others with reference to light and shade, the idea of hue being abstracted." Chroma: " The degree of departure of a color sensation from that of white or gray; the intensity of distinctive hue; color intensity." Analogy: Analogous colors; in the restricted sense in which the terms are used here, colors immediately to the right and left of a given color; thus, the analogous colors to red are yellow-red and red-purple. Contrast: Contrasting colors; to set in opposition, as two or more objects of a like kind, with a view to show their differences. In the restricted sense here, the complement of a given color and the colors immediately to the right and left of it; thus, blue-green, the comple- ment of red, green and blue are the contrasting colors to red. Complement: Complementary or antagonistic colors; those pairs of colors which when mixed produce white or gray light, in pigments those which produce black or gray. Balanced Contrast: A harmony of three or more colors where the second color is neither analogous nor contrasting to the first color * Note.— Published in 1911 by The Inland Printer Co. 13 COLOR AND ITS DISTRIBUTION IN PRINTING. and the third color holds the second color in place, obviating the results of " simultaneous contrast." (See Chapter IX, " Color and Its Appli- cation to Printing.") Where color is reproduced by colortype plates the printer has little to do with the color-scheme — the engraver must follow the artist and endeavor to reproduce the original as nearly as possible. It is only when printing from single half-tones and zinc plates (or electrotypes) that the printer has an opportunity to originate or improve a color-scheme. His province also is the selection of the proper stock. It is with these problems that this book deals. IDEAL PROPORTIONS OF THE RECTANGLE In advertising literature the rectangle most frequently is the form used. Its base should be less than its height and in some simple ratio to it : two to three, three to four, four to five proportions are often used, but the Greeks found the ideal proportion to be 1 to 1.618, which does not seem to be simple until we analyze how it was obtained. They found that the width should be to the height as the height is to the sum of the width and height — a : b : : b : a -(- b, and if " a " equals 1, " b " would equal 1.618. This proportion is called the Golden Section. To obtain uniformity I have tried to have all plates 4 inches in width, which applying the " Golden Section " would make the length 6.472, or a little less than 6 i/2 inches. In figuring covering capacity I have taken 25 square inches as a basis, which would make the length of the plate 6 14 inches. Plate 1 is an example of the ideal rectangle, with the deco- rative spot in exact balance. The eye is not drawn away from the type-matter by the decoration, nor does the stock claim attention, but design, stock and ink are so correctly selected that one realizes that the design possesses perma- nent beauty.* *In the list of plates, paper and ink on page 3 will be found full information as to trade-name and manufacturer of stock and the name and number of the ink; also information regarding plates used in this book. 14 COLOR AND ITS DISTRIBUTION IN PRINTING. THE SELECTION OF STOCK AND INK In Plate 2 a dull green-black is used on dull stock and for its purpose illustrates the same character of treatment as Plate 1. Naturally the advertising feature makes its appeal more transient. The Dullo Brown illustrated in Plate 3 in combination with the stock presents a simple analogy in color. I have purposely selected a plate, the lettering and details of which are of the same character as before, so that a comparison could be made of the color treatment. One does not care to use black at all times, or even dull green- black. Plate 3 is a change and will command attention, but if the catalogue is to be retained for a long period the pre- vious color-scheme is a better one. In the same way colored stationery is effective as a change, but one feels that white stock year in and out is better than something more novel retained too long. UNUSUAL HALF-TONE COLORS In Plate 4 the subject demands unusual treatment, not in color but in quality, and the effect is obtained by the dull stock and Dullo Green-Black ink. In printing a half-tone such as Plate 5 with a solid background, the laying quality of the ink is of utmost importance. No matter how attractive the subject or color, the effect is ruined by the appearance of mottling in the background. The hue of the ink is in analogy with, and tones into, the hue of the stock. In value it may be said to be as much above black as the stock is below white. This shortening of the value scale at both ends, rather than using white stock with colored ink or colored stock with black ink, is a gain in effectiveness. Compare Plate 6. The color of the ink is well suited to the subject and white stock is to be preferred, as stated above, to colored, but the final result is not quite so pleas- ing as the head of Liszt. This plate demonstrates that art subjects are an exception to the rule, and are not limited to conservative treatment in the same way as office station- ery and merchandise advertising. 15 COLOR AND ITS DISTRIBUTION IN PRINTING. THE ADDITION OF DECORATIVE COLORS In Plate 7 I have taken Plate 1, which was perfectly sat- isfying in black, and added color to illustrate that decorative colors must balance on a point midway between the value of the stock and black where black is the type-color. If we speak of black as zero in value and white as 100, the stock in Plate 7 is about 92, and the decorative colors, therefore, are 46. In Plate 8 white stock is used. The decorative colors, therefore, are of 50 value, i. e., both are lighter than the colors in the previous plate. The use of red as a decorative color dates back to the early days of printing. Nowadays the advertiser demands it because he believes it has " atten- tion-value." The word " value " here has a different mean- ing. Often the color-value is not correct, but the better grade of work shows that most printers realize that they must use a red of 50 value when using black for the type- color and white stock. Such a red is a light or yellow red. Frequently, also, " orange " is used, but seldom other colors. In Plates 7 and 8, granting that we are going to add color where it is not necessary, we ought to at least use as little as possible of the high-chroma red. Notice how much the small spot of red is in evidence. This small area is large enough. The green, although of a lower chroma, has too much area. It would be better if we had selected a lower chroma still, but then the leaves would have lost their suggestiveness. They would not appear as we see leaves printed. Sometimes it is difficult for the printer of average experience to limit the decorative color to the exact area required for balance. In Plate 9 too much red is used, but, taking the drawing as it is, the arrangement of the lettering for color distribution presented a difficult problem for the student. Without the picture at the top the distribution of red in the greeting might have been " H " in Holiday, "A" in Apprentices, " L " in Lakeside, the holly leaf and " M " in MCMXV, but with the weight of the unbroken black in the sketch above, such a distribution would give too little 16 COLOR AND ITS DISTRIBUTION IN PRINTING. red. Naturally, then, the distribution illustrated was the decision. The card as a whole is very creditable, and shows what is being done in Mr. T. E. Donnelley's School for Apprentices, under the direction of Mr. Sheldon. EXAMPLES OF MORE UNUSUAL DECORATIVE COLORS Plates 10 to 14 suggest how purple and dark yellow-reds (reds of low chroma) may be used instead of high-chroma red or " orange " as decorative colors. Any color may be used as a decorative color, or to be more exact, a color may be selected of any hue for a decorative color provided the value is correct. The tendency in the use of decorative colors is to use too large an area, especially when the color pos- sesses a high chroma. Plate 15 illustrates the use of green as a decorative color with black ink on white stock. The possibilities of green are so varied that it is to be regretted that it is not used more often for decoration. There are yellow-greens of high chroma, pure greens, blue-greens, and that large family of greens of low chroma, the olives. Fifty plates would be necessary to illustrate the possibilities of this color in varied distributions. SIMPLE ANALOGY Plate 16 demonstrates the use of two greens printed on gray-green cover-stock. The form of the decorative color is somewhat distracting and the stock is not in the exact value that would give the most perfect balance, yet the effect as a whole is pleasing. Ideal conditions would be a 50-value stock with the possibility of printing the decorative color so that it would have a value of 70 with the type-color of 30 value. Granting that the type-color should be a decided green, the area of the decorative color in the design should be increased so that with its necessarily low chroma it would make up in area what it lacked in chroma. The areas of the two colors should be in inverse proportions to iheir chromas ; 17 COLOR AND ITS DISTRIBUTION IN PRINTING. viz., balance six square inches of a 30-chroma color against three square inches of a 60-chroma color. Notwithstanding that Plate 16 will not bear this analysis, it is still very accept- able as a cover-design. TWO COLORS, ONE IN ANALOGY WITH THE STOCK, THE OTHER IN CONTRAST In Plate 17 a yellow-red of low chroma (brown) takes the place of green for type. This contrasting yellow-red has practically the same chroma as the green — it is just as strong or brilliant and is also of the same value. There are some who would like this color-scheme better than that of Plate 16, but to me a contrasting color emphasizes any pos- sible incorrect balance of the areas in chroma, as well as the inequalities of the value steps. For the novice the analogy is the surest road to harmony. In Plate 18 the brown decorative color is in analogy with the stock, and the type green is in contrast to it. Here we have an ideal distribution of colors similar to those used in Plate 17. The balance is so exact that if we were to increase the area of the brown in the decorative spots in the heading or at the bottom (i. e., by making them more solid) , we would have to use a more neutral brown (lower in chroma) in order to again produce the ideal balance. HARMONY BY CONTRAST In Plate 19 the green and purple suggest the character of business that the booklet advertises. It was printed by the Press of the Fruit Grower, St. Joseph, Missouri, and it is such a good cover that it is to be regretted that hand- lettering, conforming to the character of the design, was not used instead of type. It is a good example of a contrasting color-scheme, with the areas of the two colors adjusted to their respective chromas. Notice that on the border the higher value purple was used for the four outer lines in order to increase the area of that color. 18 COLOR AND ITS DISTRIBUTION IN PRINTING. MORE COMPLEX ANALOGIES Plate 20 is a yellow analogy, although it does not appear so at first glance. The decorative yellow is the middle of the group of colors ; on the warm side the stock and type-color are yellow-red, and on the cool side dark yellow-green is used for the other decorative color. This is a very attrac- tive example of the use of color for type and decoration. Plate 21 is another type of an elaborate analogy, with the addition of a neutral gray to accentuate the design. The form is novel and for the purpose very acceptable. As a rule, the square is not a desirable form to use in advertising, but when used the base should be three per cent greater than the altitude. This apparent inequality is necessary in order to make the figure appear square. The muscles of the eye which control vertical movement do not permit of such unconscious use as those which move the eye from side to side. It requires more effort to look up and down than side- ways, so that distances up and down seem greater. UNUSUAL DECORATIVE COLORS WITH BLACK The upper card in Plate 22 illustrates again the use of a decorative color midway in value between the stock and black, and demonstrates also that in order to gain effective- ness it is not necessary to have an extra color much in evi- dence. The card would be spoiled if the buff under the leaves was also used in the type-matter. The lower card is bizarre in treatment and color, but it fits the occasion. An invita- tion to the distribution of prizes at a printing-school is not limited by the same conventions as advertising matter. The card as sent out was not the exact shape shown, and in set- ting it into the page too much margin appears at the top. TREATMENT FOR RED COVER-STOCK Red stock is very difficult to handle satisfactorily and Plate 23 shows a type of treatment which is always success- ful. Avoid brilliant colors — the stock itself furnishes the 19 COLOR AND ITS DISTRIBUTION IN PRINTING. attraction ; use black for type, an analogous color to blend the central line or decorative spot into the stock, and gold to give richness to the whole. This is a good formula. In this example yellow was added to the gold in order to take away its " newness " and give it the appearance of age. HARMONY BY BALANCED CONTRAST Plate 24 is an example of balanced contrast, in that the gray tint around the decorative spot in the center is used to prevent the color of the stock from changing the appear- ance of the blue by simultaneous contrast. The yellow in the spot would tend to make the blue appear as its comple- ment, purple-blue, but the yellow-red (brown) in the center would help to keep it blue, as the complement of yellow-red is blue. However, notwithstanding the aid of the yellow in the design, if the stock could act directly on the spot of blue it would make it appear purple-blue, owing to the large area of stock surrounding it. The gray ring prevents this. END-SHEET TREATMENT End-sheet colors should be always in close analogy to the color of the stock, not only in hue but also in value and chroma. In Plate 25 I have made the color stronger than that required for most decorative end-sheets in order to bring out the variety of the design, which since it is made up of various printers' trade-marks is interesting to many of the readers of this book. METHOD OF CONVENTIONALIZING GOOD COLOR- SCHEMES FOR FUTURE USE Plate 26 is 4 by 6 14 inches, or 25 square inches. Each of the triangles has an area of 14 square inch, or one per cent of the area of the rectangle, and each of the small oblongs an area of % square inch, or one-half per cent of the total area. The design is arranged with the idea of using the small oblongs for the small areas of the high- 20 COLOR AND ITS DISTRIBUTION IN PRINTING. chroma colors, which in cover-designs are usually located in the approximate position indicated. For those who are seriously interested in the subject of the distribution of color in printing, this plate will have more interest than if it were printed in many colors. By means of such an arrangement in percentages one may preserve the analyses of good color- schemes in a form which admits of instant application to some new job having the same number of colors in approxi- mate areas. Duplicate electrotypes of this plate may be had from The Inland Printer Co., and they also keep a supply of sheets printed with this plate on hand, so that you may either print your own sheets on suitable stock or order them already printed. If you print them yourself, use the light- est possible gray, so that the outlines of the plate will not interfere with the color-scheme you are recording. In fill- ing in the design the best medium to use is printing-ink, in order to avoid the additional adjustment of matching water- colors when the job goes on the press. Tap the colors in the triangles with the finger, using a triangular and oblong mask cut from heavy bond-paper. The conventionalizing of a design as complicated as the frontispiece* is not at all difficult if you use a planimeter in measuring the areas. In order to change the chroma or value of a color in fit- ting a successful color-scheme to new conditions, it would pay every printer to have on his desk one of Munsell's Color Atlases. Five fundamental hues, and on some of the charts ten, are shown in various values and in decimal steps of chroma, so that when applying the rule that chroma should be inversely proportional to the area the printer may see exactly the strength of color he must use in order to obtain balance. This Color Atlas, containing 688 colors, is for sale by the Wadsworth-Howland Co., Boston, Massachusetts, or Favor, Ruhl & Co., 425 South Wabash avenue, Chicago. *The original poster of this plate was printed from linoleum plates with the exception of the black. These linoleum plates were made !>\ engraving a heavy piece of linoleum mounted on a wood block, and the development of this process is due to Mr. Wm. E. Rudge, of New York. It is especially adapted for broad effects and rather coarse lines on rough paper. The ductility of the linoleum yields readily to the uneven- ness of the surface of this character of stock. 21 THISIS TO CERTIFY- THAT EMORY COBB ANDREWS HAVING PAID THE SUM OF ONE • HUNDRED ■ DOLLARS INTO THE TREASURY- OF THE ART INSTITUTE OF CHICAGO IS • ENTITLED TO ALLTHEPRIVILEGES ■ OF LIFE MEMBERSHIP UNDER THE BY-LAWS ■ OF THE ASSOCIATION CHICAGO - NO V - 1* 2.-' 15^5 gm Cfz. PRESIDENT Plate 1. a I 09 oMmhd%ld&Qx INTERIOR DECORATIONS &> FURNISHINGS Our Interior Decorating and Furnishing Service enables our customers to choose conveniently and wisely, with the aid of expert general salesmen, from our unsur- passed stocks of foreign and domestic decorations and furnishings. We maintain a complete organization for all work pertaining to the interiors of residences. Authoritative advice, without charge, is part of this service. You are invited to bring your problems to our general salesmen on the Fifth Floor. Consulting with us involves no obligation on your part. :•.. .:<.: ,.. Plate Marshall f eld & 0>. INTERIOR DECORATIONS & FURNISHINGS Our Interior Decorating and Furnishing Service is an unusual, cooperative, helpful, personal Service in Home Furnishing — for which there is no charge. It is a tremendous advantage for you to choose all the materials for the decorating and furnishing of your home in one place — dealing with one person, one of our general salesmen. This Service focuses the experience and power of this world-wide organization up- on your individual problems. We co-operate with you in all details. You are invited to consult with our general salesmen on the Fifth Floor. IM vn 3 Plate 4. Plate 5. ' THISIS TO CERTIFY- THAT EMORY COBB ANDREW5 HAVING PAID THE SUM OF ONE HUNDRED DOLLARS INTO THE TREASURY- OF THE ART INSTITUTE OF CHICAGO IS • ENTITLED TO ALL THE PRIVILEGES OF LIFE MEMBERSHIP UNDERTHE BY-LAWS OF THE ASSOCIATION CHICAGO - NOV - 12. r_ 1515 PRESIDENT SECRETARY Plate 7. THIS IS TO CERTIFY- THAT EMORY COBB ANDREW5 HAVING PAID THE • SUM OF ONE • HUNDRED • DOLLARS INTO THE TREASURY- OF THE ART- INSTITUTE OF CHICAGO IS • ENTITLED TO ALL THE -PRIVILEGES OF LIFE MEMBERSHIP UNDERTHE BY-LAWS • OF THE -ASSOCIATION CHICAGO _r NOV PRESIDENT Plate 8. ftoBay GmBnp from QfS^oIftr^itimrES tf X5fyt Itafosiuf Pita Gjjttago "^ DBnrns GlrrKaiiKB 0XHDXV Plate 9. EXAMPLES OF WORK PRODUCED BY STUDENTS ATTENDING THE ST BRIDE FOUNDATION PRACTICAL PRINTING CLASSES SESSION 1913-14 Plate 10. W^M DECEMBRE i D AVENT 2 L S- AMELIE 3 M S. CLAUDE 4 M S* BARBE 5 J S. SABAS 6 V S. NICOLAS 1 7 S S. AMBROISE 8 D IMMAC. CONC. NL 9 L S' .LEOCADIE 10 M S- JULIE 1 n M S. DANIEL 1 12 J S- CONSTANCE 13 V S- LUCIE M s S. NICAISE i5 D S. MESMIN 11 16 L S. EUSEBE PQ ¥)) «7 M S. LAZARE l\V )) \\ // « 8 M S. GATIEN \v 7 KV V/l '9 J S. TIMOLEON NY/ A IV /A .0 V S' PHILOGONE Pyv /. 1 21 S S. THOMAS ^.| 22 D S. HONORAT 1. S« VICTOIRE ^H ^^ 2 4 M S* IRMINE /Tl 25 M NOEL M 1 if> J S. ETIENNE N I 27 V S. JEAN A/ 28 s SS. INNOCENTS 29 1) S. DAVID 3o 1. S. ROGER DQ 3i M S. SYLVESTRE Plate 11. r J ^6 0£ ^% ♦ *>'- IDaltiUtKim in Saftfcn ; Kaufmgerftrage \% \. stocU Plate 18. Plate 19. PRES avoir enseigne la vie, les livres nous en consolent. Lisez done. Les sages qui ont ecrit avant nous sont des voyageurs qui nous ont precedes dans les sentiers de ttnfortune, qui nous tendent la main et nous invitent a nous joindre a eux quand tout nous aban- donne. Lisez done. Un bon livre est un legs qu'un homme de genie fait au genre humain. Vignettes composccs et photopravecs, composition du textc et impression par kl dtvtl de I'ecolc municipalc Esticnne — Annee igo6. Pi.atk 20. DISTRIBUTIOn D€5 PRIX Plate 21. t«JS«tiPier V9I5 p«r W* «i«f ra Plate 22. RAYMOND POINCARE L'IDEE DE PATRIE •* &*+ TYPOGRAPHIE DE L'ECOLE MUNICIPALE ESTIENNE a D A BOULEVARD AUGUSTE-BLANQyi. 18. PARI5-XI!I° ARRONDISSEMENT Q Q Plate 23. ECOLE TflUNICIPALE ESTIENNE ■ ■ ■ ARTS ET INDUSTRIES DU L1VRE ■ ■ ■ 1914 ATELIERS AYANT COLLABORt A LA CONFECTION DE CE CALFNDRJER COMPOSITION DECORATIVE = lllu.k.Uom d per cent of that amount for 8-point type, 9 per cent for 10-point and 7!/2 P er cent for 12-point. S. & S. C. Stock Plates 35, 36 and 37 tested practically the same, .050 gram for ten sheets, which is a covering capacity of 2,268,000 square inches for a pound of 25-cent Book Black. The area is therefore 9.7 per cent solid. Figure 220,000 square inches per pound on S. & S. C. stock of this finish for this quality black ink on solids and take 9.7 per cent of this amount for 30 HOW TO ESTIMATE INK. these type-faces. The fact that the three different type- faces take the same amount of ink on this stock is accounted for largely by the hardness of the surface and the great dif- ference on antique stock by the softness of the stock. The smaller the type on antique stock the greater the tendency to punch through, which adds the shoulder of the type-face to the area of the printing surface. On S. & S. C. it is also difficult to gauge the correct quantity of ink, as it is more likely to offset on this stock than on M. F. If our problem was the determination of the relative areas of the three type-faces solely, the results on M. F. stock would be more nearly correct than the other figures. PERCENTAGE OF INK REQUIRED BY MIXED DIS- PLAY TYPE AND ILLUSTRATION AS COM- PARED TO SOLIDS Let us take Plate 3 as an example. It is 4 x 6V2 inches instead of 6*4 inches, making a difference of 1 square inch in area, so that in using the formula X = — y — , we must take 96 per cent of the weight in grams as " Y." One series of tests was as follows : Stock Used. S. & S. C, as on Plates 35-37 . M. F., as on Plates 32-34 Antique, as on Plates 28-31. Cameo Sepia, as on Plate 5 . . Compare these percentages with those of straight type- matter above. It would be very interesting to lay out various jobs so that the percentage of solid matter ran from 7 to 70 and use these as standards in teaching the estimation of covering capacity. Perhaps I may be able to work this out at a later date, and it is my regret that the publication date of this book prevents my adding more weighings of this character. This is the most difficult part of the estimator's Weight of Del Black in Grams. 96 Per Cent of This Amount. Thousands of Square Inches Per Pound. Percent- age Com- pared to Solid. .045 .0432 2,625 8.4 .075 .072 1,575 8.6 .110 .1056 1,074 8.9 .075 .072 1,575 12.8 31 HOW TO ESTIMATE INK. job, and no example would give exactly the same surface as that which had to be estimated. Let us now consider the PERCENTAGE OF INK REQUIRED BY A HALF- TONE AS COMPARED TO SOLID The weight of the half-tone black on ten sheets like Plate 38 is .235 gram, which gives a covering capacity of 483,000 square inches to the pound. The weight of a solid of the same size printed on the same stock is .350 gram, which gives the percentage the half-tone bears to solid as 67. Both of these weighings represent sheets carrying a " full color," and granting that the half-tone used may be 5 per cent heavier than normal in order to give it a " snappy " effect, we have 62 per cent as our factor for high-grade half- tone work. To get this blackness the ink must fit the paper perfectly without any tendency to offset. Let us compare this Lustre Black with the Process Black shown on Plate 51 with regard to the covering capacity on Plate 38, using the same stock. The solid of ten sheets of Process Black weighs .591 gram, and the half-tone .180, or 30 per cent as much ink for half-tone as solid, but the result, although not gray, owing to the fact that the Process Black is heavily toned with Reflection Blue, lacks character and " snap." It is not a decided black, and " jet blackness " is not obtained from a half-tone black of the highest covering capacity, as a deposit of carbon rather than a thin film of a dye is required to obtain this result. From other tests I found that 52 per cent was the lowest ratio that could be safely figured and obtain satisfactory " blackness." This applies particularly to high-grade book inks and second-grade half-tone inks which are not toned with as much blue and therefore appear " gray " more readily. Figure, therefore, half-tones 62 per cent solid for black results and 52 per cent for average work. This brings us to a further consideration of THE RELATION OF COVERING CAPACITY TO FITTING THE STOCK WITH THE INK Plates 39 to 46 illustrate the effect produced by printing the same ink on eight well-known papers. It is hard to 32 HOW TO ESTIMATE INK. believe that Plates 45 and 46 are printed with the same ink, and the question might arise as to whether the quantity of ink was the same on both sheets. Obviously not, as the two stocks require different amounts to cover thoroughly, and if the Cameo in Plate 46 looks to be flooded, the effect is due to the development of the stain in the duplex ink after print- ing and not to too much ink carried at the time. It was this excessive " toning-out " quality of Cameo paper with Duplex or two-shade inks that caused Philip Ruxton, Incor- porated, to place the Dullopaque colors on the market. These dry out with only a reasonable amount of " spreading " and with a soft, dull finish. Compare Plates 5, 6 and 27. Two-shade inks containing as much stain as Duplex Sepia No. 621 must be slip-sheeted, while some of the Dullopaques such as C-95 may be run on Cameo paper without slip- sheeting if the form is not too heavy. The Superb stock on Plate 45 does not tone out to any great extent, which makes it safer for the uninitiated printer to handle, as slip-sheeting is not imperative and the correct quantity of ink is not difficult to gauge. If we tabulate the results of the cover- ing capacity of these various stocks in Plates 39 to 46, we may make a comparison of the effect and the quantity of ink carried on. Weight in Thousands of Grams for Sq. In. per Duplex Sepia No. 621 (Half-tone) on 250 Sq. In. Lb. S. & S. C. Book (Plate 39) 211 537 Empire Enamel (Plate 40) 080 1,418 Diamond D (Plate 41) 147 771 Lustro Enamel (Plate 42) 169 671 Snowflake (Plate 43) 193 588 B. & S. Duotone (Plate 44) 170 667 Superb Dull Finish (Plate 45) 208 545 Cameo Ivory (Plate 46) 376 304 The S. & S. C. stock of Plate 39 is seldom used for Duplex inks, but considering the grade of the paper the effect and covering capacity is satisfactory; Plate 40 shows clean printing, but little character to the color and no two-shade effect; Plate 41 carries some two-shade effect and shows :::: HOW TO ESTIMATE INK. good life in the foreground, clean whites in the building and good brilliancy in the sky ; Plate 42 shows the two-shade effect of the ink in a considerable degree and takes the ink nicely, but the color of the stain does not suit this stock quite so well as the action of the ink in Plate 43 ; in Plate 44 the ink tones out somewhat stronger in the foreground, especially in the solids, but the sky is not quite so clean as in some of the other plates ; Plate 45 shows a clean-print- ing piece of dull stock, but to pay a higher price for a Duplex ink for this stock would be extravagance. It absorbs all the stain and neutralizes it in a most astonishing manner; finally Plate 46 shows a wonderful toning-out quality, so much so that a printer could add half Dullo Black to Duplex Sepia and still have plenty of two-shade effect on this stock. As explained above, effects may be obtained on this stock with Dullopaque inks, which are most desirable, especially for art subjects. In weighing these tests, the excessively high covering capacity of Empire Enamel surprised me. Of course it was not suited for bringing out the effects of this ink, as the sample will show, but supposing its covering capacity was higher on black ? I was doomed to disappoint- ment, however, as printing Plate 38 on it with Lustre Black gave .230 gram for ten sheets, a covering capacity of 490,000 square inches, practically the same as for the stock used on that plate. In order to compare the covering capacities obtained with the two-shade ink still further, I ran the same stocks again, using Process Black for the reason that its nature and consistency resembles the Duplex Sepia more than Lustre Black. Here are the results : Weight in Thousands of Grams for Sq. In. per Process Black on (Plate 38) 250 Sq. In. Lb. S. & S. C. Book (Plate 39) 300 378 Empire Enamel (Plate 40) 175 648 Diamond D (Plate 41) 180 630 Lustro Enamel (Plate 42) 170 667 Snowflake (Plate 43) 165 687 B. & S. Duotone (Plate 44) 221 513 Superb Dull Finish (Plate 45) 370 307 Cameo Ivory (Plate 46) 385 295 34 HOW TO ESTIMATE INK. On S. & S. C. stock the color is fair only ; on Empire it is " washed out " in appearance ; on Diamond D gray, but better than on Empire, although not within 25 per cent as good as results obtained with a No. 1 Book Black which fitted the stock ; on Lustro the result is fair, but a long way from perfect ; Snowflake looks about as black as the sample on Diamond D and the B. & S. Duotone resembles Lustro. On Superb the effect is very good and on Cameo it is a little too black. An accurate comparison of the enamels would be out of place here, as the prices of the stocks are not the same nor the weights, but Superb, which gives the only perfect results with this ink, requires about the same weight of ink, it will be noticed, as the Cameo Ivory required of Duplex Sepia. Since the war the coatings of enamels have changed so much in their relation to absorption of ink that Process Black, which formerly fitted most of the enam- els mentioned, has been supplanted by the Lustre Black shown on Plate 38 for straight half-tone work. The Process Black still has its place for light screens where the mini- mum quantity of color is desirable and on more absorbent papers such as Superb. Dullo Black, however, fits both Superb and Cameo. COVERING CAPACITY OF INK ON FOUR- COLOR WORK The analysis of Plate 47, as indicated by the progressive proofs which follow the order in which the colors were run, gives us these facts : weight of Ink on 25 Weight of Sq. In. (26 Thousands Ink on Size percent of Sq. In. Color. Shown. more i . to the Lb. Yellow 225 .281 400 Red 095 .119 950 Red over Yellow 080 .100 1,130 Black 040 .050 2,270 Black over Red and Yellow 040 .050 2,270 Peacock Blue 125 .156 727 Blue over the other colors 125 .156 727 35 HOW TO ESTIMATE INK. You will notice that it took 19 per cent more red when red was printed alone than over yellow, while with black and blue the results were the same whether the color was lapped or not. For the sake of comparison, let us bring the above results into decimal parts of a pound, with the yellow as 1.000. Yellow. Red. Black. Blue. 1.000 .356 .178 .555 Is this an average ratio for four-color work? It depends, first of all, on the strength of the yellow used as a basis of comparison and then on the nature of the subjects repro- duced. The covering capacity of the yellow, while not as great as Ruxton's concentrated yellow, is high compared to some yellows used by colortype houses. Compare Plate 38 with Plate 48 ; we know that the weight of Lustre Black on the former is .235 gram and the yellow on the latter is .225 gram (.281 for 25 square inches), which, after making an allowance for the difference in the plates, is lighter than we expect. Blacks cover, as a rule, at least 50 per cent more than the average yellow. It is hard to define an average subject; the blue in Plate 47 is too heavy to make that plate an example, but by com- paring the progressive proofs of the job you are estimating with the proofs shown here you will be able to arrive at approximate quantities. Perhaps the most unusual proportions for four-color work are found in the fruit catalogue. There nearly every page is made up largely of light green and yellow. On a sheet 32 by 44 of this kind of work the yellow ran 4.600 pounds per thousand; red, 1.000; blue, .800, and black, .500. Comparing this to yellow as before, we have : Yellow. Red. Black. Blue. 1.000 .217 .109 .174 It must be remembered that we are not comparing the same colors nor are the amounts careful weighings, but represent pressroom reports, which include wastage. One firm printing mail-order inserts exclusively, on a McKee 36 HOW TO ESTIMATE INK. four-color press, figures 2.86 pounds of ink per thousand, thirty-two-page forms, 8V2 by 11. The ink is distributed as follows : Yellow. Red. Black. Blue. 1.000 .474 .684 .852 Ninety-five per cent of the amount of each color will give the result in actual pounds. One colortype house figures this proportion for carpets on flat-bed presses : Yellow. Red. Blue. 1.000 .333 to .400 .333 rs figure : Yellow. Red. Blue. 1.000 .250 .375 The amount of yellow could be decreased considerably by using a mixture containing part concentrated yellow. The yellow used in printing Plate 47, although principally a pigment yellow, contained some of this material, which ac- counts for the higher covering capacity. THE PERCENTAGE TO ADD FOR WASTAGE After making an estimate as to the amount of ink re- quired, it is necessary to add something for loss of ink, as the figures given here are net. The press used in proving was a Colt's Armory Laureate and the figures given would probably be 5 per cent less for cylinder work on long runs. The loss may occur by not cleaning the can thoroughly, by the ink becoming " dirty " in the fountain and by the amount left over at the end of the run. It is safe to say that the wastage is always 5 per cent even when the same form is kept on for a week. A large job on bible paper was analyzed carefully in this respect. Thirty-two pages, 7%o by 514, or 1,206 square inches, printed in 7-point type, required 95 hun- dredths of a pound per thousand impressions, which with a carefully compiled record showed exactly 5 per cent wastage. The covering capacity of the ink was therefore 1,330,000 37 HOW TO ESTIMATE INK. square inches. On rotary work on print stock nearly 4 per cent of the ink must be reground, owing to paper dust get- ting into the fountain and on the plates. The following may be a good method of figuring, as it takes into consideration the wastage getting started as well as the amount left over : Jobs requiring 1 pound of ink figure 25 per cent on job press ; 100 per cent on cylinder. Jobs requiring 2 pounds of ink figure 20 per cent on job press ; 50 per cent on cylinder. Jobs requiring 5 pounds of ink figure 15 per cent on job press ; 20 per cent on cylinder. Jobs requiring 10 pounds of ink figure 10 per cent on job press ; 15 per cent on cylinder. Jobs requiring 25 pounds of ink figure 8 per cent on job press ; 10 per cent on cylinder. Jobs requiring 50 pounds of ink figure 6 per cent on job press ; 8 per cent on cylinder. Jobs requiring 100 pounds of ink figure 5 per cent on job press ; 7 per cent on cylinder. THE PERCENTAGE TO ADD FOR A FULL COLOR The figures given in the following tables, unless otherwise specifically mentioned, are for minimum or fair covering of the stock. With some colors, such as yellows, ultramarine blue, earth colors, etc., there is no advantage in carrying excess color; but with lake or pulp reds, bronze-blues, etc., the beauty or the sheen of the color does not appear when only the minimum amount is carried on. The amount to be added would vary for different stocks, but from tests made of bronze-blue on enamel paper a deduction of 15 per cent from the covering capacity would be an average allowance. Each printer should try to correct the figures given here so that they apply directly to his own work and the stock on the floor, which is a variable item, especially at this time. The blank pages which follow the tables are for these records. 38 HOW TO ESTIMATE INK. TABLE OF COVERING CAPACITIES ON SOLIDS Antique Stock (Plates 28 to 31 ) I^i^t Grams Per Pound Book Black 1.187 95 Process Half-tone Black 1.225 93 Label Blue (Bronze) 1.172 97 Second Grade Label Blue (Bronze) 1.270 89 Label Yellow 1.911 59 High-grade Ultramarine 1.668 68 High-grade Pulp Red 1.712 66 Process Red 1.356 84 English Vermilion 2.660 43 Cover Yellow 1.360 83 Cover White 4.770 24 Machine Finish (Plates 32 to 34) Book Black 839 135 Process Half-tone Black 790 144 Label Blue (Bronze) 833 136 Label Yellow 1.375 82 High-grade Ultramarine 950 119 High-grade Pulp Red 1.107 102 Process Red 860 132 S. & S. c. (Plates 35 to 37) Book Black 515 220 Process Half-tone Black 515 220 Label Blue (Bronze) 462 245 Label Yellow 740 153 High-grade Ultramarine 494 229 High-grade Pulp Red 580 196 Process Red 520 218 Cover-stock (Suede Book, Plates 11 to 14) ofsT"* 8 Grams. per Lb. English Vermilion 3.390 33 Cover Yellow 1.840 62 Cover White 4.500 25 39 how to estimate ink. Chromac Offset Book (Frontispiece) I^I^i Grams Per Pound Book Black 947 120 Process Half-tone Black 1.115 102 Dullo Black A-159 880 129 Label Blue (Bronze) 1.040 109 Label Yellow 1.235 92 High-grade Ultramarine 1.005 113 High-grade Pulp Red 1.277 89* Process Red 855 132 English Vermilion 1.765 64 Snowflake Enamel (Plate 43) Process Half-tone Black A-34 407 279 Dullo Black 490 231f Label Blue (Bronze) 450 252 Label Yellow 810 140 High-grade Ultramarine 448 253 High-grade Pulp Red 486 233 Process Red 447 254 English Vermilion (lays poorly) 965 118$ Cameo Sepia (Plates 5 and 27) Del Black (for comparison) 570 199 Process Half-tone Black 600 189 Dullo Black 575 197 *This red on Chromac has a deep rich color, and while the stock absorbs a large quantity of ink the finish remains good; with Process Red the result is also beautiful, but the color shows the undertone of the ink and not the overtone, as with the Pulp Red. The differences in covering capacities are, therefore, not comparable as the results ob- tained show that each ink has its proper use and in order to gain a given depth of color that character of ink with the larger amount of color must be carried on. fDullo Black is made for dull or rough papers, although it is used for half-tones and type on enamels. JThe laying quality of Vermilion makes its use impossible on enam- els; its place has been taken by Flaming Scarlet, which takes a good finish and has a high covering capacity. 40 • how to estimate ink. Bleached Manila Carton Stock Weight of Ink (4 Thousands sheets), 100 Weight of of Sq. In. Ink. Sq. In. 250 Sq. In. per Lb. High-grade News Black 255 .638 178 Full Color 310 .775 146 Del Black 305 .762 149 Full Color 390 .975 116 Second Grade Label Blue (Bronze) 375 .938 121 High-grade Ultramarine (for comparison with other stocks) 263 .658 172 High-grade Carton Yellow 705 1.763 64 High-grade Carton Red 500 1.250 91 American Carton Red (no fin- ish) 460 1.150 99 (Note. — Deduct 20 per cent from covering capacity for " full " color on this stock. News ink is not of suitable black- ness nor drying quality for either Bleached Manila or Patent White Stock. It is added for comparison.) Patent White Carton Stock Weight of Ink (4 Thousands sheets), 100 Weight of of Sq. In. Ink. Sq. In. 250 Sq. In. per Lb. High-grade News Black 185 .463 245 Del Black 148 .370 307 Full Color 170 .425 267 Second Grade Label Blue (Bronze) 270 .675 168 High-grade Ultramarine 205 .513 221 High-grade Carton Yellow 495 1.238 92 High-grade Carton Red 340 .850 133 American Carton Red (no finish) .320 .800 142 (Note. — Deduct 15 per cent from covering capacity for " full " color on this stock.) 41 how to estimate ink. Non-fading 50-pound Poster Stock Thousands Weight of of Sq. In. Ink. 250 Sq. In. per Lb. High-grade News Black 790 144 Full Color 930 122 Del Black 715 159 Full Color 820 138 Poster Yellow 1.745 65 Poster Red (1916 manufacture) 1.638 69 Poster Blue (1916 manufacture) 1.165 97 (Note. — Deduct 15 per cent from covering capacity for " full " color on this stock.) TINTS I have not included tints in the preceding tables for the reason that the manner in which tints are made determines their covering capacity. On Diamond D enamel a buff tint made with one white covered 171,000 square inches; with another white, 187,000; with transparent white, 222,000, and with Ruxton's Tint Base, 324,000. On most of the enam- els 250,000 square inches may be easily obtained if the ink- maker understands this subject. Likewise in running yel- lows on a stock as gray as Bleached Manila Carton stock, a covering capacity of 100,000 square inches may be obtained by mixing the yellow with special carrying agents. This will impair the brilliancy of the color to some extent. LAPPED COLORS The covering capacity of the second color is determined by the surface presented by the first color and varies for dif- ferent stocks. On antique stock (Plates 28 to 31) High Grade Pulp Red covered 66,000 square inches, but over Label Yellow it covered 100,000 on this stock. On some enamels the covering capacity of the red over yellow is no greater than the red on the stock itself, while others show an increase in covering capacity of twenty per cent. The harder the stock the less difference in covering capacity between lapped colors and colors run straight, and conversely, the softer the stock the greater the increase in the covering capacity of the second color. 42 Plate 28. In the beginning, man went forth each day — some to do battle, some to the chase; others, again, to dig and to delve in the field — all that they might gain and live, or lose and die. Until there was found among them one, differing from the rest, whose pursuits attracted him not, and so he stayed by the tents, and traced strange devices with a burnt stick upon a gourd. This man, who took no joy in the ways of his brethren — who cared not for conquest, and fretted in the field — this designer of quaint patterns — this devise 1- of the beautiful — who perceived in Nature about him curious curvings, as faces are seen in the fire — this dreamer apart, was the first artist. And presently there came to this man another — and, in time, others — of like nature, chosen by the Gods — and so they worked together; and soon they fashioned, from the moistened earth, forms resembling the gourd. And with the power of creation, the heirloom of the artist, presently they went beyond the slovenly suggestion of Nature, and the first vase was born, in beautiful proportion. And the toilers tilled, and were athirst; and the heroes returned from fresh victories, to rejoice and to feast; and all drank alike from the artists' goblets, fashioned cunningly, taking no note the while of the craftsman's pride, and under, standing not his glory in his work; drinking at the cup, not from choice, not from a consciousness that it was beautiful, but because, forsooth, there was none other! And history wrote on, and conquest accompanied civilization, and Art spread or rather its products were carried by the victors among the vanquished from one country to another. And the customs of cultivation covered the face of the earth, so that all peoples continued to use what the artist alone produced. And centuries passed in this using, and the world was flooded with all that was beautiful, until there arose a new class, who discovered the cheap, and foresaw fortune in the facture of the sham. Then sprang into existence the tawdry, the common, the gewgaw. The taste of the tradesman supplanted the science of the artist, and what was born of the million went back to them, and charmed them, for it was after their own heart; and the great and the small, the statesman and the slave, took to themselves the abomination that was tendered, and preferred it — and have lived with it ever since! And the artist's occupation was gone, and the manufacturer and the huckster took his place. Nature contains the elements, in colour and form, of all pictures, as the key- board contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms his chords, until he bring forch from chaos glorious harmony. He does not confine himself to purposeless copying, without thought, each blade of grass, as commended by the inconsequent, but, in the long curve of the narrow leaf, corrected by the straight tall stem, he learns how grace is wedded to dignity, how strength enhances sweetness, that elegance shall be the result. In the citron wing of the pale butterfly, with its dainty spots of orange, he sees before him the stately halls of fair gold, with their slender saffron pillars, and is Plate 29. Johann Froben, who achieved a well-deserved reputation as one of the most enlightened and enterprising publishers of the sixteenth century, and who will be remembered as having been honoured with the friendship and confidence of Erasmus, was born in 1460, in Hammelburg, a village in Franconia. He studied in the University of Basel (which had been founded the year before his birth), and achieved distinction as a scholar in Latin, Greek and Hebrew. He was trained as type-setter and press- corrector by the famous printer Amerbach, and thus equipped, he secured citizenship in Basel in 1490, and in the following year began business in his own name as a master printer and publisher. Gutenberg had been dead for twenty years, but the business established by Fust and Schoffer with the original Gutenberg plant (representing the earliest printing concern in Europe) was still being carried on by the son of Schoffer. The work of Caxton, which had been begun in Burges in 1470, had, in 1474, been transferred to London, and closed with his death in 1492, the year in which Aldus Manutius began his printing operations in Venice. In paris the leading typographer of the town was Badius, the predecessor of the more famous Estiennes. At the time Froben began his work, the methods of carrying on a printing office, and the machinery for the production and distribution of books, were still to be established. Type-setters, pressmen, and correctors were all to be trained, and every tech- nical detail of the work of book-making called for the personal supervision and often for the individual inventiveness of the master. Upon him came also of necessity the responsibility for the selection of the work to be undertaken, the securing of text for "copy," the collation and preparation of the "copy" for the type-setters, and an unremitting watchfulness over each page as put into type. It is to be borne in mind that nearly all the earlier books were printed in Latin, which for the majority of the Swiss or German compositors was an unfamiliar tongue, a circumstance that very seriously increased the risk of type-setting errors. It is surprising that in the face of difficulties of this kind, the books of the fifteenth century present, with rare exceptions, a fairly correct text. Froben's first publication was a Latin Bible in convenient Plate 30. The name of Elzevir has for more than two centuries been a familiar one to collectors of choice books. These Dutch printer-publishers of the seventeenth century were able to associate their imprint with certain publications of such distinctive typographical excellence as to ensure for the editions known as "Elzevirs" a prestige that has endured to the present day. Aldus alone among the early publishers has had a similar fortune, and while the "Aldine" editions are, of course, in respect to their number and to their typographical excellence, much less important than the "Elzevirs," it must be remembered that having been issued more than a century earlier, their production called for a much larger measure of originating capacity and initiative on the part of their printer-publisher. The principal authority on the history of the Elzevirs is a comprehensive and carefully written monograph of Alphonse Willems, published in Brussels in 1880. Louis Elzevir, who, as far as its publishing undertakings are concerned, was the founder of the family, had been brought up as a binder in the Flemish University town of Louvain. He was a Protestant, and in 1580, when existence for Protestants had been made difficult in the Catholic provinces of Flanders, Elzevir, in company with hundreds of others of his faith, made his way across the border to Holland, and settled, with his family, at Leyden. He was at this time about forty years of age. Leyden was, in 1580, next to Amsterdam, the most considerable and the most important city in Holland. The heroic resistance that its citizens had made during the long siege by the Spaniards had earned fame for the city throughout all Protestant Europe, while the University, which had been founded by William the Silent in commemoration of the glory of the struggle, had at once secured for itself a prestige among the scholars of Europe, and in making Leyden a centre for the literary activities of the Dutch provinces, had given a great incentive to its publishing and printing trade. Louis Elzevir found at Leyden a considerable group of Plate 31. In the beginning, man went forth each day — some to do battle, some to the chase; others, again, to dig and to delve in the field — all that they might gain and live, or lose and die. Until there was found among them one, differing from the rest, whose pursuits attracted him not, and so he stayed by the tents, and traced strange devices with a burnt stick upon a gourd. This man, who took no joy in the ways of his brethren — who cared not for conquest, and fretted in the field — this designer of quaint patterns — this devise 1 " of the beautiful — -who perceived in Nature about him curious curvings, as faces are seen in the fire — this dreamer apart, was the first artist. And presently there came to this man another — and, in time, others — of like nature, chosen by the Gods — and so they worked together; and soon they fashioned, from the moistened earth, forms resembling the gourd. And with the power of creation, the heirloom of the artist, presently they went beyond the slovenly suggestion of Nature, and the first vase was born, in beautiful proportion. And the toilers tilled, and were athirst; and the heroes returned from fresh victories, to rejoice and to feast; and all drank alike from the artists' goblets, fashioned cunningly, taking no note the while of the craftsman's pride, and under- standing not his glory in his work; drinking at the cup, not from choice, not from a consciousness that it was beautiful, but because, forsooth, there was none other! And history wrote on, and conquest accompanied civilization, and Art spread, or rather its products were carried by the victors among the vanquished from one country to another. And the customs of cultivation covered the face of the earth, so that all peoples continued to use what the artist alone produced. And centuries passed in this using, and the world was flooded with all that was beautiful, until there arose a new class, who discovered the cheap, and foresaw fortune in the facture of the sham. Then sprang into existence the tawdry, the common, the gewgaw. The taste of the tradesman supplanted the science of the artist, and what was born of the million went back to them, and charmed them, for it was after their own heart; and the great and the small, the statesman and the slave, took to themselves the abomination that was tendered, and preferred it — and have lived with it ever since! And the artist's occupation was gone, and the manufacturer and the huckster took his place. Nature contains the elements, in colour and form, of all pictures, as the key- board contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms his chords, until he bring for t h from chaos glorious harmony. He does not confine himself to purposeless copying, without thought, each blade of grass, as commended by the inconsequent, but, in the long curve of the narrow leaf, corrected by the straight tall stem, he learns how grace is wedded to dignity, how strength enhances sweetness, that elegance shall be the result. In the citron wing of the pale butterfly, with its dainty spots of oramx-, he seea before him the stately halls of fair gold, with their slender saffron pillars, and is Plate 32. Johann Froben, who achieved a well-deserved reputation as one of the most enlightened and enterprising publishers of the sixteenth century, and who will be remembered as having been honoured with the friendship and confidence of Erasmus, was born in 1460, in Hammelburg, a village in Franconia. He studied in the University of Basel (which had been founded the year before his birth), and achieved distinction as a scholar in Latin, Greek and Hebrew. He was trained as type-setter and press- corrector by the famous printer Amerbach, and thus equipped, he secured citizenship in Basel in 1490, and in the following year began business in his own name as a master printer and publisher. Gutenberg had been dead for twenty years, but the business established by Fust and Schoffer with the original Gutenberg plant (representing the earliest printing concern in Europe) was still being carried on by the son of Schoffer. The work of Caxton, which had been begun in Burges in 1470, had, in 1474, been transferred to London, and closed with his death in 1492, the year in which Aldus Manutius began his printing operations in Venice. In paris the leading typographer of the town was Badius, the predecessor of the more famous Estiennes. At the time Froben began his work, the methods of carrying on a printing office, and the machinery for the production and distribution of books, were still to be established. Type-setters, pressmen, and correctors were all to be trained, and every tech- nical detail of the work of book-making called for the personal supervision and often for the individual inventiveness of the master. Upon him came also of necessity the responsibility tor the selection of the work to be undertaken, the securing of text for "copy," the collation and preparation of the "copy" for the type-setters, and an unremitting watchfulness over each page as put into type. It is to be borne in mind that nearly all the earlier books were printed in Latin, which for the majority of the Swiss or German compositors was an unfamiliar tongue, a circumstance that very seriously increased the risk of type-setting errors. It is surprising that in the face of difficulties of this kind, the books of the fifteenth century present, with rare exceptions, a fairly correct text. Froben's first publication was a Latin Bible in convenient Plah The name of Elzevir has for more than two centuries been a familiar one to collectors of choice books. These Dutch printer-publishers of the seventeenth century were able to associate their imprint with certain publications of such distinctive typographical excellence as to ensure for the editions known as "Elzevirs" a prestige that has endured to the present day. Aldus alone among the early publishers has had a similar fortune, and while the "Aldine" editions are, of course, in respect to their number and to their typographical excellence, much less important than the "Elzevirs," it must be remembered that having been issued more than a century earlier, their production called for a much larger measure of originating capacity and initiative on the part of their printer-publisher. The principal authority on the history of the Elzevirs is a comprehensive and carefully written monograph of Alphonse Willems, published in Brussels in 1880. Louis Elzevir, who, as far as its publishing undertakings are concerned, was the founder of the family, had been brought up as a binder in the Flemish University town of Louvain. He was a Protestant, and in 1580, when existence for Protestants had been made difficult in the Catholic provinces of Flanders, Elzevir, in company with hundreds of others of his faith, made his way across the border to Holland, and settled, with his family, at Leyden. He was at this time about forty years of age. Leyden was, in 1580, next to Amsterdam, the most considerable and the most important city in Holland. The heroic resistance that its citizens had made during the long siege bv the Spaniards had earned fame for the city throughout all Protestant Europe, while the University, which had been founded by William the Silent in commemoration of the glory of the struggle, had at once secured tor itself a prestige among the scholars of Europe, and in making Leyden a centre for the literary activities of the Dutch provinces, had given a great incentive to its publishing and printing trade. Louis Elzevir found at Leyden a considerable group <>t Plate 34. In the beginning, man went forth each day — some to do battle, some to the chase; others, again, to dig and to delve in the field — all that they might gain and live, or lose and die. Until there was found among them one, differing from the rest, whose pursuits attracted him not, and so he stayed by the tents, and traced strange devices with a burnt stick upon a gourd. This man, who took no joy in the ways of his brethren — who cared not for conquest, and fretted in the field — this designer of quaint patterns — this devise 1 " of the beautiful — who perceived in Nature about him curious curvings, as faces are seen in the fire — this dreamer apart, was the first artist. And presently there came to this man another — and, in time, others — of like nature, chosen by the Gods — and so they worked together; and soon they fashioned, from the moistened earth, forms resembling the gourd. And with the power of creation, the heirloom of the artist, presently they went beyond the slovenly suggestion of Nature, and the first vase was born, in beautiful proportion. And the toilers tilled, and were athirst; and the heroes returned from fresh victories, to rejoice and to feast; and all drank alike from the artists' goblets, fashioned cunningly, taking no note the while of the craftsman's pride, and under- standing not his glory in his work; drinking at the cup, not from choice, not from a consciousness that it was beautiful, but because, forsooth, there was none other! And history wrote on, and conquest accompanied civilization, and Art spread, or rather its products were carried by the victors among the vanquished from one country to another. And the customs of cultivation covered the face of the earth, so that all peoples continued to use what the artist alone produced. And centuries passed in this using, and the world was flooded with all that was beautiful, until there arose a new class, who discovered the cheap, and foresaw fortune in the facture of the sham. Then sprang into existence the tawdry, the common, the gewgaw. The taste of the tradesman supplanted the science of the artist, and what was born of the million went back to them, and charmed them, for it was after their own heart; and the great and the small, the statesman and the slave, took to themselves the abomination that was tendered, and preferred it — and have lived with it ever since! And the artist's occupation was gone, and the manufacturer and the huckster took his place. Nature contains the elements, in colour and form, of all pictures, as the key- board contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms his chords, until he bring for,.h from chaos glorious harmony He does not confine himself to purposeless copying, without thought, each blade of grass, as commended by the inconsequent, but, in the long curve of the narrow leaf, corrected by the straight tall stem, he learns how grace is wedded to dignity, how strength enhances sweetness, that elegance shall be the result. In the citron wing of the pale butterfly, with its dainty spots of orange, he seea before him the stately halls of fair gold, with their slender saffron pillars, and is Plate 3.3. Johann Froben, who achieved a well-deserved reputation as one of the most enlightened and enterprising publishers of the sixteenth century, and who will be remembered as having been honoured with the friendship and confidence of Erasmus, was born in 1460, in Hammelburg, a village in Franconia. He studied in the University of Basel (which had been founded the year before his birth), and achieved distinction as a scholar in Latin, Greek and Hebrew. He was trained as type-setter and press- corrector by the famous printer Amerbach, and thus equipped, he secured citizenship in Basel in 1490, and in the following year began business in his own name as a master printer and publisher. Gutenberg had been dead for twenty years, but the business established by Fust and SchofTer with the original Gutenberg plant (representing the earliest printing concern in Europe) was still being carried on by the son of SchofTer. The work of Caxton, which had been begun in Burges in 1470, had, in 1474, been transferred to London, and closed with his death in 1492, the year in which Aldus Manutius began his printing operations in Venice. In paris the leading typographer of the town was Badius, the predecessor of the more famous Estiennes. At the time Froben began his work, the methods of carrying on a printing office, and the machinery for the production and distribution of books, were still to be established. Type-setters, pressmen, and correctors were all to be trained, and every tech- nical detail of the work of book-making called for the personal supervision and often for the individual inventiveness of the master. LIpon him came also of necessity the responsibility tor the selection of the work to be undertaken, the securing of text for "copy," the collation and preparation of the "copy" for the type-setters, and an unremitting watchfulness over each page as put into type. It is to be borne in mind that nearly all the earlier books were printed in Latin, which tor the majority of the Swiss or German compositors was an unfamiliar tongue, a circumstance that very seriously increased the risk of type-setting errors. It is surprising that in the face of difficulties of this kind, the books of the fifteenth century present, with rare exceptions, a fairly correct text. Froben's first publication was a Latin Bible in convenient Plate 36. The name of Elzevir has for more than two centuries been a familiar one to collectors of choice books. These Dutch printer-publishers of the seventeenth century were able to associate their imprint with certain publications of such distinctive typographical excellence as to ensure for the editions known as "Elzevirs" a prestige that has endured to the present day. Aldus alone among the early publishers has had a similar fortune, and while the "Aldine" editions are, of course, in respect to their number and to their typographical excellence, much less important than the "Elzevirs," it must be remembered that having been issued more than a century earlier, their production called for a much larger measure of originating capacity and initiative on the part of their printer-publisher. The principal authority on the history of the Elzevirs is a comprehensive and carefully written monograph of Alphonse Willems, published in Brussels in 1880. Louis Elzevir, who, as far as its publishing undertakings are concerned, was the founder of the family, had been brought up as a binder in the Flemish University town of Louvain. He was a Protestant, and in 1580, when existence for Protestants had been made difficult in the Catholic provinces of Flanders, Elzevir, in company with hundreds of others of his faith, made his way across the border to Holland, and settled, with his family, at Leyden. He was at this time about forty years of age. Leyden was, in 1580, next to Amsterdam, the most considerable and the most important city in Holland. The heroic resistance that its citizens had made during the long siege by the Spaniards had earned fame for the city throughout all Protestant Europe, while the University, which had been founded by William the Silent in commemoration of the glory of the struggle, had at once secured tor itself a prestige among the scholars of Europe, and in making Leyden a centre for the literary activities of the Dutch provinces, had given a great incentive to its publishing ami printing trade. Louis Elzevir found at Leyden a considerable group <>t Plate 37, Plate 38. Plat i Plate 40. Plate 41. Plate 4: Plate 43. Plate 44. Plate 45. Plate 46. Plate 47. Plat; l\\\\\* fit Plate 49. ft *j ^ PLATf **. Plate 51. . fit Plate 52. Plate 53. ^CWUFOV^ ~ " ERN REGIONAL Li % AA 000 873 041 8 CENTRAL UNIVERSITY LIBRARY University of California, San Diego DATE DUE : — ! — ~ SEP 80 1* UCSD Libr. / .